This week Rob and Adam reflect on the year and give spread thanks to improv communities across the world: Ann Arbor, Chris the Cameraman, mentorship from Greg Yates, and never giving up on the dream of a Magnet House team.

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In this episode, Rob and Adam dive into the challenges of handling heavy offers, navigating information overload, and figuring out how to deal with unexpected “bulldozers” that can derail an improv scene. They break down practical strategies, share examples, and explore how to keep scenes playful, collaborative, and fun.

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This week, Rob and Adam tackle a tricky question: does your improv teacher have secrets to share, or are they full of it? With countless improv styles—many of them contradicting each other—it can be tough to know what to believe. Rob and Adam explore how improv ideas get passed down, why some “rules” stick, and how performers can figure out what’s actually useful.

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This week Rob and Adam discuss the transitioning your skills from the classroom to the stage. Why is it so hard to do what works in an exercise, onstage in front of an audience?

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Rob and Adam talk about navigating your improv career, dealing with self-doubt, and having honest conversations with yourself about what’s possible and what is probable.

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This week, Rob and Adam dsicuss the time-honoured tradition of playing to the “Top of their Intelligence” by having a very dumb discussion about characters, point of view, and what amount of “smart” are you required to bring with you onstage.

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Improv is not historically known for being offensive, but sometimes improvisers cross the line.  Why is comedy so frequently associated with offense?  Does comedy need to be provocative to be funny? What do you do if you offend your audience? All this and more.

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This week Rob and Adam chat about framing scenes prior, during, or after the action. Do scenes always need to start in the middle? What’s the best way to execute a tag-in? If you mention an event, does it always have to happen onstage?

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This week Rob and Adam, discuss platforms and tilts for improv scenes, how sketch influences scenes, and how to create action without blindsiding their scene partner.

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The improv world is full of technique.  What techniques help individual improvisers? What techniques benefit the theatre you play at? Are there techniques you should embrace? Or some that you should avoid?

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