I've recently faced some challenges on articulating how I want a particular show to look and feel. How do I communicate this and get buy-in from fellow improvisers?

I've been trying to deepen my connection between all characters on stage collectively. How can I do this with improvised objects?

We're told not to say "no" when we're starting to perform improv scenes, but what happens when we say "no" in real life situations and how does this compare to improv?

How can I get better at being an active participant from a backline?... and can I draw another kids' football analogy? (Yes, I can!)

When I started, I was obsessed with doing loads of gigs. Do I still feel the same way?

What happens when you've committed to a gig and you're on your own? One-prov!

I've used established games and formats when I first started improv, but is there a way to experiment with new ideas?

Why didn't I get into that Improv group and what make a good troupe?

Is it possible to try and bring the "tech" person into the actual improv more in sets?

In Part 2 of this podcast episode we explore Ed's improv journey; its challenges and triumphs.