Magnet Theater Blog
We’re so excited to announce that auditions for the next season of Musical Megawatt will be held on Saturday, September 26th from 6:30-10:30pm at the Magnet Training Center. Callbacks will be held Sunday, September 27th.
To schedule an audition time, please fill out this form. We’ll do our best to accommodate everyone’s schedules, but please understand that we can’t guarantee anyone a particular audition time.
Applications must be received by Wednesday, September 16th. Emails with audition slots will be sent on Friday, September 18th.
Anyone who has completed Musical Improv Level 3 at Magnet Theater is eligible to audition.
To find out more information and to get an audition slot, please follow THIS LINK!
We look forward to seeing you at auditions!
Back from our one-week summer vacation, we have longtime Magnet performer JAMIE RIVERA on the show us to talk about science fiction, having fun on stage, and how improv can help us through difficult times. Along the way, host Louis Kornfeld talks to Jamie about playing characters, performing for various audiences, and The Little Rascals. We love Jamie and we’re sure that you’ll love this episode.
To start things off, Louis asks Jamie about his interest in science fiction, which is something he inherited from his father. Jamie shares a funny story about going to see Star Wars for the first time as a kid, which gets Louis talking about how children make curious assumptions. Jamie claims that Inside Out might be Pixar’s best film and admits that it had him crying. What a softy! This gets the two of them discussing the power of film to move us, even if it’s not very good. Also, Louis loves Teen Wolf.
Continuing with this train of thought, Louis suggests that television and film allow us to give structure and resonance to our lives by framing them as narratives. Jamie relates this to religion, saying that even though he’s not a religious guy, there does seem to be a guiding force that many of us seek out. People similarly interpret dreams to have meaning, when perhaps there is none. All of this is done in an effort to give more meaning to our lives, he says.
Admitting that tropes from popular media often creep into improv shows, Louis asks Jamie how he feels about stealing moves from tv and film while improvising. Jamie wants everyone to know that he has ditched his gremlin on the airplane wing move and also, that engaging in tropes feels like pretending they way you pretended as a kid. As expected, Louis sometimes thinks he’s McNulty from The Wire and the two talk about archetypes versus specific characters. Louis wants to know: Is playing characters something that increases or decreases with age? He also talks about Shakespeare. Big episode for Louis.
Onto the topic of improv fuckery, Jamie and Louis talk about how Junior Varsity is a team that really indulges in having fun with each other and we get to hear a bit about how they approach their shows. Known as a fast-playing team, Jamie chalks much of their speed up to something akin to muscle memory – a result of being together for eight years. Their longevity has also created a great deal of trust amongst the members, which Louis thinks is the hallmark of a really good team.
After a bit about how to access your subconscious, Louis talks about showering. Really! This gets them chatting about entertaining yourself as a child. Jamie was a quasi-only child, and a latchkey kid, so he didn’t have a lot of friends very early in childhood. Jamie would simply make stuff up on his own and Louis notes how often children ostensibly put on shows for no audience. The theme of childhood carries through to a description of The Little Rascals as a proxy for the improv community and Louis tries to figure out when he stopped being mortified by being on stage.
Along with JV and The Friday Night Sh*w, Jamie has also been a part of UCB Harold Night and the Second City Cruise Lines. So, Louis wants to know: “How do all the different audiences influence being on stage? “Jamie breaks down his time at UCB with Trillion, noting a high level of of pressure, and talks about how ”muggle” audiences don’t see the same connections as other improvisers do. He even shares one particular experience on the cruise ship where his heart was melted by a very special audience member.
Jamie continues the heartfelt sentiment saying that hopefully, even if we are doing fart jokes, we are exploring the human condition. What he’s really getting at is comedy’s ability to have meaning, even in its silliest moments. Jamie concludes this episode for us by speaking candidly about death and how improv has helped him through tragedy.
- Friday Night Sh*w
- Harold Night
- Inside Out
- Jamie Rivera
- junior varsity
- Little Rascals
- Louis Kornfeld
- magnet theater
- magnet theater podcast
- magnet training center
- new york
- new york city
- science fiction
- Second City
- Star Wars
- Teen Wolf
- The Wire
Congratulations to the newest Magnet Sketch Teams and the newest additions to Wendigo and Stockton! Thanks to everyone who submitted and auditioned this round!
Here are your new teams:
CAPTAIN CRUNCH directed by Kevin Cobbs
Willy Appelman – Actor
Andy Moskowitz – Actor
Evan Barden – Actor
Megan Meadows – Writer/Actor
Ari Miller – Writer/Actor
Elena Skopetos – Writer/Actor
Bryan Berlin – Writer
Christina Cola – Writer
Andy Mills – Writer
COUNT CHOCULA directed by Jana Schmieding
Jimmy O’Connell – Actor
Devin O’Neill – Actor
Catherine Montesi – Actor
Michael Delisle – Writer/Actor
Mike Dwyer – Writer/Actor
Sierra Pasquale – Writer/Actor
Joe DiBella – Writer
Molly Kiernan – Writer
Dmitry Shein – Writer
FRUITY PEBBLES directed by Rob Webber
Kate Koch – Actor
Chrissie Gruebel – Actor
Dan Dobransky – Actor
Lex Morales – Writer/Actor
Ingrid Ostby – Writer/Actor
Dennis Pacheco – Writer/Actor
Jesse Acini – Writer/Actor
Sara Marie Degni – Writer
Jesse Mudrick – Writer
COCOA PUFFS directed by Joe Lepore
Rich Rosario – Actor
Carly Monardo – Actor
Matt Alspaugh – Writer/Actor
Becca Schall – Writer/Actor
Jessica Taylor – Writer/Actor
Natalie Silverman – Writer
Hannah Wright – Writer
Ben Koch – Writer
New members of Stockton and Wendigo in bold:
WENDIGO directed by Branson Reese
STOCKTON directed by Jesse Acini
This month’s APT. 33 House Party is a fully interactive comedy/balls-to-the wall party hybrid that starts at 6pm on Sunday, August 30th and goes until 8:30pm—and it’s so chill you can stop by and check it out at any point during that time frame. You’ll get all caught up on Season 1 and ready for the Season 2 premiere in September (Sept. 14th).
Stay the whole time for the complete experience, or just drop in to say “hi” to your favorite proverbial man-children and their pals for as long as you can—this is the best non-Kid ‘N Play-related house party of, like, all time and it comes straight from the demented yet sweet minds of Alan Fessenden (Hello Laser, Pumpkin) and Louie Pearlman (Cast Party, Story Pirates).
What’s it all about? Well…
When Magnet Theater politely tries to celebrate the culmination of season 1 of Alan and Louie’s show APT. 33, the fancy and urbane get-together quickly goes off the rails as it’s invaded by other, more evil elements of Magnet Theater’s rich comedy scene. The result is rock and roll, anarchy, and an excuse for great people to all hang out and dance to good music.
Will Alan and Louie be able to gain control of the party that is being thrown in their honor? Or will the entire Magnet Theater and comedy community be thrown into chaos forever? Oh no!
Fans of Sleep No More, Pee-Wee’s Playhouse and Fox TV’s Empire sure would experience FOMO if they didn’t come to the show. No FOMO!
So what’s the whole deal again? The show’s on Sunday, Aug. 30th from 6-8:30pm. You can come at any point—so be sure to stop by whenever! Reserve tix here!
P.S. The show features members of other awesome Magnet shows/ensembles like: Jana and Lauren Presents, Kornfeld and Andrews and Psycho.
Jason Scott Quinn
On this week’s episode of the podcast, we’ve got Julia Hynes who performs with Junior Varsity, The Stank, and Sad Kids. A founding member of long-running Megawatt team, BRICK, Julia talks to host Louis Kornfeld about her improv development, being “good at school,” and the freedom of improvising with an all-female team. We’re taking next week off, so we’ve made sure this one will tide you over!
Louis begins this interview by asking Julia about what it’s like to go from forming and being on BRICK for four years to joining a very established team in Junior Varsity (JV). One of the amusing things, she notes, is stepping into JV’s established ways of communicating with each other. Group email threads aside, Louis wants to know about Julia’s own differences in play between the two teams. She says that on BRICK she was a big editor and now with JV, she’s not as concerned with that task. Julia also describes a big improv lesson that came during her early days of BRICK which she has always kept in mind: Remember to make it feel honest and real.
Between the end of BRICK and when she joined JV, Julia was able to take some time off from performing on a weekly show. Louis talks to her about how nice it was to have the chance to get away from the theater for a bit. She’s a full time school teacher, so the additional time in her evening schedule was appreciated, as was the ability to step away from the pressures that can exist at a theater. Between her own shows and those of her husband, Nick Kanellis, it was starting to feel like she had to be at the theater all of the time. Since coming back to a weekly show, she says that it’s really on her terms that she’s there and, of course, it helps to be doing a show that she’s proud of.
Julia’s interest in improv began in college at Penn State, but she initially pursued academia after graduating. Eventually, she moved to NYC because a lot of her Penn State comedy friends were living there and doing improv at UCB. On a recommendation from a friend, she ended up taking Level 1 at Magnet with Tara Copeland and loved it. As a student, Julia says that she didn’t go to many shows initially because she was intimidated. It wasn’t until around Level 4, when she met some future members of BRICK, that she began to get more fully involved in the community. To that end, Louis asks her about how long it took to settle into “being an improviser” and declaring that as an identity. Though she said that was tough at first, because she knew other improvisers who had been doing it longer and perhaps took it more seriously, she eventually got over that fear of judgement.
Julia says she’s at a stage in her life where she’s evaluating, “What do I actually want and why do I want it?” This leads Louis to discuss finally facing our mortality after the age of 30 and how that change from “I’ve got plenty of time” to “time is running out” feels. Life is already happening, he says, which seems to cause him alternating feelings of crippling anxiety and a cool calm sense of acceptance.
Speaking of “who she is,” Julia is a full-time English as a Second Language 5th Grade Specialist in New York City who just finished her 8th year of teaching. Since high school, she was someone who wanted to make a difference in some way. Initially, went into Women’s Studies and felt she could make a difference through that field in the world of academia, but then found the cracks in that plan and decided to be a teacher in NYC. Since making the change, Julia feels like she’s making a bigger difference, especially in the last year, during which she feels she really started to come into her own as a teacher. Louis nearly shares the zen parable of the empty cup and also horribly misquotes Joe Bill, saying, in improv any class “…there are givers, takers, and prove-ers.” Everyone agrees that it much more difficult to teach the prove-ers.
Speaking more about teaching and class, Julia claims that she’s always been “good at school,” which is something that Louis has never really heard. For Louis, in adolescence, school became the straight man that he played against and he found it difficult to excel. As opposed to Louis’ oppositional experience, Julia says she had a good rapport with teachers and a family who encouraged her to take school seriously. And though she admits that she was not good at science, which she avoided, the rest just came easy to her. Louis goes further, saying that he had an aggressively contrarian approach to school, but Julia didn’t start feeling like that at all until college. They discuss the importance of having teachers that check in with you and care about teaching. They then talk about Julia’s own teaching methods and how she’s had to add more structure to her practices over the years and be “less chilled-out” than when she first started. What does it take to control a room of 5th graders? She enjoys finding the balance between making the kids laugh and having them get down to business.
Louis just has to ask, do Julia and Nick go to the zoo and look at animals together? For those of you who don’t watch Trike frequently, Nick Kanellis is really into animals and animal behavior.
Circling back to this idea of being surrounded by guys who quickly identified as comedians, Louis wants to know how that has influenced her, especially in an improv world that still has a male majority? While she was comfortable always being the one girl hanging out with the comedy guys in college, she says that it felt good having female teachers at Magnet and then being put on BRICK with strong female players Amie Roe and Fiona Bradford. Many of the improv moments that have felt the best, she says, have been a lot of the all-female shows that she’s gotten to do, like We Might Just Kiss, which brings together women of all skill levels to play with each other. Julia finds it very hard to explain the feeling when, on a nearly all-male cast, something she says isn’t given the space she hopes for. The feeling of ownership of the stage is just very different with gender taken out of the equation. Louis admits that maybe cast diversity can hamper group mind.
Louis tries to avoid asking about the difference between playing with an all-female show versus a mixed-cast show, but he asks anyway! Julia says that the biggest difference is, “Whatever I say is going to be just embraced…” in a way that is beyond what happens normally. She also credits the women she plays with. On her duo Sad Kids, she notes that partner Beth Newell has a way of molding whatever Julia says into a beautiful game. On The Stank, they’re all seasoned improvisers, strong players, positively minded, and nonjudgemental — all of which goes a long ways. Julia goes further to says that, even when the men on a team are great, there’s just something there that doesn’t quite feel the same. There’s a added sense of pressure to be the token female, which then can inhibit how she plays. There’s a feeling as if she has to represent for all women. Relieving that pressure opens up more freedom of play.
Finally, Louis and Julia discuss playing real people from their lives and pantomiming objects that they actually own in order to make scenes feel more real to them. Louis is really taken with the idea of the original improvised theater companies, which viewed improv as an opportunity to show people what we know and who we are. The people performing are the people creating the art, so it showcases them in a way that other formats maybe can’t. He finds it exhausting simply to engineer comedy night in and night out without getting to be himself.
But really, finally, Louis asks the hard-hitting question: How cuddly is Nick Kanellis???
We’re now accepting applications for the 2015 fall season of Megawatt. Please fill out THIS FORM no later than SEPTEMBER 2ND to apply for an audition slot.
Anyone who has completed Magnet Level 6 is eligible to apply, though please note that a completed form does not guarantee an audition slot. Due to the high volume of eligible improvisers and a limited number of slots, priority will be given to students and performers who have finished the class or performed on a Megawatt team within the last year.
Confirmations will be sent out by SATURDAY, SEPTEMBER 5th. Good luck to everyone!
Magnet instructor, writer, and performer, MIKE DWYER, takes a few minutes out of his comedy-making schedule to talk with host Louis Kornfeld about simplifying improv scenes, the difference between talent and skill, and how he missed the point of film school. These two gentlemen find that they have remarkably similar paths to becoming comedians and relate over their experiences studying with Rebecca Drysdale. You can catch Mike performing with The Wrath and Friday Night Sh*w at Magnet and Southpaw at UCBeast.
Louis kicks off our interview by referencing a recent show of Mike’s with The Wrath. He describes a quintessential Mike Dwyer move, which is characterized by very quickly finding an opportunity that others might miss and then using it to crack a scene wide open. Louis wants to know how Mike is able to be such a lightning fast player and more specifically, how he’s able to take on points of view so quickly. Though Mike thinks that his process is more patchwork than precision, he says that he approaches scenes knowing that his characters are doing what they do on purpose, which leads quickly to POV. He certainly doesn’t think of it as, “Better have an answer real fast.”
Despite his patchwork approach, Mike tells us that he does have conscious goals, and currently, he is working on making scenes be as simple as possible, even dumb, if they have to be. There should be no over-complicating a scene, which happens very often in group scenes. Mike says that it comes from a feeling of wanting to add your own thing, but that it’s liberating to know that everything you need is already there. Louis thinks maybe the over-complication comes from AND-ing too hard and that people botch the YES too often. Mike and Louis get into the difference between passively accepting offers versus enthusiastically accepting them and agree that you don’t have to add things to every single moment of the scene. Mike likens new improvisers to goldfish in a loving analogy.
Flattering him once again, Louis says that Mike is an incredibly good game-based improviser — so, what’s his approach to finding games in scenes? Perhaps surprisingly, Mike thinks that game is merely a result of good improv, so he’s usually not thinking hard about it. He trusts that his training has worked and instinct will lead him down the right path, so that he can find himself in a place of flow. Louis offers two rival takes on how we learn game as improvisers: You have conscious thought and effort, but you can also absorb a lot of that skill by being around it all the time.
What pisses off Louis in class? When people don’t want to do the hard work it takes to gain skills. Both improvisers agree that coasting through your improv education isn’t going to end very well for you and it isn’t very fulfilling. They examine the difference between skill and talent, noting that no matter how much talent someone has, they’ve got to keep developing their skill in order to feel satisfied. Mike finds the skills that he’s acquired to be more interesting than any talents he may have held innately.
What’s the highest compliment Mike could get about a show? That it was funny, duh. Louis talks about the roots of “funny” being a dirty word in improv. Maybe believing in “don’t be funny” is only really important early on in an education and scene? Mike concurs, saying there needs to be a set up in order to have a punchline. Improv scenes are like inside jokes and Harold is a sophisticated form of hanging out with your friends at the bar. Often, when people start getting decent at improv, they focus too much on the unusual thing and forget about the boring stuff. Mike describes a phenomenon regarding going back and forth between the unusual thing and the base reality. The mundane things in our scenes make the ridiculous shit digestible. Louis prods everyone to look up Norm McDonald’s “The Moth” joke from CONAN. Spoiler alert: It’s great.
Although Mike spends nearly all of his time doing or teaching comedy these days, he started out as a film student at NYU’s Tisch School of the Arts. Louis had the exact same path, he says. He talks to Louis about his writing partner and best buddy from high school and how they took themselves very seriously. Comedies, interestingly enough, were never a focal point until later on when they finally attempted to write one. In fact, he first took an improv class simply because he wanted some basic comedy training. In film school, Mike thought of himself as very serious and very lazy. He’d always loved comedy, but had no pretense about being a part of it. Because of his perceived laziness, Mike thinks that perhaps he missed the point of film school at the time. Louis and Mike have strikingly similar backstories, including the fact that they were both great illustrators at the age of 12. For both of them, realizing that comedy was going to be the central thing in their life was a very slow process.
Since it wasn’t immediate, Louis asks Mike when it was that he began taking improv seriously. When he felt competitive about it, Mike says. He shares an an eye opening experience from a Rebecca Drysdale class that came directly from listening. Louis says that he also had a breakthrough moment in a Drysdale class and they discuss for a bit what it was like to study with her.
Mike teaches Level 3 now, so Louis wants to know – what’s he focusing on? Coming back to some earlier points, Mike says that he focuses on keeping scenes simple, committing to the mundane, respecting each others’ ideas, and getting enthusiastic about what your scene partner is doing. These two teachers discuss how to encourage people to be enthusiastic without planting a fake enthusiasm in them. He also shares a note that stuck with him: Always have a sense of mischief. The rules of polite society are exactly the things we look to avoid in improv. This is something The Wrath is very good at, Louis claims. But they’ve been together for years, so what can less experienced groups do to instill that sense of troublemaking? Mike shares a fun exercise in that pursuit and clarifies what we mean when we say, “Everything you need in a scene is already there.”
Louis claims that improvisers look younger than everybody else and quotes Magnet founder Armando Diaz, saying, “The trick to improvising is to do just enough to not get fired.” If that doesn’t get you excited for this episode, I don’t know what will.
Our very own Lauren Ashley Smith stops in to talk about Speech & Debate, loving television, and engaging with her dog brain. A writer for Bravo’s “Fashion Queens” and VH1’s “Best Week Ever,” Lauren also performs at Magnet with Megawatt team TITAN and The Friday Night Sh*w. Host Louis Kornfeld kicks off their interview by discussing how she came to be involved in comedy.
Originally from St. Louis, Lauren first became interested in comedy during her days doing Speech & Debate in high school. She once found herself thrown into a “humorous interpretation” tournament and did quite well, which gave her the idea that maybe she wanted to pursue more laughs. Louis, too, did Speech & Debate in high school, which is where he finally talked to girls, so it sounds like both of them have lots of warm feelings regarding their time in S&D. Lauren’s story is particularly heartwarming because her father was her coach and director, which gave them a lot of one-on-one time together. Louis wonders what traits Lauren garnered from each of her parents, and while her dad taught her how to talk forever about a subject, she says that her mom gave her a sense of humor.
After high school, Lauren did short-form improv at Dickinson College and then moved to NYC, where she became involved with Story Pirates. Though she was very shy when she got into SP, Lauren figured out that a lot of other Pirates were Magnet improvisers, which is what led her to study there and eventually, become a Magnet performer herself. Lauren describes that time in her life as a transition from that of a wallflower to the confident, outspoken person she is today.
Switching gears, Louis wants to talk about pop culture, since that is at the foundation of Lauren’s livelihood. In addition to her work with Fashion Queens and Best Week Ever, Lauren also writes for humor site Reductress and other talking head and reality recap shows. She got her start producing for VH1’s “Best Week Ever” and talks about the production process for that show and how she got that job in the first place. From the production side, she began pitching a lot and eventually got to submit as a writer, for which she was then hired. Writing actually became harder once she had the title, she says. When asked if she prefers working alone, or having other people to bounce ideas off of, Lauren says that she likes working in a group and using improv concepts in the writers room to collaborate on ideas. Louis shares his last writers room experience and both profess that it’s very important to have a producer that trusts the writers’ ideas.
So, how did Lauren become an authority on pop culture and reality TV? Her secret is out: Watch a ton of TV and be on Twitter all the time! She proves her prowess by quickly naming all of the Real Housewives locations. Though she always has favorite shows, Lauren says that she often becomes a fan of new shows by doing research for work. Lauren talks about her parents battling over whether or not she and her sisters could watch The Real World and Louis admits his TV addiction to world. Even though a lot of TV is crap, Louis thinks that you can still grow up okay despite watching it all. How does Lauren feel being a part of the negative stereotype that reality TV is rotting people’s minds? She says despite the fact that many reality TV stars may serve as poor examples to younger people, there are still enough incredible moments to help her keep the faith and that there are many other factors at play for how an audience might internalize what they see on TV.
In a moment of great humility, Louis asks Lauren to explain Twitter to him. She does so very gently, and also tells us that she finds out about all major news events on Twitter and loves to play #hashtaggames. They talk about what constitutes something as newsworthy and how there’s a difference between dumbing things down and making sure that shows are accessible and relatable. To that end, she wishes she were a sillier person. Louis relates, saying that he wants to start closing the gap between his “show brain” and his”shower brain,” which Lauren says is the same as her “dog brain.” There are a lot of brains at play in this episode!
Finally, learn about who Lauren idolizes, the price we pay for being so angry all the time, and how Lauren’s family feels about her comedy.
Tune in to hear all of that, plus Lauren and Louis say “magnet” twice without intending to reference the Theater!
- All That
- armando diaz
- Best Week Ever
- Black Twitter
- Buffy The Vampire Slayer
- Dickinson College
- Fashion Queens
- Friday Night Sh*w
- Friday Night Show
- hashtag games
- James Eason
- Lauren Ashley Smith
- Louis Kornfeld
- magnet theater
- magnet theater podcast
- magnet training center
- new york
- new york city
- reality TV
- Speech & Debate
- speech and debate
- St Louis
- story pirates
- The Real World
Hello friends and family at the Magnet Theater.
August makes the end of summer Megawatt, and with the change of season the time has come for me to step down as Megawatt director. Come September, I’ll be turning the show over to the endlessly amazing Nick Kanellis.
To accommodate the transition, we’ve decided to push the next audition back to mid-September. Dates will officially be announced on this blog within the week.
I’ve had the privilege of getting to be a part of this show for the last four years, and have watched it grow in leaps and bounds. Hell, I’ve watched the whole theater grow in leaps and bounds. The work on the Magnet stage has never been funnier, smarter, or more exciting to watch. And there’s no doubt that it will only be getting more exciting as we move forward. The bar just gets higher and higher. Well done, everyone.
It’s truly been an honor to have been a part of all this.
Megawatt is brilliant. Magnet is brilliant. Long live improv!
This week, the delightful Ellie Kemper takes a quick break from making TV & movies to talk with us about positivity in comedy, Unbreakable Kimmy Schmidt, and of course, improv! In the midst of hosting the TODAY show last week, and performing at Magnet with Christina Gausas (as KempSas), Ellie was kind enough to sit down with our lovable host Louis Kornfeld for a brief interview.
Louis wastes no time getting into it, asking Ellie, “How do you make positivity so funny?” Ellie admits that there is a a fine line between grating and funny when it comes to positivity. And though many positive characters have a naiveté to them, she maintains that you can bring more to those characters than simply ditziness. Louis believes that earlier improvisers shy away from being positive because it feels like there’s not much fuel to burn, yet he observes that Ellie is able to keep positive characters going endlessly. Perhaps it’s a psychological reflection of the performer?
Continuing in this vein, Ellie talks about her one-person UCB show centered around a cheery airline attendant who is falling apart on the inside, which of course brings us to Kimmy Schmidt. On Unbreakable Kimmy Schmidt, all of the characters, and particularly Kimmy, maintain a very upbeat disposition despite the darkness that seems to exist just offscreen or looming right behind them. Why are they able to stay funny? Probably because they all make good on the show’s motto: “You’re stronger than you think.”
In an improv scene, what makes one dark character entertaining to watch and another just sad? Both Ellie and Louis agree that confidence goes a long way and gives the audience faith in the actors trying to pull it off. Ellie talks specifically about how Christina Gausas’s confidence puts her at ease when they play together. The focus that Christina gives her scene partners takes their stress away and let’s them know they’re being taken seriously. Ellie and Louis both feel that anytime you have to sell what you’re doing to the audience, it puts a stress on the scene. A great strength of an improviser is to simply “be here right now.”
Louis then wants to talk about relaxation. How does Ellie deal with the difference in scale between the pressures of earlier performances and auditions, and the types of high-profile projects she does now? Interestingly, Ellie has actually gotten more anxious as time has gone on and, despite her prowess on stage, is still mystified by how other performers improvise so well. Louis digs deeper, asking Ellie if being famous has changed what it’s like to improvise in front of people. She says that audiences will laugh at things that aren’t really very funny and that you run the risk of becoming a lazy improviser. She’s returned to improvising more regularly this past winter after being away from it for some time, and though she felt rusty at first, she’s been loving it.
Louis’ favorite shows are the ones where he knows it was great improv but the audience was lukewarm about it – the pride of content over response. But that pride doesn’t prevent even great performers from going for the response sometimes. Ellie and Louis discuss the terrible feelings associated with making an easy joke in a scene. Guilt keeps you honest.
For his concluding question, Louis asks Ellie to describe what it’s like to come from the grungy, DIY world of NYC improv and sketch, and now, to be working amongst the most successful, absolute best people in comedy. Her answer is simple and reassuring. They’re all cut from the same cloth, right? Hear her answer to that question and all the others on this week’s episode. We know it’s a short one, but we swear on the skull of Del Close that it’s packed full of great stuff.