The Backline - An Improv Podcast

This week on The Backline, Rob and Adam talk about stage fright, nerves, anxiety, and all the things that can make stepping onstage feel terrifying. Is stage fright just a silly emotional response, or is there something more serious going on? Why do some performers get nervous before every show while others seem completely unfazed? And if you’re experiencing stage fright now, does it ever go away—or can it actually get worse?

This week on The Backline, Rob and Adam talk about one of the trickiest parts of being on an improv team: giving and receiving notes. How do you give someone useful feedback without turning the notes into a list of things they did wrong? How do you take notes, learn from a bad show, and then walk onto the stage next time without bringing the last show with you?

This week, Rob and Adam tackle one of the most dreaded words in improv: jokes.What actually makes something a joke? Are jokes bad for improv? And if we’re not trying to make jokes, how are we supposed to get laughs? Rob and Adam dig into the difference between earning laughs and trying to be funny—and what improvisers can focus on instead

This week, Adam and Rob revisit a recent monoscene in which the context wasn't revealed until surprisingly late. They discuss the value of playing the dynamic from the top, waiting for the right moment to define the scene, and why the who, what, and where remain essential in every scene we play.

This week on The Backline, Rob and Adam discuss: danger. Most training teaches us how to avoid confusion, conflict, and uncertainty onstage—but what if those uncomfortable moments are exactly where the best scenes come from? If you've ever wondered why some scenes feel thrilling while others feel perfectly competent (bad), then this episode is for you.

This week, Rob and Adam discuss "energy". What is energy onstage? What should you do if your show is low energy and is that always a problem? Whether you're trying to slow a scene down without losing momentum or wondering how to make silence, restraint, and authenticity exciting to watch, this episode offers practical advice for finding the right kind of energy—not just more of it.

What makes improv in Toronto feel different from Chicago? Why does Los Angeles produce a different kind of performer than New York? And where do cities like Vancouver, Montreal, and Mexico City fit into the larger improv landscape? In this episode, Rob and Adam answer a listener's question about the distinct styles of North America's major improv hubs.

This week Adam and Rob discuss competition, egalitarianism, and how the politics of the classroom affect improv teams, shows, and theatres. Should improv delineate between amateur and professional? What's the best way to transition students into shows with experienced vets? Also, Backrooms is like Obsession but for babies.

This week on Backline, Rob and Adam break down their favourite longform openers and put them to the test, ranking different approaches based on flexibility, inspiration, ease of execution, and how well they serve the show that follows. From monologues to monologs to organic openings, they discuss the strengths and pitfalls of each approach and why certain openers work better for certain ensembles

This week on Backline, Rob and Adam explore how improvisers can create characters with greater depth, vulnerability, and gravitas. Beyond funny voices and quirks, what makes a character feel like a real person? The hosts discuss techniques for building emotional weight, making meaningful choices, and finding humanity in even the most heightened scenes. They also break down "counterpoint" character moves—when and how to introduce contrasting perspectives, energies, and behaviours that strengthen a scene rather than derail it.