This week on Backline, Rob and Adam tackle one of the most fundamental skills in longform improv: pulling premises from a monologue and turning them into strong scene initiations. What information should you actually be listening for? Which details are useful, and which are likely to send you down a dead end? Rob and Adam break down the difference between jokes and playable premises, discuss common mistakes improvisers make when mining openings, and explore how to identify the ideas most likely to generate dynamic scenes

This week on Backline, Rob and Adam dig into the competitive spark inside improv — when it helps, when it hurts, and how great scene partners turn rivalry into fuel instead of friction. They talk about using your partner’s moves to elevate your own game, navigating ambition in ensemble work, and why the best improvisers push each other without trying to “win” the scene.

What's better? Harold or Armando? Spokane or Close Quarters? This week, Rob and Adam help a new team choose their signature longform format through a grueling bracket of 18 possible formats.

This week Rob and Adam, discuss the painful but necessary process of “Paying the Tax” , while trying to stay present, apply class lessons, and putting in the reps. Despite all of that, the laughs still aren’t coming. If you’ve ever felt stuck between learning and getting laughs, this episode is for you.

This week, Rob and Adam open up the Backline Mailbag and find, wouldn’t you know it, two questions about rehearsal.  In this episode they discuss the strange shift that happens when rehearsal turns into performance — why things that feel easy in practice suddenly feel impossible on stage. They talk about whether it’s okay to revisit ideas that worked before, and why a team that looks great in rehearsal might struggle in front of an audience.

In this episode, Monika Smith—actor, writer, and comedian—dives into the art of solo improv, sharing how she transforms a single suggestion into an entire world of characters, stories, and unexpected turns. Drawing from her years touring with The Second City and performing at UCB in iconic shows like ASSSSCAT and Harold Night, Monika unpacks what it takes to hold the stage alone with nothing but instinct, imagination, and a willingness to embrace the unknown.

This week, Rob and Adam turn their attention to the concept “Day of All Days.” It’s a phrase that suggests high stakes and life-changing moments, yet so many of the most memorable scenes revolve around the smallest, most ordinary situations. Why do mundane premises so often lead to the biggest laughs? And what does “importance” really look like in an improvised scene?

This week, Rob and Adam explore how to navigate scenes with a partner who brings a limited emotional range. Together they break down the difference between performing emotion and truly embodying it, and offer practical ways to create better scenes using radical acceptance.

In this episode of The Backline, Rob and Adam explore why performers lose their footing, from overthinking to disconnection, and share practical ways to stay present, reconnect, and move forward without spiraling into shame when you get lost in a scene.  Also, a question about basketball, bullying anyone about anything, and the special relationship between a man and his dragon.

Advanced improv can be tricky—students freeze, forget the game, or feel overwhelmed by structure. This week Rob and Adam discuss practical strategies to reduce overload, and motivate students who may never perform but just want to have fun. Also, "Missiles", door-Ohs, and your new favourite mantra "It's just a body".