Magnet Theater Blog
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.
Are you an improv coach or looking to become one? An arts teacher? A teacher in general? Someone who works with groups? In charge of picking icebreakers for the company retreat? Have you ever led a game with a group of people that was just a dud and you couldn’t figure out why? Do you want to get better at leading games and activities?
Have we got the workshop for you!
Mark your calendars for Thursday, July 30th from 1:30-3:30pm at the Magnet Training Center for Pick the Perfect Warm-Up: The Social Group Work Theory Behind Improv.
This interactive workshop will explain social group work theory and how it can be used in different contexts, and teach you how to choose and use improv games purposefully for the groups you’re working with. Learn the social science behind why a game might bomb in one group but do well in another, what “failed” games can really teach you, and how to best pick activities that allow groups to grow.
This is a FREE workshop designed and led by experienced social workers, teaching artists, and the teenagers of the “Life Lines” Performing Arts Troupe and is open to ANYONE interested in this topic, no previous experience required!
To RSVP please e-mail Caitlin Steitzer, MSW at firstname.lastname@example.org
Who are the presenters? The “Life Lines” Performing Arts Troupe is a program from the Center for Family Life in Sunset Park Brooklyn. Teens selected to participate in this program spend the summer training to lead games and activities with 160+ middle school campers at our specialized arts camp. In the past, the Troupe has developed and led improv workshops all across New York City, with participants as young as 5 and as old as 95. They have spread the love of improv and games to over 2,000 people since being founded in 2012.
We’re pleased to announce the newest ensembles for the Summer 2015 round of The Circuit! Shows will be every Friday at 10:30pm, beginning Friday, July 24th at the Magnet Training Center (22 W 32nd St., 10th Floor). Congrats everyone!
Coach: Jesse Acini
Christopher De La Cruz
Siva shankar pemmasani
Coach: Matthew Sellitti
Kevin Mc Inerney
Coach: Charlie Nicholson
Coach: Alex Tracy
This is going to be another great round—come out and enjoy these FREE shows!
This summer, Magnet will be putting together an exciting new video project entitled “Exquisite Corpse: The Movie.” Performers, video/sound people, and video editors will collaborate to make a short comedy video that will be screened at the theater on Thursday, September 10th, 7pm. The video will be made in pieces, exquisite-corpse-style, with teams filming their pieces in the video one after another.
The first team will create a 2-minute long video (either written or improvised). They then pass that off to the second team who will have a week to continue the narrative of the first team, who will then pass it off to the third team, etc.
All Megawatt, Musical Megawatt, Thursday Night Out, Level 6: Team Performance, Circuit, and Sketch teams are encouraged to apply, as are all members of the community with video editing, filming, and sound recording skills. Teams will be given a week over the summer to film their portion of the project and will be assigned to camera/sound/editing people.
The deadline to apply is Monday, July 20th, 5pm.
Please email: email@example.com with any questions!
Beloved Magnet Theater alumnae, Bianca Casusöl, visits from North Carolina to talk about her improv origins, making adjustments for shows, and the weird games she plays all alone in her head. Currently a performer and instructor at Dirty South Comedy Theater (dsi) in Chapel Hill, NC, Bianca spent several years in New York performing at the Magnet on shows such as Megawatt, Kiss*Punch*Poem, and Whiskey Tango Foxtrot. Fortunately, we caught her while she was in town and convinced her to catch up with her old pal Louis Kornfeld on our podcast.
The conversation appropriately begins with our two stars talking about dropping back into a community after being away from it. Though they both claim to do a poor job at keeping in touch with people, Louis insists that Bianca has an ability to open people up and make them feel like a million bucks no matter how long she’s known them or how long it’s been since they’ve spoken. Has she always been that way? They talk about their birth orders and what that might have to do with their adult personalities.
Bianca started at Magnet on Jan 9, 2010, but she first got into improv at her NC high school with Viola Spolin’s theater games. She had a less than amazing experience with a practice group before taking a long break from the art form. When she eventually picked it up again at Magnet, she says she felt like the kid sister who was always just hanging around, which meant that she got to know the house managers quite well. In contrast to Bianca’s natural ability to make friends with strangers, Louis recently took a personality test and related deeply to a question about being a wallflower.
Catching us up on her current home, Bianca talks about the improv scene in North Carolina and how dsi has grown by leaps and bounds since she first came into contact with it. One major difference, compared to the NYC theaters, is that dsi does both short form and long form improv. This creates a pressure to perform for and entertain different kinds of audiences, even families with children. Before continuing, Bianca says a really uncomfortable word, but then the two of them talk in detail about making adjustments for various audiences and Bianca claims that manners are just shorthand for respect. We like that phrasing a lot.
On a related note, Louis talks about how easily impressed certain audiences are and that we lose out by judging them for liking what they like. He says that those of us in the comedy world are spoiled because we’re surrounded by people who let us be weird and indulge our ideas, but that many people (kids in particular) don’t have that luxury. This is why they delight in something as simple as an improviser using their suggestion in a scene.
Bianca reveals to us that when people aren’t nice to her, she thinks they’re trying to sleep with her. Louis claims that she has a gift for playing uncomfortable moments in scenes and Bianca chalks a lot of her improv skill up to expressing a lot of feelings on stage and her love of exploring “the weirdos.” Plus, she tells us about the strange games she plays in her head, like “Who is dreaming up the people in the world?” and “What would this person be if they were a beverage?”
Check out this week’s episode for a really fun conversation about all of the above and more. And if you don’t, well then just remember that kids deserve respect too.
STEPH GARCIA – ON MOVING TO LA, WRITING COMEDY & BEING AN ASSISTANT ON A TV SHOW!
Comedy in New York:
Steph studied improv at the Magnet Theater through level 5, completed the sketch program, and performed on sketch teams: Alchemy, Colorado Dad and Dispacho.
She also performed on an indie improv team Gilda and on the sketch duo Firecracker, that made the web series White People Problems.
Performs weekly at the Nerdist with her improv team Pilgrim. Hosts an Entertainment Industry panel for women at the Nerdist School with fellow teammate Lindsey Barrow. Co-hosts a monthly all female mix-em-up improv show called Girl on Lady Action with Maura Ruth. She also recently wrote a web series and pilot, with Dave Warth over Skype and they are in post production of their first episode.
All while working as a writer’s PA on Selfie and now ABC’s The Catch.
How long have you been in LA?
It will be two years in October.
How does the improv scene there compare to NY?
There is just as much opportunity in LA, I just feel like it’s more spread out, and, for me, it’s a little more difficult to do. I remember jumping theater to theater in New York and here it’s different because you have a car and you have to drive and park. But there are a lot of indie theaters.
Do people tend to be members of a few different theaters or do they stick to one?
No there’s a lot of crossover here. It’s the same as in New York.
Are you primarily a writer, improviser or a sketcher?
Right now I am primarily a writer. I do perform weekly, but I’m not auditioning. I’m working on writing for TV. I got a manager out here and so I’m working on having some samples that are more TV. They have all my sketches and they have been using them to pitch, and I’m working right now with Nerdist to get the video production side up. And I’m actually hoping to get live sketch up at the Nerdist as well. I just love sketch so much, but in terms of having something to make a living off of, I want to write TV so you need to have good samples.
How hard is it now to pitch to sketch shows that are currently on the air? Do you have to know people on them?
Yeah, and that seems to be the case in general. You can still get hired off your samples and stuff, but it always helps to know somebody. I’ve gotten my last two jobs because of recommendations from people.
How did you know people in LA?
My cousin is a set designer and he worked with somebody who was working on Raising Hope at the time, and she invited me to set, which was freaking amazing, and I met the production coordinator on that. That production coordinator happened to get hired on the pilot of Selfie and gave me a chance. So for two weeks I was working on the pilot and I spoke to everybody and said ‘I want to write!’ and so when the time came around for the show, the showrunner’s assistant who was working on the pilot asked if I wanted to interview for the writer’s PA gig. And from that, the director of that pilot also directed The Catch pilot, so her assistant forwarded my resume on.
I’ll come back to your jobs, but first tell us about your writing process.
I like deadlines, so if it’s something like a writer’s program or festival deadline, that’s what feeds me. So it depends. I’ll sit on an idea for a year, and I won’t do anything with it until I see – ‘oh, someone will actually look at this.’ And I’ll sit and I’ll write it in two weeks. I don’t know why I do that, and it’s not good and no one should do that.
Do you ever set your own deadlines or does it have to be external?
I have on occasion, but it’s usually – ‘this festival deadline is this week, so my deadline is a week and a half before.’ It’s not a way to live. Don’t do it that way.
[Just now – Steph gets a pizza delivered. AND she doesn’t eat it until the end of the interview. Obviously displaying some extraordinary mental toughness required to gain writing chops in LA.]
How did you get a manager?
I have a friend of mine who I knew in New York who is an actress. She started her own production company and produced two shorts that went to some festivals, and so when I came out here, she said ‘give me sketches’. And I said ‘here you go.’ We shot some stuff, and then someone I met through her was a manager, and at the time I guess, not that I wasn’t looking – I love acting, but I came out here because I knew there was more opportunities for writing than in New York. And then when I did the CBS Diversity showcase I ran into her again, and they were opening a literary division at their management company. She said just come and meet with us and see if you like the team, so I met the team and they’re now repping me.
What did you have to send them?
I sent them so much stuff. I think I sent them an original pilot and a Bob’s Burgers spec. Then they were like ‘great, send us more stuff’, so I sent them a bunch of sketches and I sent another pilot and some shorts that I’ve written.
What I’ve heard the trend is now is to have an original pilot and if someone likes that, then they want that spec to see if you can write in somebody else’s voice.
How long does it take you to write an original pilot?
It depends. The last pilot I wrote took me two and a half weeks. But technically if you add all the time I’d been sitting on it and thinking of the story, at that point I had all the beats in my head before I sat down and started writing.
Do you show people your work? Do you have a writer’s group?
I have a writers group and then I have some other people that I bother. You can’t be precious with your writing. And that’s another thing that being on a sketch team at the Magnet definitely helped me out with, you just can not be precious with your writing.
When I’m really working on something I’ll sit down for 2 – 3 hours at a time and knock out what I can.
You mentioned Russ Armstrong was a memorable sketch director. Was there anything you learned from him that you think about today?
Russ has a really good work ethic and my favorite thing I learned from him was about keeping everything succinct and short and your jokes being real clear and not having any of that junk around it, because it just muddles the joke.
What do you mean by work ethic?
He was fantastic at giving notes and really tried to get us to memorize our sketches and then run them and run them, always e-mailing and being supportive but also saying ‘we have to get our stuff up’ and ‘does everybody have their things.’ He was always present at the meetings. Always ready to give feedback and ready to keep it moving and make sure we got as much as we could from every meeting. There wasn’t a lot of messing around, which can happen when you have a group of writers together.
You currently work as a writer’s PA. How is a writer’s PA different from a writer’s Assistant?
A writer’s assistant and a script co-ordinator, depending on the show, overlap some. A writer’s assistant generally takes notes in the room, and then because you’re (hopefully) writing down everything everybody is saying, at the end of the day you have to organize it, and so depending on the show a lot of the time the script coordinator and the assistant, they’ll kind of swap off that duty. And once the scripts come out, you’re also responsible for proofing the script and making sure that everyone gets the newest version of the script and that you’re not messing that up, and you’re also making sure there’s no typos. And then on my last job they were also dealing with intellectual property stuff. So if you want a song in there you have to deal with that too. As a writer’s PA – lunch is my biggest duty. I mean, it’s like food. It’s really a lot of food. Lunch, the kitchen, coffee. You also handle the paper and office supplies. Once scripts get going then you’re responsible for distributing the scripts. On Selfie though, because it was such a social media based show, I got to help write some things like fake yelp reviews. I also got a tweet on the show with my twitter handle, that I wrote – so that was really cool – those little things where I got to pepper in creativity.
Does everyone assume that as a writer’s PA or Assistant, you want to be a writer?
The assumption is there, and depending on the staff, both my staffs have been amazing, they’ll ask you what do you write? what’s your genre? Who do you like, what shows do you like?
Do you find writing pilots hard?
Oh yeah. Well you know what’s difficult is that balance between introducing all your characters, but also having a compelling story, because you don’t just want an episode of ‘here’s all the people you will be seeing for the rest of the season.’ There needs to be a contained story within it.
Do you get to see how much influence the showrunner has in a writer’s room and on breaking story? And does that relate to how our sketch directors are at the Magnet?
Yeah – it’s an interesting process because everything does go through them, but both showrunners that I’ve seen are very open – I mean it’s so much of a collaboration of the room, and basically what happens is you break a story, and then it’s one person’s episode so they really get to write it and then they bring it back and then you all edit it together. But then there’s this other person not in the room, that’s the studio, and that’s where the showrunner comes in. They have to go and say – ‘here’s the story we have.’ And then they get notes like ‘Oh we don’t like this, we do like this, can this be like this,’ and then the showrunner has to bring that back to the room.
Please eat pizza if you are hungry.
That’s one fun perk about being a writer, there is so much food, so you eat all day long.
How many hours do you pull a day?
The hours really depend on the show. Both shows that I’ve worked for have been pretty great with their hours. But there are others that the writers will work on until, like, midnight.
What would be your dream tv show to write on at the moment.
I have two. Last Man On Earth, and Veep.
You’re a dart champion?
Oh yeah! I was. We used to play darts in NY. I was in a league, it was every Monday night and I did that for about seven years. And I really miss it. I love this business and I love writing, but to have something that’s completely outside with a bunch of people that don’t give a shit, it’s really nice.
Last Question. What things did you wish you’d known before you moved to LA?
Unless you come out here already with rep or already with some big credits under your name, no one will really appreciate what you did in New York. And it’s a really hard thing to accept. Especially when you first get out here. Someone I know was on Broadway who came out – and it just didn’t translate. It’s something that you have to accept. And there are a lot of people here from New York, so you’re not totally starting at zero, but it’s definitely like taking two steps backwards. So that was the biggest thing for me. And you kind of accept it and you don’t have a chip on your shoulder and just keeping on working, people will recognize it, and eventually people who work with you will be like – ‘oh you’ve done all these things?’
And the other thing is parking sucks. Always give yourself 15-20 minutes just for parking wherever you’re going.
Thanks Steph! We wish you luck! You may now eat the pizza.
Interview conducted by Ally Kornfeld for Magnet Theater.
Our guest on this week’s episode of the Magnet Theater Podcast, Christina Gausas, is well known for her work with a variety of amazing improv duos. As a follow up to her interview, she’s returned to give a shout out to all of her duo collaborators over the years and we’ve given her the keys to the Magnet Blog to do just that. Take it away, Christina!
Ellie Kemper – GENIUS
Ellie is the brightest, most radiant light in life, on and off-stage, and she’s a genius. She has infinite talent and wild, limitless lovability. Ellie is the smartest person I know and she’s a creative genius. Her insights, her sensibilities, her clarity, the characters she creates are so captivating. The gifts that Ellie gives to you in scenes are so specific and brilliant. She’s the most engaging, playful scene partner, and, of course, she’s beautiful and warm and generous, it’s exactly who she is and always has been. (We met in 2000.) I could go on for hours & pages about the talent and joy of Ellie, and the one word to encompass Ellie as an improviser and performer is – genius.
Michael Bertrando – SEXY BEAST
Bertrando is an intense talent with gravity and fun, he’s fucking brilliant, too. Being able to do Come Together with Michael has really been a gift. Michael can get onstage and truly create a one-act play. He creates characters who are complex, complicated MEN, and at the same time, he’s hilarious because he digs into the honesty and the emotion and he is fearless. Capital “F” Fearless. He’s wickedly smart, open-minded, he is pure fire onstage.
Susan Messing – The QUEEN
Kevin Dorff is the King, Susan Messing is the Queen, and I would live in that Kingdom forever. Susan is what we all aspire to be. But I don’t know that anyone can come close. I think, just bow down. Susan is the Goddess. It’s Susan’s world and we’re just living in it.
Becky Drysdale – CREATOR
Becky is the most creative, creating, creator I know. She improvises, writes, sings, dances, animates, makes art, builds things, and she makes spaces for other improvisers. The Clubhouse in LA is amazing and she made that for other people. She did that with her school in New York, too. I was watching a documentary about Orson Welles and someone said, “there was never an Orson before him and there will never be a second,” which made me think of Matt Besser, who I admire very much, and wonder if there will ever be someone like Besser again because Improv is now so big. I don’t know Matt well, but he always seems brave to me, anarchistic, confident (all the UCB 4 do) — what Matt and the UCB created was non-status quo. Becky has a similar spirit. She gives it to the Indie teams.
Scott Adsit – CHARMING
I think Scott is one of the most charming improvisers in the country. I loved all of our shows.
Kay Cannon – DEEEELIGHT
I add the “e”s for how exciting Kay is onstage. Kay has the most “come run away and play with me” look in her eyes when you are onstage with her. We were only able to do one show as Cannon & Gausas and it was at a DCM and it was a delight. Kay keeps the energy, and the positivity, and the play, and the smart silliness going. You just feel so happy when you see her big eyes and her big smile. And she’s that way as a friend, too. She always lifts you up.
Armando Diaz – EMPEROR
If you’re reading this right now, please ask Armando to improvise more. No one else can as quickly and completely become a character the way Armando Diaz can. And I feel like he understands Comedy better than all of us. And, by “all of us”, I mean, the whole, entire world. We have this treasure, this wealth of insight and improv and comedy intelligence right here in New York City and I feel like we should be seeing and using him all the time. For the sake of the future! (Sorry, Armando, no sleep for you.)
Megan Gray – The GIFT
Megan has that natural grace and comfort onstage that comes from a place of love. Much like Ellie, that light and radiance. She’s a very strong and also giving improviser. I love being onstage with Megan but I also love watching her because I always feel secure. She’s funny and talented and also commanding onstage. My eyes go right to her. I always want to know what her characters are going to say. Also, when you watch her in a group, she’s the first one to “throw herself on the grenade.” She gives unbridled support without worrying about herself. Plus, as an AD, she gives so much to the community, she really diversifies and shares, and opens doors to performers and provides opportunities to shows.
Louis Kornfeld – the ORIGINAL
I think Louis has one of the most original stage personas and it comes completely from being who he is. I think a lot of people want to play to be perceived as “smart” or “intelligent” or “understanding something you don’t” but it’s always bullshit. Louis is the most NO BULLSHIT player there is. And because of that, we get to see this smart, intelligent improviser, who’s comfortable JUST FUCKING BEING. (As far as we can see.) And he’ll create a scene that might have a central, long discussion and it’s interesting as hell because it’s authentic and it isn’t full of self-aware bullshit, it’s just honest. I hear him refer to himself as a “straight man.” I have to say, I’ve never thought that. He’s always anchoring to me. Playing with MegaLou was great.
Michael Delaney – GOLOVKIN
Boxing fans will understand. Gennady Golovkin is a boxer with every weapon in a full arsenal and he has precision. He doesn’t remind you of anyone else because there’s never been anyone else like him. That’s Michael Delaney to me. He has every talent an improviser could hope for and he has precision. When you’re watching Michael Delaney or you’re onstage with Michael Delaney, you’re experiencing the best of what the work can be, at all times. He’s a true Master of Improvisation. We are lucky to have him. It’s another “bow down” situation.
Billy Merritt – JOY
Billy and I did one show in Dave Furfero’s Ampersand at the Magnet. When I think of Billy, I just think Joy. He welcomes you onstage and it’s fun and easy and unquestioned for the whole show. We did Kevin Mullaney’s Mullaney Chain at DCM 17. It was Kevin, Ellie, Sean Conroy, Billy, and me. I was in a scene with Billy where we were husband & wife talking to Sean’s character (who was off-stage) over the phone. I said, “check the caller ID” and Billy said, out loud, to the phone, “Check Caller ID”, while we were in the middle of the conversation. It was hilarious and a moment where we could get into a fun “not that way, look at the phone,” “what? why?” and those ideas and that kind of play can only come from the joyous, incredibly fun, smart mind of Billy Merritt.
Kevin Dorff – KING
Kevn Dorff is the King and that’s really all I have to say. He’s so incredibly talented, strong, intelligent, striking, commanding, and fun. He can say more with one look or one word than anyone else onstage. Which is why I should simply say – KING.
All words not in italics written by the wonderful Christina Gausas.
We welcome a national treasure of the improv comedy world, Christina Gausas, into our studio for a conversation about ensemble support, form development, Del Close, improv notes, and wanting your scene partner. Still basking in that post-DCM glow, Christina begins her conversation with host Louis Kornfeld recapping her DCM, talking about the support of the ensemble, and being in the moment.
Louis brings up the difference between bragging and acknowledging you’ve had a great show. Christina says that bragging feels counterintuitive because the whole thing relies on ensemble. Without the rest of the team, the hilarious line you delivered would have never happened. In the same vein, they discuss the difference between a real gift and a “bailout” gift and the two parts to every improv gift: the giving and receiving.
Following dual admissions of performance anxiety, Christina and Louis talk about some of Christina’s Chicago teams and how they went about developing new forms. Both agree though, that content — great scenework — comes before any concern about which form a team chooses. Christina’s advice? Create something that is your own and put the work into it. Also, explore the intention behind a show.
Christina indulges Louis’ request and shares some fond memories of the late, great Del Close. He was an artist who valued authenticity, creating complete characters, and not being topical simply for the sake of being topical. He wanted people to find the universal implications behind the suggestion, to not be literal with it but be expansive with it. While many might bring up Del because they really love discussing the rebellious and outlandish aspects of his life, Louis says that he most likes the idea that Del pushed people to go beyond their limits. Plus it’s possible that he was the Forrest Gump of the improv world. Don’t believe us? You’ll have to listen.
Inspired by Del’s approach to notes, Christina and Louis talk about the use of direct notes and how they can be useful or harmful. Both maintain that players need to develop the habit of taking notes easily. Louis pitches his idea that an improv team should approach the craft with a smart mob mentality and Christina tells us how great acting integrates with great improv. Finally, hear about Christina’s most recent revelation that people should truly want their scene partners at all times.
This is a great episode featuring one of the game’s very best players, so we recommend you turn the volume up to 11.
On this week’s episode, we’ve got actor, writer, and 14x UCB All-Star, Will Hines. We caught up with Will while he was in town for the 17th Annual Del Close Marathon and what ensued was a beautifully nerdy conversation about improv theory, improv practice, teaching methods, and some of Will’s early days at UCB.
The interview begins with Will and host Louis Kornfeld talking about how to navigate fighting in improv scenes. They insist that the characters must be able to have philosophical debates, not mere wizard battles. They sympathize with students learning improv though, since a bad fight and good fight feel very similar in the moment. Plus, arguments have a lot of good elements that improvisers should practice — commitment, point-of-view, feeling — but if they only serve to defend the character, they won’t be very helpful. Will goes into detail about his philosophy that scene partners must “shake hands” at the top of a scene.
If you’re wondering whether these two veteran company men discuss the philosophies of UCB and the Magnet, wonder no longer! Will and Louis get to the meaty stuff and talk about the differences between Harolds at Magnet and UCB. From there, they discuss a variety of improv “rules” and postulate that most rules are in need of a specific scope to make them useful. Will talks about the rigidity of his 10th grade english teacher and they debate the benefits and limitations of strict versus nurturing improv teachers. Though Will always loved Matt Besser’s no-bullshit approach to teaching, he says that Armando Diaz was his breakthrough teacher. He describes the two of them as the ying and yang of UCB teachers during his time coming up through classes.
We get to hear a bit of Will’s improv origin story, he and Louis discuss improv’s “huggy” vibe, plus, these two “kings of calm-edy” explore their thoughts on being funny while acting as the straight man and/or lower energy player. Louis shares with us that he’d just had his most embarrassing audition ever and Will admits that he has a lack of confidence when it comes to being funny. The two of them snap out of their temporary self-loathing to talk about Will’s days playing with Monkeydick, which was Louis’ favorite Harold Night team when he was a student there.
There’s so much great stuff in this episode for Magnet and UCB fans alike, not to mention every improv nerd out there, we’re not even sure where to start. Just trust us and give it a listen.
Packed with these extras:
The Brothers Hines have only one rule for their shows — what is it?
Louis admits his biggest weakness as a teacher and performer.
What do these guys think of the Star Wars Prequel trilogy???
- armando diaz
- del close marathon
- improv nerds
- improv nonsense
- improv philosophy
- improv theory
- Los Angeles
- Louis Kornfeld
- magnet theater
- magnet theater podcast
- magnet training center
- Matt Besser
- Michael Delaney
- new york
- new york city
- The Brothers Hines
- UCB Theatre
- Upright Citizens Brigade
- Will Hines