The Hideout’s International Experiment

399px-The_International_Improv_Experience
If you’ve ever visited Austin as an improvisor, you’ve probably visited The Hideout Theatre. It’s been one of the mainstays of the Austin scene for many years. And although great shows have gone up consistently for all those years a lot has changed recently. There’s been a much larger reach from the theatre to get involved not only with the other theatres in Austin, but theatres and festivals around the world. This is not coincidental to the fact that the four members of Parallelogramophonograph have taken a more active role in the theatre. Of all the groups in the world, PGraph is one of the leaders – in my opinion – in not only innovation within their shows, but in their openness and excitement to share ideas with folks everywhere and anywhere. Although the group, and many others from The Hideout have traveled the world, they’re starting on a new journey to bring a little of the world to Austin. I was lucky enough to get a few thoughts from Roy Janik about the project and about how you, reading this article right now, can get involved.

The International Improv Experience is a very ambitious idea, but also one that is very accessible for people around the world. A lot of our readers aren’t familiar with the project. How does it work and how did the idea come about?

In the past few years, Parallelogramophonograph (PGraph, my 4 person improv group) has been lucky enough to do a lot of international traveling- to Montreal, to Vancouver, to London, to Paris, and to Australia. These trips are always bittersweet, because we make these amazing friends that we may not see again for years to come. But the trips are also amazing because you start to get a sense for just how universal improv’s growth is, and how much we all share in common with each other.

When I was planning the 2014 Hideout season, I wanted to do something that would enable me to work with all these lovely people again, and to give Austinites a small taste of what we’d found when traveling. The name “The International Improv Experience” sprang to my mind unbidden, and I slotted it in without really knowing the details. So it’s a show based on a mission statement, not a format.

We’ve tinkered with video collaboration in the past. PGraph has a sci-fi show called Eris 2035. In that, we send an open call to improvisers around the world to record “video letters” to loved ones in space, which we then incorporate into the show. So we knew that that idea worked on a small scale, at least.

The way the International Improv Experience works is this: Participating groups issue video challenges, which they send to me online ahead of time. During the show we select a country at random, play one of their videos, and then do whatever they’ve challenged us to do. After the intermission, we do a longer narrative inspired by a particular country’s storytelling tradition (explained in another video).

To make things more focused, I’ve outlined general types of challenges for groups to submit- scene challenges, guided tours, challenges related to landmarks, animals, language lessons, and so on. You can see the example page here: http://hideouttheatre.com/international-improv-experience-welcome

The Hideout has definitely been part of the international community for a while now. How has that collaboration with theatres around the world help grow The Hideout and the Austin Community?

It’s been accelerating lately, and you can see it in small ways. The most obvious way is that we get a lot more international visitors. Tim Redmond from Australia and Jonathan Monkhouse from London have both come over to be a part of our 40+ hour improv marathon. Scott Hunter just visited from Vancouver. Jules and Heather of 10,000 Million Love Stories in the UK came for The Improvised Play Festival and taught workshops. And we’ve got several more visits planned before the end of 2014.

Another HUGE way that traveling and being a part of the international community has helped has been in the direct exchange of ideas. The Fancy-Pants Mashup, one of our more popular ongoing shows, is based on a show we participated in when visiting ProjectProject in Toronto several years ago. An energetic warmup we picked up in London a month ago is now being taught to the kids in our summer camps.

Every single time we travel or reach out to a theater outside of Texas, we make friends and we learn something.

The project is obviously a lot of fun for people sending in videos. What are you hoping your audiences will take away from the project?

I want audiences to leave with a sense that by coming to our theater, they’ve tapped into something greater than just a pleasant night’s diversion. It’s something every improviser knows, but it’s hard to convey that, or to make the audience care about that. But with these videos, audience members can see for themselves just how charming, diverse, and widespread the international community is.

This isn’t the first large scale project from some of the folks creating this. As more young theatres are beginning to find their identity, what advice would you give them for trying more bold projects of their own?

The most important piece of advice I can give is to ignore the well-meaning naysayers- those people that are on your side but have a billion reasons why you shouldn’t do that dramatic/narrative/genre/weekly/experimental/cross-theater/international (take your pick) show. You know the excuses: Your city’s audiences aren’t sophisticated enough, your regular fans are expecting comedy, plot is too hard, you need to build up your own audience before reaching out to other groups, you’ll burn out, we tried that 3 years ago and it didn’t work, etc, etc… ESPECIALLY ignore that naysayer if he lives in your own head.

It’s funny. We’re trained in improv to face our fear, but fear keeps creeping in. If it can’t get a foothold in the improv itself, it’ll creep into the admin side of things. At the Hideout, I hesitated adding more shows to our schedule because I was afraid doing that would dilute our audience. But every time I do, it’s been totally fine.

On the more practical side, here’s a quick list of pointers we’ve found useful for launching larger/more ambitious projects:

  1. Do what you’re inspired to do. If no one is jazzed about an idea, even if it’s been successful before, table it.
  2. Make sure your concept has a hook you can explain on a poster that makes sense to someone who knows nothing about improv.
  3. Don’t overcomplicate the format of your show. Even if you’re doing a sprawling Dickensian epic, aim for hitting the appropriate tone and characters rather than the specific chronological beats of a story.
  4. Be willing to change everything. Once rehearsal starts the show will reveal itself, and you need to be willing to let go of your initial, perfect concept.
  5. Set the audience’s expectations as early as possible, especially if the show you’re doing is unusual for your group. If you’re doing a tragedy, don’t promise a hilarious night of laughs on your poster. Tailor your hosting to fit the tone and style of the show as well. With a lot of shows I direct, I will straight up tell the audience “The show you’re about to see is unlike anything The Hideout has done before, and here’s why.”

Of course we couldn’t have an article about a video project without a video. Here’s the project.

Kudos to Roy and all of the Hideout staff and performers for not only putting together such a large project, but reaching out to share with the rest of the improv community.

If your theatre would like to get involved, create your own videos or if you’re in Austin, head on down and catch the shows live.


Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America.

Post Festival Review: Twin Cities Improv Festival

tcif1This past weekend, I was very fortunate to be able to teach and perform with my group Switch Committee at the HUGE Theater in Minneapolis, Minnesota for Eighth annual Twin Cities Improv Festival. We had met Butch Roy, Co-Founder and Executive Director of Huge Theater, and Hannah Catherine Wydeven when they were performing as Michael Keaton at the Phoenix Improv Festival in April. We had talked about the possibility of Switch Committee coming out to Minnesota for the festival to which we all replied, in unison, “ABSOLUTLEY.” You could call it networking, but I just call it meeting new friends with the same interests as ours. Both of them are great. For the trip, we left at 9:30pm on Friday night and made the 6 ½ hour trek up to Minnesota. Despite some bumper to bumper nighttime construction and one lane highway traffic for a little while, it wasn’t that bad. We actually spent the ride singing 90s hits while I played DJ using Spotify. One continuous song I kept playing, for no reason whatsoever, was Haddaway’s “What is Love”. More on that…never.

tcif2Following breakfast, we arrived at HUGE and I must say, this place is BEAUTIFUL. I loved every single detail about the theater. There were writings on the wall (because the walls had dry-erase paint) and writings on the floor. Yes, there are things written on the floor like the words “theater” and “restrooms.” The reasoning behind this is because, according to Butch, “People tend to look down when they walk into a new place.” That’s genius! In addition, another cool factor, at the right angle (standing outside in front), you can see that the inside of the theater says ‘HUGE’ because there are giant letters on each of the walls inside.

HUGE

HUGE

In my opinion, one of the most inviting and accommodating things a festival can do for their performers is to hook them up with swag bags or something ‘personal’ that basically says “hey welcome to our festival!” Twin Cities did just that. The red bags we were given were filled with knick knacks and trinkets, a show schedule, as well as our performer badges. It seems like a small thing, but to me it’s something that attributes to an overall great experience. I’d show a picture of the HUGE Theater sticker, but it’s currently on the back of my phone (along with a Phoenix Improv Festival sticker). REPRESENT! Jill Bernard, Co-Founder and Director of Education of HUGE, as well as overall joy to be around, tried to find me a ‘HUGE’ shirt, but all that was left was an XXL. This was, of course, after we joked about how there probably wasn’t any shirts small enough. A real life joke come true. Ironically, the shirt WAS huge. (Queue laugh track). In addition, they provided coffee, donuts, and muffins for everyone taking the workshop. Did they need to do that? No. But they did and that’s awesome. Our workshop went really well and included a lot of screaming, crawling, and jumping all over for all of those involved. Thank you everyone who took it!

tcif4Later that night we performed and jumped on and off of pretty much everything in the theater. We threw our bodies all over the stage and hung from the rafters because in that scene (justifiably) the building was on fire and later it was because we were stuck in a tree house. That scene involved carefully dropping me over the wall and down into my partner’s arms. A scene that, if it went wrong, would probably have been my last improv scene ever.

Furthermore, one of the amazing things about this theater is that the stage is unlike any other stage I’ve ever performed on before. Repeat: Unlike any other stage I’ve ever performed on before. That’s because it’s actually made out of material that, to my knowledge, no other theater is using. I got a chance to speak with Butch, who told me, “The stage is made up of a super compressed paper called Skatelite, which is made for outdoor skateboard parks and BMX ramps. It can be manufactured in a curve or purchased as flat sheets. The material is impervious to water or really any liquid and it is black all the way through so even if it did manage to get chipped somehow it would require no paint.” I’ve never heard of any stage using this before, but definitely think more theaters should as stages are under constant wear and tear.

tcif5Following the festival, there was an after-party at one of the local performer’s (Beard Men Improv) houses. Just another example of how warm and welcoming the Minnesota improv community is to out-of-town performers. We were invited to come to someone’s house, who we didn’t know, to hang out simply because we were all a part of a something together.

In the end, I absolutely loved this festival and thought it was very well run. I very much enjoyed Minnesota as it was the first time I’d ever been there. The weekend went off without a hitch. They are definitely doing it right and the fact that the festival has been running for 8 years speaks for itself. Before I finish up, there were so many hidden gems within the theater that I’d like to make mention of. There are cool drawings and posters through the theater that need to be mentioned.

If you were performing this past weekend, you are also aware of the one word mantras spread around the green room. Maxims like the three simple, but very powerful words written in the greenroom for the performers to see. Breathe, Enjoy, and Play. Simple yet paramount reminders before going on stage.

Thank you Twin Cities Improv Festival and HUGE Theater. You were awesome!


Photos courtesy of Tamara Bredemus


is a graduate of iO, The Second City Conservatory, and the Annoyance Theatre in Chicago. Ryan performs improv comedy with his independent team Switch Committee as well as on the Playground team Desperado. In addition, he is an Associate Producer for Big Little Comedy, which is responsible for the Big Little Comedy Festival each year. In 2013, he completed an entire month of comedy by performing 31 days in a row for the month of January. He’s a frequent blogger (here, The Second City Network, and the iO Water Cooler) Instagramer, Pinterester, and Tweeter in his spare time. You can follow the madness @TheRyanNallen.

A Tale of Two Cities

It’s marvelous how many festivals are going on each week. Almost every weekend we hear from folks traveling to other cities and sharing ideas. But probably very few weekends have such a large number of performers shifting around the country as this weekend. Del Close Marathon and The Twin Cities Improv Festival are both going on this weekend. Two more different festivals could not exist, but both offer a great opportunity for performers to get out of their normal comfort zone and see some of the best performers in the country do their thing. And to our friends up North, The Edmonton Festival is happening in Canada right now too. So I hope everyone up there is having a blast.

We know that a huge number of NIN members are on the road this week, so no traditional blog post on theatre management or festival organizing today. Just well wishes for safe travels, especially those of you who are driving overnight. You’re in for a great experience. I hope to see some of you in New York, and I know plenty of folks will be in Minneapolis. Don’t be shy to reach out and meet new people. That’s what the network is all about.

Have a safe and fun weekend everyone. See you next week, and feel free to leave your favorite memories in the comments section here.


Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America.

Spotlight On: Improv Utopia East

improvutopiaeast[1]If you’ve been part of the network for a while, you know it’s no secret that Nick Armstrong is one of my very dear friends and partners on the site. I’ve known him since our iO Level 1 class over ten years ago and I was fortunate enough to have had a very tiny hand in the first Improv Utopia in 2011. Since then, Camp has grown into a very active and supportive community year round, not just during those few days near the Pacific Ocean together. This year, Nick is taking Improv Utopia to the east for the first time. I hope the many new campers join the great Improv Utopia community this fall. I got a chance to ask Nick a few questions about the camp.

Before we talk about East Camp, some of our readers aren’t familiar with Camp Improv Utopia. How is it different than other improv camps? Why did you decide to start one?

Well it all started about six years ago as an idea. We had heard of improv camps before, there was Camprov in the East that we (John Abbott, Jessica Young, Brian O’Connell and myself) wanted to go to badly but never got a chance to attend before it closed. So we wanted to start a place out West that was a summer camp for adult improvisors first and secondly a place to unite improvisors from all over the country. We saw the improv community growing nationwide, so we wanted to create a place to help it along the way. A place to share knowledge, make life long friendships and build the improv community like never before.

We also wanted Improv Utopia to be intimate. We’ve always believed in quality over quantity. We want every camper to get a chance to really know each other by the end of the weekend and we also want our campers to get focused training from our instructors. One thing we really believe in is free-time. We want improvisors to have a chance to unwind, throw axes, shoot archery, canoe and just hang out together.

Four years in, why did you decide to expand to the East Coast? And why Pennsylvania?

We expanded out East to further our mission to unite the improv community. We felt what we created out West was such a positive “yes and” environment that we wanted to offer it out East. So we felt it was the right time to do that.

I take picking camps very seriously and after a long search, Camp Netimus in Pennsylvania was the one that caught my attention and had everything we wanted in a camp. It’s 400 acres of pure awesomeness and suitable for adults!

DSC3092[1]East coast improvisors have very different challenges than west coast improvisors. You definitely have some folks who cross the country, but how are you going to customize East Camp to the challenges of the east coast performers?

We will be doing an Improv Summit at camp and having East Coast and West Coast improv experts on our panel to discuss the challenges we face in improv. I feel that by sharing knowledge with each other we can all come together and face those challenges, answer questions and start a discussion.

We are also bringing master instructors from the West that East Coast improvisors usually don’t get the chance to take like Craig Cackowski (Dasariski/iO), Jill Bernard (HUGE/ComedySportz) and Paul Vaillancourt (iO/Beer Shark Mice).

The instructor list is available on your website, but what went into the choice of instructors this year?

We always choose instructors that we love and respect and think have added something to the improv community beyond just teaching. They are master instructors and are respected by our staff and the improv community at large. We also pick instructors who want to be there and be a camper too. Our instructors hang out, jam and perform with the campers.

One of the frequently mentioned advantages of the West Camp has been the balance of class time with free time to explore improv on a performer’s own. Talk about that and how it will work in the east?

We want Improv Utopia to be an experience. Improv workshops are a part of IU East for sure, but we also wanted camp to be a place where an improvisor can relax, do camp activities and hang out with other improvisors. Sure it’s nice to take a workshop with Jill Bernard, but wouldn’t it be just as fun to canoe with her too? Or play a round of basketball with Craig Cackowski?

For those who have been to West Camp, what new opportunities will be available at East Camp?

It’s a different camp! I know that sounds obvious but it’s more of a traditional summer camp then out West. We have a lake, horses, canoes and more. We don’t have that out West. Also we are inviting some East Coast master instructors like Will Luera (ImprovBoston) and Rick Andrews (Magnet Theater) that the West folks may have not had the opportunity to take before.

What are your long term goals with Improv Utopia?

Improv Utopia is a 501(c)3 Non-profit and our profits go back to the improv community. We hope to keep raising money to support festivals, theaters and provide scholarships to communities. We’ve done a lot already, but our long-term goal is to help raise more money to give back and also unite the improv community from the East Coast to the West Coast. We have always believed that together we are all better. A nationwide improv ensemble.

There are still a few spots left for camp this year.


Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America.

That’s Made Up?

Over a year ago, I went to my very first improv festival – the 12th annual Phoenix Improv Festival, to be exact. I had been doing short form for a little while and knew someone within the Torch Theatre community, which produces the festival. I was anxious to expand my horizons and watch some performances. I don’t have enough time to encapsulate my experience – it changed my life and I spent the next year in the Torch watching shows, training, volunteering and performing.

One night while sitting in the box office during my volunteer shift, Bill Binder was at the computer and suddenly said, “Hey, you should submit to festivals.” Hah. That’s rich. Me. Wait, he’s not joking.

So many questions filled my head, “What? Really? Are you sure? Huh? Me? Now? … Really, really?” None of them particularly enlightened, but also none of which unsure of how to go about submitting. You see, I also sat in the meeting during PIF13 that was launching a social network for improvisers – the National Improv Network. I had all the necessary means to successfully submit to a variety of festivals across the country, so really the only question in my head should have been, “Why not?” (This is also what Bill said to me.)

Cut to my troupe mate Rachel Cepeda and me sitting at a Starbucks madly investigating all the festivals with open submissions that were somewhat nearby. There’s one in Roseville! I have no idea where that is, let’s go there! Hey, this is where Nick Armstrong grew up! (2nd name drop, you’re welcome.)

And we were accepted.

And we drove for 13 hours up to Roseville, CA.

It was awesome.

We made it in late Saturday evening and went straight to the theatre to catch the last block of shows. The Tower Theatre is a beautiful venue with this awesome stage that has seating on three sides of it like a peninsula in a sea of audience members. And the audience was so excited and supportive; watching such a different array of improvisers was incredible.

Rachel and I visited a wine tasting Sunday afternoon where we both ended up teaching the people there some improv. For some reason, my explanation of ‘yes and’ was translated to repeating everything I said in a question (i.e.: “You were late to work today.” “I was late to work today? Oh.”) – my instructing needs work, I get it.

I (and I know Rachel, too) was filled with so many emotions throughout the weekend – anticipation, trepidation, adrenaline, nerves, giddiness, excitement, more nerves – that continued even to right before we got onstage to do our set.

They No Girls

They No Girls

The performance was nothing like I’ve ever done before. It didn’t even feel like a show – it felt like a rehearsal people were watching. They trusted us so implicitly and followed us on our journey. It was without a doubt the best show we have ever performed. It isn’t even comparable to performing in a regular theatre schedule because festival shows have this pure energy that cannot be reproduced in any other environment; you can’t manufacture the thrill an improv community unleashes in getting the rare opportunity to showcase its love to the masses.

The National Improv Network isn’t going to change the way improv is done – it is changing the way it’s done. I may not fully comprehend but am in no way oblivious to the fact that I would have never performed in the California Improv Festival without NIN. Rachel and I (They No Girls) are the only non-house team at our theatre that has performed in a festival. That is really because people don’t submit. You may still find yourself hindered by agonizing doubt, but you are no longer hindered by lack of resources.

So if you’re reading this and you’ve never experienced what I’ve experienced, all I have to say to you is this:

Hey, you should submit to festivals.


I began my long form improvisation training in the summer of 2013 at The Torch Theatre. I perform now with the newest Torch house team along with other various troupes.

You can watch Alisha and Rachel’s performance at the California Improv Festival Here

Competition Or Collaboration?

You’ve started and improv group, your improv group has grown. You’re getting an audience, selling out the pizza parlor you’ve been performing at. It’s time to grow, so you get your own space and your own improv company. But what’s this, another group has done the same thing as you and have opened an improv theater in the same City…”NOOOOOOO! But there going to take my business!” “All the improvisors will perform and train there not here, all the audience will go see them, not us.”

As an owner and/or performer you’ve probably witnessed or have been a part of the above scenario. It happens in most cities. The new kid on the block comes in with their new theater and improv philosophy and you see it as a threat or don’t agree with their style.

It is my philosophy that improv cannot work in competition it has to work together…

How Corporations Work:

Corporate America is a results based system. Meaning they will do anything they can to get a bottom line and make more money for their investors and their executives. It’s a shitty system. We all have seen it single handily destroy the America we once knew. Causing a huge rift between the class system. Corporations hand out pink slips and buy the competition or try and put them out of business. They most likely never work together. It’s a cut throat world and everything needs to be cheaper and make sure their labor costs are down. I’ve been in this world. I’ve seen in first hand.

How Improv Works:

Improv is an ensemble based system. Where a group of friends or strangers get together and collaborate and try to achieve a group mind. They encourage a yes and philosophy and bounce off the last thing said. Add information and heighten their fellow ensemble members idea. The growth is collaborative.

Now…How Improv Cannot be a Corporation.

Improv is not a corporation and it shouldn’t be treated as one. Improv business should be treated the same way as the philosophies of improv. You can’t have one or the other. Improv is a community that wants a home or many homes. Improvisors want to seek many philosophies and want to expand their artistic repertoire. Embrace this. Run your business like an improv ensemble. Accept the new improv theater that just opened down the street. Welcome them with open arms and give them advice if they ask for it. Remember the old days when someone moved into your neighborhood you brought them a pie. You don’t have to go that far, but brownies might be nice. 😉 Share information. Let them know the permit process might be hard and here’s an easier way to do it etc.  Don’t isolate them, you don’t have to believe in their philosophy over yours but you do have to accept them. Work together. Use your powers to raise awareness to the masses of improv.

Here’s an exercise: Count how many improv theater seats in your town, let’s say 500 and now see how many people you have in your city, say 200,000. There is no competition. You can easily work together to tap the potential audience market by raising awareness. All 500 seats will be filled every weekend.

Internally, run your business like an improv ensemble. Get feedback from your audience, your performers and your partners. This will only help you grow and become better. Bounce ideas off each other, add information and heighten. Listen, listen, listen. Throw your ego out the door.

The Improv Community:

I’ve traveled the country and have seen many different improv communities and have heard their stories of competition and not getting along, and I have had many improvisors and improv businesses come through Camp Improv Utopia and I have heard these stories too. I know this community. We are a community that wants to grow. Improvisors aren’t going to just train at one theater, they want to try as many as they can. And they should. You should embrace that. Not embracing that will ultimately scare them away from your community or close your theater off and put you on an island. Trust your community, listen, share  and grow together. That’s what an improvisor wants, that’s an improv community. That’s what makes us different then every group in the world.

Don’t let your business be guided by competition, let your business be guided by collaboration.


Nick is Camp Director and Founder of Improv Utopia an improv retreat for adults in California and Pennsylvania. He is also one of the founding members of the National Improv Network and performer and teacher at iO West as well as member of The Sunday Company at The Groundlings. He has also taught many workshops around the country.

Spotlight On: Big Little Comedy Fest

thumbnail_1399617601-300x300[1]I’ve met a lot of great festival producers through the National Improv Network. One person I didn’t meet here is Tina Jackson. Tina has been a passionate performer on the festival circuit for about as long as I can remember. She’s been leading by example in the community for a long time, which is why I was excited to hear a few years back that she and Dan Grimm (another fantastic performer) were going to be putting on a festival. Both they and I had been on the road long enough to see the kinds of festivals that did things excellently and those who maybe had a little room to improve. I knew that Tina and Dan, and the people they were working with would build an amazing festival coming from the knowledge of a traveling performer.

And they did. Big Little Comedy Fest has grown quickly and its growing list of amazing producers is still out there on the road doing what they can to make festivals around the country great. In all that time, however. I never really had a chance to ask about some of the really unique ideas at Big Little. So I jumped at the chance to learn a little more.

To the best of my knowledge, this is the only improv festival that isn’t permanently housed in one city. There’s obviously a passion there to do something. What was the genesis of the festival. What made you feel the need to create such a unique festival?

The genesis for Big-Little started about 5 years ago when I was unceremoniously cut from my Harold Team at iO. I had a bit of a personal improv crisis at that time – What am I doing in Chicago if the reason I moved here is no longer part of my life? Am I still a good performer? I had a pow-wow with my former coach, Kevin Sciretta, who assured me that I was still a dynamic performer, and encouraged me to find another avenue for my passion, outside of iO, which turned out to be festivals. Having attended a handful myself, I decided to call a few friends and set up an informal weekend of shows at a small theatre in Grand Rapids, MI (where I’d gone to college). That weekend’s success is what became the first Big-Little Comedy Fest. It was my way of turning lemons into lemonade. My improv redemption.

Turns out, running a festival out of town, and in 2 cities throughout the last 5 years, was both complicated and extremely rewarding. I always compare it to planning an out-of-town wedding, hiring the best musicians, the best wedding photography, and catering. But what’s so great about Cleveland and Grand Rapids is that unlike Chicago, where Big-Little is based, they’re cities that aren’t over-saturated with improv. They’re hungry for shows and workshops and out-of-town exposure, and even local press that they aren’t normally able to garner on their own on a regular basis. What Big-Little has turned into is an opportunity to bring big city improv, sketch, and stand-up in a large-scale event to smaller comedy communities throughout the Midwest. (Hence the name, Big-Little Comedy.) But what we really love is the chance to show places like Cleveland and Grand Rapids at large what kind of comedy already exists in their city by showcasing the great local teams alongside out-of-town acts that draw more attention to the event.

Babymakers (Vert)That said, you’ve been in Cleveland two years now. Is it going to be your home for a while now? What made you decide on Ohio this year?

We’re definitely going to be in Cleveland for the forseeable future. Cleveland is my hometown, so last year’s move to Cleveland amazing for me in a lot of ways. Not only was Big-Little able to put on an AMAZING weekend of shows for bigger houses than we ever have before, but (selfishly) I was able to bring my passion home to my family and friends, which was such a great added bonus. We’re also trying to get shows together in Louisville, with a potential for adding a full festival there within the next year.

The festival has been going on for five years, but I know the producers have been on the festival circuit themselves for many years. What kinds of things are you hoping to bring from other festivals? What things do you think you’re making even better

Oh God, I love festivals. One of the best parts of festivals, for me, is the networking you get to do with other performers from around the country. This past year, we made it a point to treat our performers like rock stars, including airport pickup, personal liaisons, killer afterparties, performer discounts, etc. That’s something we’ve always loved about festivals like Out of Bounds, the effort they make to ensure that your stay in their city is as pleasant as possible.

Full CrewWhat is the Cleveland improv scene like. And what are its audiences used to? What kinds of shows are you hoping to introduce to the city?

Cleveland comedy is primarily built around a popular stand-up and theatre scene, but the improv scene, although small, is a vibrant one. There’s a little longform, a little shortform, a little sketch (I can’t recommend ​
Last Call Cleveland highly enough), a little training, but no dedicated theatre or organized scene on ​​ a large​r ​
scale. The local teams there have great followings, which makes Cleveland such a great city for a festival. The audiences really love and embrace comedy and come out to support it in force.

And despite being largely unfamiliar with longform, they really seem to respond to it, which is so great.​

Every time I’ve performed in Cleveland, it’s been in front of a packed house (and a​s a regular Chicago performer, that’s such a nice change of pace from some of our​ regular​ shows​)​.

Lost DogWhat are some things that are new to the festival this year?
​​
New starting this year will be trying to run fests in 2 cities in the same year. We don’t have official dates for an event in Louisville yet, but we’re looking forward to adding more events in more Midwest cities every year from now on.​

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What are some of the non-performance activities planned for the festival this year? Workshops? Parties?

We’ve definitely got a couple fun things in the works including a reprise of our awesome bowling/drinking afterparties at Corner Alley.​

 

Where does Big Little go from here?
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Onward and upward! We have a lot of things building right now for our 5th Anniversary Year, including more events both in Chicago and throughout the Midwest. Our network’s really been building for the last several years and it feels like everything’s coming together for us now. We added a lot of new staff this year, including 3 new producers, interns, and a dedicated marketing team, which is nice because we’re finally able to do some of the things we’ve had on the backburner for a while, because we didn’t have the manpower to put them into action.​


It’s not too late to visit this year. Submissions are open for another week. I highly recommend submitting and heading to Ohio.


Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America.

The Improv Retreat

d7pY2l0lFCI would like to start this by saying I grew up in the desert. December for me is 60s and a cactus with some lights. May not sound as romantic to you, but to me it’s the bees knees. It was also that December when I got a Facebook message from Rick Grove and Lauren Corl telling me we must go to Wisconsin (which was under piles and piles of snow) for the Improv Retreat with the one and only Tara DeFrancisco – who I had met for the first time on stage as a part of her show DeFrancisco. While I would like to say I thought long and hard about the snow, before I knew it, I clicked the link to pay and off my pay check went.

I was more than happy to spend my weekend in the woods with 275 other improvisors at B’nai B’rith Beber Camp in Mukwonago Wisconsin. The Improv Retreat started as a dream of Tara’s to help bring improvisors to the Midwest for a weekend of workshops, art, and the love of improv. It’s summer camp for adults who like to make things up. And maybe dance in the woods. And hug.
The weekend finally came as Lauren, Brandon and I picked up Rick from the airport and drove towards the land of cheese. Armed with snacks, cider (did not drink it on the way there mom), and Starbucks, we spent the ride trying to guess who was teaching what, where we were sleeping, and how much bug spray we may need. Rick, Lauren, and I came from The Torch Threatre in Phoenix, so we were even more excited/nervous of the different improvisors we were going to meet.

Upon arrival, I was in awe of how green and big the camp was as we walked to Crown Hall to receive our bunks and schedules. To greet us was Tara, looking excited and happy to see everyone. If you don’t know Tara, she has the ability to make you feel like a rockstar with just a hug. She made us all feel welcomed as we walked up the hill to our bunks. On the way down the 72 steps (which we walked up and down every morning), I started running into familiar faces from my last summer in Chicago, including my level 1 teacher Higbee (who had the same whit and charisma. Big fan.)

Lauren and I quickly got situated in our bunks, covered ourselves with bug spray, and went back to Crown Hall for announcements. During camp, everyone would meet one to two times a day to talk about events, policies, and to laugh. The camp had everything schedule from the moment we got there, to the moment we left. While it left us little time for free time, it also gave you the option to stay active and enjoy your surroundings.

Joe Bill

Joe Bill

Included in our schedules were three workshops, shows each night, shows during the day, smores, food, and my favorite- Joe Bill talking under a tree. While technically it was by a flag pole, to be given the opportunity to talk with Joe Bill about his traveling and experiences in improv is something I will not forget.

The camp experience is something I will not forget mainly because it took you out of your comfort zone. From each of my workshops they emphasized being here in this moment-this is what matters. And I know we say this over and over again as improvisors, but we sometimes need to be reminded to get out of our comfort zones. In Fear No More, Nnamdi Ngwe told us to look in our fellow actor’s eyes and fall in love. In the past, I’ve had trouble with eye contact and this was intimidating. However, in this moment, you are here and can’t look away.

In Organic Games with Higbee, we literally played childhood games to find patterns in the play happening and how we were going to support it without saying HEY SUPPORT THIS. For a moment, I had to remind myself how to play leapfrog. In Fireball Theory with Jill Bernard, we focused on reacting without telling your partner their nana is crazy, and saying the first thing to come to mind (banana banana) by remaining active in your play.

Stepping out of your comfort zone spilled over in other areas of camp. With a large group, it can be intimating at times to go up and talk to people. In reality, everyone at camp was very welcoming and said hey jump right in! For me I got to be a part of my first rap jam, play with improvisors from all over the world, do handstands by the lake, and play Merlin (sorry Robert and Colin if I messed up the name).

Camp gave me the refresher boost I needed. It rocked its first year and can’t wait to go back to the woods. It was awesome.

#Gablesup


Born and raised in Phoenix Arizona. Runner. Improvisor. Traveler. I play well with others in my fancy shoes, and I love Space Jam.

Proving Yourself Right

The change in mindset that can make all the difference

We all have goals and dreams. We have short-term goals and we have long-term goals that we have created for ourselves. Those goals can be for our personal lives or professional lives and as detailed or as general as we want. No one can judge you because they’re your goals and the only person responsible for checking up on you to make sure you’re accomplishing those goals is yourself. Although, no matter what, there will always be someone standing there to tell you that you’ll never get what you want in life. The important thing is how you react to that adversity. In my opinion, there are 3 different ways you can respond to someone’s doubt in you. You can: 1) agree with them and immediately halt what you’re doing because you believe what they say is right, 2) you can set out to prove them wrong making their doubt the motivation behind everything you do or 3) You can ignore what they say and continue doing what you’re doing because you believe in yourself. Simply put, you can quit, prove them wrong, or prove yourself right. The purpose of this article is to address the problem with the ‘proving them wrong’ mindset and how changing it to ‘proving yourself right’ can make all the difference in overall happiness.

When you sit down and think about where you are in your life and why you are or aren’t where you want to be, the only person you have to answer to is yourself. In my life, I’ve been doubted and told ‘no that’ll never happen’ time and time again. There will always be someone there to say something negative to put you down. Stemming out of jealousy and insecurity, they’ll say “you’re not that good”, “you’ll never make it there” or “it’s only because you know (insert important person name here).” These haters will always say things. Why? They say it because it’s easy to stand on top of their pedestal and judge. It’s easy to focus on someone else’s efforts and doubt them rather than focus on their own lives and trying to accomplish their own goals. Proving someone wrong can be quite the motivator in getting something done. However, in my opinion, it is the WRONG motivator. The sole purpose and reasoning behind doing something shouldn’t be to later rub someone’s face in it, but instead to look yourself in the mirror and say, “I did it.” In the comedy world, we may hear from time to time, “You’re not funny.” Then, we get upset and think, “They don’t think I’m funny? I’ll prove them wrong!” In my opinion, that mindset is a recipe for failure; it’s the wrong mindset for a variety of reasons. Trying to prove to someone that you’re funny means you’re going to TRY to be funny which can be an absolute disaster. In this case, once you’ve shifted your motivation and reasoning for being on stage to ‘proving them wrong’ you may have just proved them right.

Furthermore, the main feat is to focus on staying on the path you’re on and not letting someone’s words deter you. Have time for a short story? Okay cool. I remember when I was in high school and I was wrestling, one of my dreams was to one day wrestle at a Division I University in the Big 10 Conference. I had just started out, but I had big dreams for myself and was ready to reach for the stars. I remember the saying “Dream big or don’t dream at all.” I remember one of the kids on the team, who had already been to the state tournament and was more skilled than me because he’d been wrestling his whole life, saying, “You’ll never wrestle at a Division I school.” For a second, because of his experience in the sport, I believed him. I thought, “If anyone is going to know what it takes to get to that level it’s someone who’s been doing it longer than I have.” Then, I wanted nothing more than to prove him wrong. Naturally, I think it’s an inborn trait that when someone tells you that you can’t do something, you want to show that person that you can. I know at first that was my first thought. Thankfully, greater minds prevailed and I thought, if I do accomplish this, why would I attribute my success to that person? They were the reason why I did all those things to get what I wanted in the first place, right? If it wasn’t for their doubt, I wouldn’t be where I am, right? Wrong. I kept that in mind and continued on my path working as hard as I could because it was MY goal in the first place. Flash forward to my freshman year of college standing in front of my wrestling locker at the University of Illinois in Champaign-Urbana, a Big 10 Division I school. I would wrestle that whole year until I quit to pursue theater and comedy (which brought me here). The choice to leave the wrestling mat for the stage is a story for another day. While I may have proved that person wrong the more important thing is that I proved myself right. My drive and determination behind every workout I did wasn’t because I had to show that person they were wrong, but instead because I knew deep down inside that I was capable of accomplishing what I told myself I could. The mindset you create for yourself is what makes all the difference in your life. In addition, personal happiness should be the end result of any goal you ever set for yourself. While it does feel good at first, the happiness you get from proving someone else wrong does not last. The happiness you get from proving yourself right, however, lasts forever.

In the end, don’t make someone else’s doubt or jealousy in you be your reason for pursuing your dreams. You should be pursuing your goals and dreams because you want to prove to YOURSELF that you’re capable of accomplishing them. Dreams don’t stem on the beliefs of others. Proving yourself right will keep you on track to continue to set goals for yourself because you believe you’re capable of accomplishing them. Proving someone else wrong will halt your goals once you’ve accomplished them because, well, you proved that ONE person wrong. With that mindset, you would need someone to step in and doubt you every time you attempted something. It’s your goal and you’re the person who set it, not someone else. Now, go prove yourself right.


Ryan Nallen is a graduate of iO, the Second City Conservatory and the Annoyance Theatre in Chicago. Ryan performs improv comedy with his independent team Switch Committee as well as on the Playground Incubator Team Desperado. In addition, he is an Associate Producer for Big Little Comedy, which is responsible for the Big Little Comedy Festival each year. In 2013, he completed an entire month of comedy by performing 31 days in a row for the month of January. He’s a frequent blogger (here, iO Water Cooler and the National Improv Network), Instagramer, Pinterester, and Tweeter in his spare time. Based on that previous sentence, it can be assumed he has a lot of free time.

Improv Utopia Returns in Style

improvutopia[1]It’s hard to believe I’ve been making the drive to Cambria, California four years in a row now. It’s become an annual tradition for performers from around the world to come together in the tiny California town in Camp Ocean Pines. A lot of people ask me the same question; “Is it really a camp?” It’s a fair question, I suppose. There are plenty of camps these days (computer camp, space camp, etc) that take place in some Community Center, but Camp Improv Utopia is certainly the camp experience we all remember from years gone by; trees, archery, walking up the hill to the cabins; it’s about as authentic as you can get.

But it’s not the axe throwing that makes camp a special experience, it’s the fact that when improvisors are removed from distraction they accomplish things that we try to achieve in our improv all the rest of the year. Many festivals have weekends filled with great events, shows, workshops and the like. But there’s always that downtime where people explore the city, break off with their respective troupes. There’s no such thing at camp. Many performers aren’t even their with their respective groups from home, because camp becomes a single ensemble for the weekend.

Every time people talk about what life would be like if we could quit our day jobs and do improv full time, this is what we get for three days. There’s an energy not only in the workshops, but the opportunity to create your own activities. During the hours in the afternoon between classes, a quick walk through the woods can find some spontaneous jams, Brian O’Connell doing some one-on-one coaching, practicing for cabin shows, or taking pictures for the excellent Improvisors Project. It’s aptly named Utopia – or what improvisors would imagine utopia to be; a place with no offices or restaurants (or wi-fi really). Just a place to sleep, a place to eat and acres to study your craft.

The workshops themselves were excellent, Paul Vaillancourt, Karen Graci, Jaime Moyer, Josh DuBose and Amanda Blake Davis were all at their best with their three hour workshops. It’s funny that even though campfires went late into the night, people arrived energized at the first workshop each day.

The evenings were also filled with more communal activities including an instructor show, an open panel discussion on the state of improv, Jam City and the much talked about cabin shows. Each cabin (named for an artist or scientist of note) came together as a new ensemble to perform. Many cabins took inspiration from their cabin’s namesake including The Cousteu cabin’s red knit hats worn throughout the weekend. In it’s fourth year, the cabins themselves have taken on a life to themselves, which includes the new campers who stay in them each year. It’s exciting to see.

The campfires, the excitement for the cabin shows, the jams, the workshops and just the access to performers at all levels who were happy to sit on a log and talk improv with any level 1 student. It was the truest expression of “Yes, and”, an environment that nurtures the growth of the performers. All in all, a truly reinvigorating improv experience.

Cover Photo courtesy ImprovUtopia


Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America.

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