Top 6 Ways to Make a Successful Improv Team

fear-of-successSo you’re out of class, in class or a vet looking to start a new team. It’s exciting! You have the opportunity to do something new, maybe a new form, the Harold or who knows. I’ve been on a ton of teams…a ton. And I think I can safely say what works in making a successful improv troupe. This blog is a guideline to help lead you to making a successful troupe.

1. Have a plan: That’s right have a plan. You don’t need to know what you’re going to do form-wise yet, but have an idea on who you want on the team, why you want to do this, where you’d like to perform and what your goals might be.

2.Make a team of people you like: You can hold auditions that’s fine, but I recommend putting people on your team that you like. People you respect and like to be around that know how to improvise. An improv team becomes a family unit whether you like it or not. If you deny that aspect of it, your team will fail. Also, have people you’d like to hang out with outside of improv. Hang out! Get to know each other. It’s more than just rehearsal it’s a bonding experience.

3. Get an experienced coach: I can’t express this enough. If you don’t get a coach your chances of failure are huge. I don’t care if you’re a student or a vet you need a coach. For Vets this might not mean every week, but at least a tune up here and there. Having your teammates coach each other is a slippery slope and not recommended. You need to grow as a team and you’re going to need that outside eye. “But we can’t afford a coach.” I hear this so much and it’s annoying. You can if you care about what you’re doing and want to get better. Coaching fees range from $40-$80 for two hours depending on the experience of the coach. I can understand for a two-person show that can be steep but for most teams it comes out to about $10 a rehearsal. That’s a STEAL!!! Get a coach or you won’t get better.

4. Get committed: Make sure you get people that are committed performers and artists. Don’t put flakes on your team, even if they are talented. “Eh but she/he is so funny we can let that slide.” NO! It will take your team down. Don’t bend over backwards for a vet or talented person that is not committed. A true professional is committed.

5. Choose a decent team name: Fart Brigade, Laughy Taffy…NO! Stop it. Look to the successful improv teams for help on this: Beer Shark Mice, Cook County Social Club, USS Rock N’ Roll. Simple, clear and it means something to them. Your name says a lot about you as a team. The last thing a theatre or festival wants to list on their site is Fart Brigade.  It’s the gateway to your team. Tacky or pun driven names are a recipe for disaster and makes your work look cheap and underappreciated from the get go. Treat your audience and yourself like poets and scholars.

6. Rehearse regularly: I’m not talking everyday. I always recommend to my teams that they rehearse at least three to four times a month and hang out one day a month together. I think the hanging out is just as important as rehearsal.

I’m sure there are a ton more, but these tips are essential in guiding you in the right direction to make a successful team. Now it’s not perfect, such is improv, but it will help you. You can have a team of the most talented people on it and it may not work. Why? Who the hell knows it’s improv. Improv is like a rose, it is beautiful when it wants to be but can sometimes prick you with its thorn. Remember to come from a place of fun and love. If you at least start with this attitude you’re already well on your way!

Nick Armstrong

Onstage Nick has trained at The Groundlings and iO West. You can catch him performing regularly at the world-famous iO West in Hollywood, CA on the famed genre-based group Kind Strangers and LA’s Longest and Critically Acclaimed Harold Team King Ten. Nick is also the Camp Director and Founder of Improv Utopia. And if that wasn’t enough, he is also one of the founding members of the National Improv Network.

Del Close Marathon Going Strong at 15

DelClose15_small.jpg.300x360_q100What started as a 24 hour marathon in 1999 has grown every year in Manhattan. This year the festival featured over 400 groups from around the world on seven stages across the 56 hour span.

In some ways DCM hasn’t changed in years, but this year brought a few nice surprises. Old-timers will remember the street rituals of years gone by involving performers getting a suggestion miles from the UCB mainstage and performing a walking opening on their way, picking up more performers and confusing pedestrians as the blocks passed. The city of New York put a stop to the ritual a few years back, but word passed on hushed mouths that the ritual would take place this year to coincide with the documentary being filmed on the history of the marathon. The ritual is one of the purest forms of yes, and still floating out there and this year included a special treat when the 185 improvisors literally walked into a bar (McManus to be precise). But this time the bartender didn’t say he couldn’t serve 185 improvisors, he just kept pouring shots of some basement firewater as fast as he could.

The ritual did not end up on stage this year, but the press conference kicked off without a hitch. Amy, Matt and Ian greeted and bribed the press while sharing stories of Del and the 15 years of the marathon, including a nice history of one of the most notorious shows, Drunken Sonic Assualt). The conference ended with an unveiling of the UCB’s long promised Improv Manual.

The history of clumping theatres together has waned in the last couple of years since the opening of UCBeast. More east side venues were added this year making it easier for folks to stay on that side of town, even if the promotion for the east side shows was pretty non-existent.

A few scattered workshops popped up over the weekend, but one of the most unique events was the monthly UCB Diversity Program’s meetup. The diversity program – started by Caitlin Steitzer – is a fantastic program designed around building a better dialog around race, gender, age and sexual preference issues. More cities and festivals should strive to create programs like this.

If you’ve never been to DCM, keep in mind that this isn’t your traditional festival environment. You’re not going to have a lot of good conversations about the state of the craft or see a lot of shows from a comfortable seat. This is a party. This is a Las Vegas buffet of improv. Hundreds of groups doing 15-20 minutes and getting off stage. There are drunk shows and half-awake shows and phoned in shows to be found. But in the midst of that, there are also dozens of great shows you’ve never seen before trying new and exciting things. It can be a challenge to find them at Del Close each year, but each year they are there.

It was great to meet so many NIN members for the first time on the streets of Manhattan. We’ll be coming back again next year for sure. Look forward to a book review of the UCB Manual coming soon.


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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