Saturday night was Mothers last show at the Upright Citizens Brigade Theater in New York. The 9 year run of the group at the theater is the longest a house team has performed at UCB. It was a great show to boot.

During the show, I thought about what made Mother such an amazing experience to watch in all the years they have played. A group of performers that had grown together, like a vine wrapping around itself, to become one seamless entity. A group of performers who were taught in the earlier incarnations of the UCB training center. What about this group can we, as improvisers, learn from? What can we steal?

Commitment

Anyone who has ever seen Mother knows that they committed to realities and characters unabashedly. Never were initiations judged and never did anyone on the group bail on an idea. Everything was embraced and everything nurtured in their scenes. I always felt that Mother’s scenes were like seeds planted in the ground and everyone watered each idea until they grew.

Emotion

What I always loved about Mother was their embrace of emotion in scenes. Love, hate, lust, happiness, sadness; Mother ran the gambit committing to these emotions truthfully and realizing their extraordinary power in scenes. These organic choices led to scenes with decidedly more intimate content which the cast never shied away from.

Physicality

Mother would often would start scenes touching, holding, or embracing one another. This is one of those decidedly Mother traits in that they were not shy about using their bodies with each other. They were as comfortable making out on stage as they were brawling into the audience or pirouetting around the stage. This is one thing that I have been thinking much more about in my performances, and something I definitely need to steal.

Love & Trust

Here is where Mother really stood apart. Sure groups love their parts, but Mother’s time together really cemented their incredible trust with one another. You could see the intense love and trust pouring out of their playing. All scenes were pushed that much farther because each cast member knew that behind them were a group of performers that would do anything for them. With that support, your risks in scenes can be limitless and they were.

And so ends almost a decade of performance, it has been fun watching. What’s next? Something amazing I’m sure. But for now, Bye Mother.

What are the lessons you pulled away from Mother?

Tonight is the final Rawhide Presents: The Raw Harold at UCB and instead of again giving my break down of last weeks’ show (which was hilarious) and urging you not to miss it (there is nothing more I can do), I thought I would look at a few facets of the show I have not mentioned up until now, these are the performers and the director Chris Gethard.

Are you really sure that a floor can’t also be a ceiling?

– MC Escher

One of the reasons I feel so passionately about the Raw Harold is partly because, as a performer, seeing an experimental form such as the Raw Harold inspires me to experiment with my own improvisation and partly because most of the performers on stage are my contemporaries. I have worked with most of these performers, I have seen what they were capable of, and I have seen them fail in the past. This makes watching them excel that much more impressive. These are all talented performers, no doubt, but I have never seen them be so confident on stage.

The Players

One performer in particular, David Bartin, I have a very close working relationship with. David and I have been performing together at UCB since 2006. We were in 202, 301, 401, 501, 504, Gausas Group Games and Individual Attention together (301 and 501 being taught by Chris Gethard). Not to mention we have been on the same 4 person improv group, LD & The Scientist, for a year and a half where we have worked very closely and know each other’s strengths and weaknesses. So to see David move from a player who stays back initially, to understand the playing field and make huge moves, to a player who dives in head first without knowing what comes next is impressive. Even in our group practice I can see David supporting in ways he never had before.

Abra Tabak is another player I have seen countless times on stage with her indie team Thank You Robot. I have had a lot of respect for Abra for some time as an exceptionally kind and supporting player, but seeing her at Raw Harold has shown me a far more confident player who’s not afraid to put her fears on the table for everyone to play with.

The list goes on and on. Honestly everyone on the cast of the Raw Harold deserves recognition for working together in creating something which is wonderful to watch. Especially when looking at all the different skills and experience of all the performers.

The Director

Lastly, but no less important, is their director Chris Gethard. I have mentioned before that Chris Gethard has had more of an influence on my work than any other instructor at UCB (aside from Christina Gausas). What I think I have alluded to in my previous posts is that Gethard has created two groups of performers who work seamlessly together in the Raw Harold. I do not have close to enough insight to understand how Gethard has formulated these two teams, revising them each week - making them stronger with each performance. He seems to have an adept understanding of how improvisers work to be able to pick and choose improviser’s strengths and pair them into groups of 8. However he has done it, it occurred to me in their last show that these teams couldn’t have been better matched. Each of the 2 performing groups doesn’t stand out from one another. The show is made up of two groups, but at the end of the night all you can remember is one show. This is even more impressive because of the differences of the performers on stage.

It also bears pointing out, that this is the last class Chris Gethard will be instructing for the near future. Gethard is taking a hiatus, of indeterminate time, from teaching. And although it saddens me to think that he will not be instructing at the training center or influencing young improvisers, shows like the Raw Harold will continue to inspire and effect improvisers in his absence.

Last Words

Our coach Amey Goerlich, of Krompf, said a wonderful instruction for our group practice a few weeks back that has stuck with me ever since. I’m not sure if she was paraphrasing someone else, but it’s about performing your heart out on stage and it reminds me of what I have seen every Tuesday for the last 3 weeks.

Perform this show like you are going to die later on tonight… you are going to be hit by a car… play this show like it’s your last.

– Amey Goerlich

So, I told you guys it was a worthwhile show, but now I’m going to lay it down. I have seen a lot of improv in my time at UCB and the Raw Harold continues to be the best thing I have seen in a long time. Last week’s show was exceptional and the improvisers, student improvisers mind you, surpassed their individual talents to create a truly inspirational show.

Yeah, Inspirational.

I walked away from last weeks performance saying “I want to improvise like that.” This is the same feeling I get when I watch 4 Square or Gravid Water. And not to say that I think Chris Gethard is trying to make any particular statement about what improv can be, but the fact of the matter is anyone could perform to the caliber of these performers if they risked and supported everything (like these performers do).

My last write-up I tried to break down the form of the raw Harold. I tried to equate the scenes I saw on stage to forms I had learned, tried to make jumps in logic, tried to find patterns. However, if there is a form, I can’t figure it out. I tried to keep track of scenes and for the most part this last performance did not follow any of the previous performance’s rules. Everything blended together; group games, scenes, meta, audience participation. I quickly forgot to write down the hierarchy of scenes, because I simply couldn’t keep track of them.

It’s like watching a con artist using slight of hand.

Now, while I’m saying there may be no discernible pattern, I do think there is a rhythm to the scenes. This rhythm I feel is not part of the form, if there is a form, but rather an indicator of the performers’ improv training. The scenes move in a quick succession, each performer taking focus and releasing it once it has been taken. Again it’s a bit of a magic trick the way the scenes work, each scene moving toward what each performer finds interesting and followed by the rest of the group unconditionally.

I could write further about the scenes last week; about Greg’s incredible ability to ground scenes, about Katie getting lovingly picked on by Jacob, about audience members replaced by improvisers, about one of the funniest references to Who’s Line is it Anyways’ Party Quirks, or my sister Amy getting pulled into the audience to reveal to the Raw Harold audience some incredibly personal information.

But in the end I think I’ll leave it as I began it — the Raw Harold continues to be the best thing I have seen in a long time. If you miss this show, you will be less of an improviser because of it. Take nap and see the show. Tonight at 11pm UCB Theatre.

You have new mail! Ah, sorry looks like yet another invite to that Friday show you can’t make anyway.

You guys have got to get your advertising together into one, “group mind”/group e-mail system. I don’t mind an e-mail, but 12 for the same event is too much. So here is the Improvoker time and tested formula for successful e-mailing your fan base.

• Make one person in the group responsible for e-mails - Give them your contacts you wish to e-mail. As a performing group, you should have an e-mail list anyway for people at shows to sign. That gives you one system and one one list to e-mail to.
• BCC your addresses - My e-mail address is for you to tell me about the show, not for you to send to every person you have ever met. This is an important step, because addresses that aren’t BCCed have the distinct opportunity of falling into the hands of spammers through malicious spyware. Respect your audience’s privacy. Keep em secret, keep it safe Frodo.
• Subject your e-mail something sensible, preferably with the group, date, and time clearly expressed - “I have a show!”,”weekend”, “I WRITE EVERYTHING IN CAPS LOCK AND EXCLAMATIONS!!!” These are three shows I really might want to see, but in my limited time and energy - I may not read further. I am not going to come to your show because of the hilarity of your subject line. Tell me what group you are representing, when your show is, what it is (improv or sketch), and where it is, so I can get a sense of if I’m available or not, before I go rooting through the e-mail for information. “Peppermint Captain - Improv Show Sat 11/3 8PM @ Gotham City”, now I don’t even really need to read the e-mail, I can make my decision based purely on the subject.
• Do not send out an e-mail to let your list know you screwed up some non-critical information - “Sorry I didn’t BCC all of you on the last e-mail” is another e-mail that you are sending. Just don’t do it in the future and I’ll forgive you. “Oh Sandy’s name is spelled ‘Sandie’” is not reason to contact your entire fan base. By all means send an e-mail if you really screwed something up, but the less e-mails sent, the happier your recipients.
• See if mailing list software is available to handle your mailing list - this allows your fan base to sign up for your shows at performances and allows you to e-mail them all from a central interface. This kind of stuff is available through most service providers, and is extremely valuable as you grow and expand. See the Improv Everywhere site.
• Keep it short and sweet - I adore you, I can’t wait to see you on stage again, but let’s get this e-mail over with as quickly as possible — so I can get back to my funny.

I know this all might seem a little harsh, but I assure you if you are more focused with your promotion, you will keep fans happy in the long run. Most of all you keep me happy and keeping me happy is really what’s important isn’t it?

Lastly, I hope you all have great shows this weekend and I can’t wait to get your one e-mail next weekend.

Buzz Focus has a great write up on the DeCoster Premier at the Upright Citizens Brigade Theatre.

My personal favorite scene of the evening was when Neuringer introduced her team to the Wizard of Oz yellow-brick-road exhibit, which each player cleverly tied into a historical metaphor. The scene culminated in a proclamation that the yellow-brick-road was a metaphor for the gold standard.

I couldn’t agree more, although my personal highlight was DC from Derrick and Ari’s really amazingly heightened analogous scenes about the savior and the eternally persecuted retailer. Really simple, really well played, and DC’s first Harold night scene.

Tomorrow night is the debut of Raynard who is a group of new players, some of which I have had the pleasure to play with. It’s not something you want to miss.

The 9th Annual Del Close Marathon was announced today. Applications to perform will be accepted until May 7th.

The Upright Citizens Brigade Theatre is proud to announce the dates for the 9th Annual Del Close Marathon!

This year’s marathon will be the weekend of July 27-29, and will take place on three stages. We’ll also have awesome special shows during the week leading up to the marathon (July 23-27)

And all week long we’ll be offering special workshops. Details TBA.

If you’d like to submit your group to be a part of the DCM, please see our submission guidelines and complete an application at http://www.delclosemarathon.com.

Also - this year we’re looking for more out-of-town groups to submit late-night shows - shows like last year’s Emanciprov!, Warcraft-prov, Dicemen, etc. If you have a great idea for a late-night improv show you want to do - submit it!

And remember - if you’d like your show to be considered for a primetime slot, and we do not already know you or your show, you should send us a DVD or videotape of the show.

The deadline for submission is May 7.

Best,
Anthony King

Something tells me that this year UCB is going to be inundated with applications to perform, so get your application in early kids.

Directed by Neil Casey & Brian Finkelstein

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.

The buzz in the air was palpable as the lights went out and cheers erupted from the packed audience. Cesar Gracia greeted the audience with an impression of Al Pacino and quickly handed over the stage to the Harold night virgins. Bastion took the stage to raucous applause and quickly moved into their opening, which was a pattern sound and movement into scenes. Scenes took shape quickly and although it was clear the group members were nervous, their scenes were balanced and well paced. It was apparent from the opening and scenes performed, that Bastian seem most comfortable with the physicality of performance. Many of their initial scenes were gotten from movement rather that strong opening lines or declarations.

The scenes included a jock and physics nerd taking on a school for superiority and respect, a simple yet hilarious vindictive mother and vindictive son scene, a resentful girlfriend and clueless boyfriend exchanging non-matrimonial gifts, a LOST inspired group game with the near roasting of a large guy, and the forceful thanksgiving feeding of a grateful homeless man. The show was fantastic and the members of Bastian should be extremely pleased with their excellent support and first attempt at a Harold Night. It was well in keeping with the excellent quality UCB is known for.

I’m not sure if it was the energy of Bastian’s debut, but the veteran Harold teams came out with an incredible showing of talent. Although each Harold team had really excellent shows and the best that I can remember in recent months, the highlights of the night were fwänd’s Shannon O’Neil’s and Ellie Kemper’s ballet girls, 1985’s Gavin Speiller’s and Will Hines’ incredible snacking security guard as well as Gavin’s Watch me mess with these gangsters group game. However, the night also brought with it the single most brilliant move by Nate Lang of Beverly Hills, while hovering over Tim Curcio playing a his disappointing stand-up comic son, uttered one of the best improv lines I have ever heard, You contributed greatly to your mother’s death. It released what I have never seen before in improv, theater-wide laughter from one simple, innocuous, and honest line. I will remember it for years to come.

The night was hosted by the hilarious self deprecating Megan Neuringer & Bridie Harrington of Megan & Bridie: Friends Without Benefits. Friends Without Benefits will be running at the UCB Theater Wednesday nights from February 21st and 28th at 8pm.

Elsewhere: IRC

¹ Bastian, as far as I can discern, is the lead character from The Neverending Story, played by child actor Barret Oliver.

The Swarm Returns for One Night at UCB NY! The legendary Upright Citizen’s Brigade improvisational team comes back for a night of sidesplitting improv this Thursday. If you are a serious improviser, which I know you are, this is an important event. Reserve toady!

(They have a website… but it hasn’t been updated since 2004.)

Review on it’s way!

Christina is first generation Del. She studied with Del Close, Charna Halpern, Mick Napier in Chicago, taught at IO Chicago, and is now teaching at UCB New York. Her current 600 level class, which is an advanced class, is performing two long form improvisational styles called JTS Brown and Cat’s Cradle. These two forms are by far the most interesting structures of improv I have ever seen. They border on the side of experimental theater, weaving abstract scenework into the long form structure.

Each form is very different from one another. JTS Brown begins with an improviser becoming a character and supporting improvisers becoming that character through a tag out like replacement. Cats cradle is an amorphous set of scenes, which morph from one scene to another through a series of almost dance-like montages.

I heavily recommend checking out this show if you are interested in seeing how improvisational forms can be used to create more complex performances. The ideas inherent in these structures beg the question, “what is possible in an improv performance?”

Del Close thought that improv should be more than just a quick joke. These forms really spotlight that improv can be more.

Reserve your tickets today!

Saw Dave Foley speak last night at Inside Joke at UCB as part of their The Best Comedy In The Universe Festival.

Before the show I was worried that the interview would focus primarily on Foley’s later acting career at News Radio and Celebrity Championship Poker, two projects which don’t interest me much as an improviser. Luckily the questions Carl Arnheiter asked, focused heavily on Foley’s earlier career and his work writing and performing in The Kids In The Hall.

Foley Reminisced about his early career. He spoke briefly about his origins as a stand-up comic and improviser in Canada. He revealed that the original Kids in the Hall (Dave and Keven McDonald) merged with the improv group The Audience to form the basis for the group we know today. Dave also mentioned that he fought against the addition of Scott Thompson, the last member to join the Kids In The Hall, and was instead hoping to bring another Canadian improviser Mike Meyers into the group.

It was a great evening, punctuated with fantastic moments of intimacy with David. At the end of the show, instead of going backstage, Dave walked out into the audience to be with his wife and daughter, talking with various audience members.

Note: The next Inside Joke features Jonathan Katz on Monday Dec 4th.

Additional Links

• The Kids In The Hall (Wikipedia)
• Dave Foley (Wikipedia)

UCB New York has announced their The Best Comedy In The Universe Festival. The line up looks pretty amazing featuring performances by Dave Foley (Kids In The Hall), John Oliver (The Daily Show), Stephnie Weir (Mad Tv) and Bob Dassie of Weirdass, Eugene Mirman (Comedians Of Comedy), Billy The Mime (From “The Aristocrats”), Christian Finnegan (VH1’s Best Week Ever Live!)

This looks like another don’t miss it or you will sorry series.

For anyone new to upcoming.org, it’s a free service that allows for public calendars. It’s invaluable place to find like-minded people. As I said it’s free, so what are you waiting for?

It has become apparent that this site needs a Upcoming event area, which I will get to once I find a minute to spare from being awesome. In the meantime, I’m going to be putting up this post to:

1. Apologize for not having a killer upcoming event area. Sorry.
2. Tell you about some immediate upcoming stuff on the horizon.
3. have a numbered list with 3 items.

Onto upcoming events, my improv cronies:

Friday Sep 29th, 2006

Baby Wants Candy at UCB Theater NY 8:00 PM ($8)
Yadda, yadda, best musical improv ever, yadda, yadda, don’t miss it tardo.

fwänd, Tantrum, and Axel Rex at Under St. Marks at 10:30 PM ($6)
It’s like a mini Harold night across town. For all of us fwänd (Mailer Daemon) fans, it warms the cockles of our heart to see them more often. Yeah, I said cockles, what of it?

10:30 PM
Under St. Marks
94 St. Marks place (b/w 1st & A)
$6

Saturday Sep 30, 2006

Improv Everywhere DVD Release 7:30 pm $8
These kids have been running amuck in the city for 5 years and now it’s time to celebrate it.

Monday Oct 2, 2006

Tits & Giggles at UCB 8 PM ($8)
Sketch Comedy for breasts.

Curtis and John
Jackie Clarke
John Mulaney
& musical stylings by Stickerbook

All proceeds go to National Breast Cancer Foundation
Reservation info

Thursday Oct 5th, 2006

Cagematch: The Pearl Brunswick vs Mailer Daemon at UCB 11:00 PM ($5)
This, to me, is the main event, not only do you have Mailer Daemon, who we’ve already established as my favorite improv group ever, but they’ve been challenged by musical improv act The Pearl Brunswick. Musical improv, I always find, to be a crowd favorite, so this might even be a difficult CageMatch for MD to pull off. Although it’s late as balls for us old folks, it’s well worth the groggy Friday.

Alright, that’s all I know about. got a tip? tell us. Tip area is in the right sidebar.