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Silvija Ozols, formerly of Creep, has joined the veteran ranks of UCB NY’s The Stepfathers. This is amazing news. I can’t wait to see how Sylvia effects the already boisterous energy of The Stepfathers. Her work in Creep has been fantastic, bringing her wonderful and quirky energy to scenes.
The Stepfathers are Michael Delaney, Christina Gausas, Chris Gethard, Billy Merritt, Bobby Moynihan, Silvija Ozols, and Zach Woods.
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If there is no risk, why bother doing it?
–Keith Johnstone
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The house was packed at 7:50 and although there were a few open seats peppered throughout the theater, there were people sitting on stage and people standing in aisles. While past Harold nights have been growing in attendance, due in part to the huge influx of new students attending classes at the training center, the main draw on this snowy Tuesday night was the debut of the new Harold team Bastian 1.
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Own the fucking stage whenever you step onto it.
Mick Napier
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UCB NY Training Center has added optional weekend practice sessions
for Improv 101 students to strengthen the lessons they get in classes. It’s great to see UCB adapting it’s teaching to better ingrain the basics. Although I loved my 101 training at UCB, I thought essentials (environment, object work, etc.) were taught very quickly and I would have loved the chance to more time on specific subjects.
I think this also underlines the fact starting improv students really don’t form practice groups for themselves until 201. This is a real shame as practice can be a great place to work out those mistakes that are so recurrent in 101. This Practice session may also encourage starting improvisers to form independant practice groups a little faster than they would if unguided.
Update Feb 18 — UCB has added practice sessions for their 201 classes as well.
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I’m more than half way through level 301 at UCB NY and it’s been interesting. My instructor Chris Gethard may be one of the most brilliant thinkers I have ever had the pleasure of working with. He is insightful, straightforward, and extremely astute in his observations about improvisers and their work. I have been humbled, on several occasions, by his on point notes which have really catapulted my understanding of Improv as an art-form rather than just a means for a cheap laugh.
I have, however, been thinking a lot about improv recently and not enjoying my progress in class or practice group. This has been largly to my thinking too much about what I’m doing wrong and holding onto my mistakes rather than noting them and letting them go. I have been putting undue stress on myself to perform.