Mischief Improv

I talk about my failures, and specific ones in the last few weeks. "Struggle" has always been a part of improv – either as the scene on stage or off stage as part of the company/team. We don't talk about it too much because we avoid vulnerability and we want "brand trust." If I run a team, I want people to trust we are going to be successful every show. If run an improv company, I want students/audience members to trust my product and talking about failure *may* challenge that.

I talk about "armchair consultants" and the specific things I've tried! And have lost money and time on…. … but that doesn't mean I won't try again.

Recently inspired by opening my own book, "This Improv Book", to a random page and reading it. It's funny because so much has happened (covid19, beginning my PhD, moving) since I published it earlier this year, and I've been reading so many other things for my degree that I have forgotten about what I wrote. I read it and think "I totally agree with that!" Why not? I wrote it! Lol.

I talk about a passage from my book, called "Pro Tips" – which is meant in a tongue in cheek way.

Hope you all are doing well.

Had an epiphany while recording this. I talk about how the first third of an improv set should have confidence and not an anxious search for the plot. Writing a contract at the beginning of the show makes it "more comfortable" for the performers because then they have a more clearly defined scale of a "successful show." Did we do what we promised at the beginning? But usually those contracts are written by the more domineering members of the group. Which means they typically are always setting the contract. We are only hearing the stories they tell. Discover more. The audience wants to see your struggle – not your struggle! They want to see your courage to carry on.

Interview with Keith Hyland of Broken Chair Improv and Liverpool Comedy Improv. Keith has come to improv more recently, but with a plethora of acting/performing experience. He is truly a giant energy to watch on stage, and his teams love him. He is great at finding a character within milliseconds of stepping on stage, and then still being flexible with that character depending on where the show goes. Very happy I got to know Keith a bit better and I look forward to working with him after this is all over.

Since we're not having rehearsals right now, I thought I'd do a couple interviews. I have always enjoyed working with John Guelke. He has a very unique style and an awesome perspective on improv and art. Hope you enjoy it! (I sure did)

Today we go surfing …

… the social media waves. I walk you through my process for sharing and commenting on social media pages. I run over 20 social media pages from FB to IG to Twitter (and a small number on YouTube). How do I make efficient use of my time? Well, I walk you through that. I also hope it shows what someone sees who is actively looking for improv teams/shows. Then compare this to people you are trying to reach who happen to be cruising social media *not* searching specifically for improv – and consider how much your shows and posts are being seen.

This is not on improv skills, it's more about the improv community that you may be a part of!

I talk about how a lot of the reward is not what happens on stage. We focus so much on skills and shows that over the years the BEST thing about improv has been the people I've met. It's about the experiences.

It's important for us to talk in the academic community. Those statistics and works is how many organizations validate improv in schools or in the workplace. They need to be able to quote stats.

I also talk about my work on Buzzfeed Community! So excited. I like the work so far. Check it out.

"No Gatekeepers" – I'm talking to you! If you think I am.

Let's talk a bit about being "plotty" and a great book I'm reading, "Do It Now" by Parallelagramophonograph in Austin, TX. The difference in narrative improv between Los Angeles and England is almost polarizing. How the community views "plot" is different and each has their own strength/weakness. I also talk about discovery a bit and how Brandon Sornberger taught the concept of "Earn Your Wacky."

I get to interview one of our newer cats members, Joanne Sarginson. She is a joy to work with! Her creativity and ability to justify moves is astounding. We talk a little bit about "energy" and how that affects a show.

Mischief Managed Improv just performed as guests at Deacon Street Arts in Leicester.

This reminded me to go over some tips of how to be a good guest team in another community.

I also talk about dynamics – hitting different visual levels in a scene. Also how having new blood on a team of experienced players (no matter how experienced) is good for both! Experienced players may have fallen into habits or formulas and newer players bust those plateaus. Also, touch a bit on contradictrionss in improv.