Posts Tagged ‘armando diaz’
Magnet Theater is excited to announce The Magnet Podcast! In Episode 1: Host Louis Kornfeld interviews Magnet Theater founders Ed Herbstman, Alex Marino and Armando Diaz about their past, present and future. They chat about their Chicago beginnings, the creation of The Armando Diaz Experience and the process of starting The Magnet Theater. Ed tries to explain why he became a cop while Armando makes fun of him. Don’t miss it.
Huge thanks to our wonderfully talented podcast engineer, Grant Goldberg.
Magnet Theater is excited to announce that it will be moving to a new location this coming fall.
In November, the Magnet will take over the Foxwoods Theater, most recently the home of Spider-Man: Turn Off the Dark.
Armando Diaz, co-owner of Magnet, spoke on the need for a new space, saying “The Magnet community has been growing at an exponential rate, so we’re looking to plan not just for the immediate future, but also for what’s beyond the horizon, like in a couple hundred years. If you filled up our current space to capacity, it’d only take up the first row at the Foxwoods. So, the house might feel small in the beginning, but as the word gets out that there’s plenty of room, I’m confident that we’ll sell out all 1,932 seats, especially to non-English speaking tourists.”
Alex Marino, another of the Magnet’s owners added:
“One of the great things about moving into the Foxwoods Theater is we’ll have our office space, training center, and main stage and my apartment all in one central location. So often our new students would get lost when directed from the theater to the Training Center for student shows, and then to my apartment for banjo jam sessions. Now it’ll all take place in one space – a space with a lot of good energy because of all the great things that happened during the run of Spider Man.”
Of course, with a new, much larger space will be some inevitable changes. All shows will have a 35 intern team of stage hands. Performers will have access to four state of the art green rooms before their shows. And everyone must be an Actors Equity performer in order to appear on the stage.
The only planned renovation to this legendary theater is to immediately remove all bathrooms except one near the stage.
Another change will be the tickets prices, which will go up slightly from $5-$10 to $125 for balcony seating to $225 for orchestra seats (though Megawatt and Thursday Night Out admission will remain at $7 for the entire night).
Alan Fessenden, Magnet performer and instructor, noted his excitement about the move. “I love the monoscene, but when you ask for ‘a location that’ll fit on this stage’ you’re limited by the size of the stage. With the new theater, we can do a whole submarine instead of just the bridge of a submarine. It really opens up the possibilities for all shows, but especially for monoscenes about submarines.”
When Ed Herbstman, the third Magnet owner, was asked about the move, he said, “I own a theater?”
One concern was voiced by Louis Kornfeld, Artistic Director of Megawatt. “This new stage is massive compared to the old stage, so sweep edits are going to be problematic. Not only will the timing be off, but the editor may very well be winded after the edit, especially improvisors who are out of shape, which includes all of them.”
Magnet is immensely ready for the move and excited to announce that the first show in the new space will be Rick Andrew’s Level One Class Show! Stay tuned for more details!
Mint Condition is one of the two longest running teams a part of Musical Megawatt at the Magnet Theater. Their full roster is filled with incredible musical improv strength, passion, and a very strong bond making them a Giant of Tuesday night. I (Amanda Ariel Peggy Xeller!) got a chance to sit down with the whole team in an attempt to capture their relationship not only with their comedic art, but with each other. Mint Condition is Angela DeManti, Ryan Dunkin, Woody Fu, Melissa Gordon, Sarah Puls, Chris Simpson, and Douglas Widick.
What attracted you to the Magnet to begin with?
Sarah Puls (SP): I wanted to do musical improv and this was the only place that was offering classes and also being on house team.
Melissa Gordon (MG): Same. This was the only theater that had a specific Musical Improv Program.
Angela DeManti (AD): I think that the Magnet’s teaching style was something I could relate to and latch onto.
Ryan Dunkin (RD): I came here for musical improv. I also knew about Armando. I used to live in Chicago so I would go to see those shows and heard about him. That’s how I got interested.
Douglas Widick (DW): Musical improv. more
We are now accepting applications for The Spring 2014 Circuit! Circuit Teams are made up of Magnet Theater students, graduates of our Training program and veteran performers. We believe that in order to get better at improv, you need to do it.
The deadline to apply is March 10 at noon. Teams will be announced March 12. Shows will begin March 28. Teams will perform Friday nights at 10:30 for eight weeks. If you have any questions email Circuit@Magnettheater.com.
To Sign up, just click this link to fill out the form.
Thank you to everyone who came out and auditioned over the weekend. We are very proud to introduce our newest Megawatt Teams for the Spring of 2014.
New Team GROUCHO
New Team HARPO
New Team CHICO
New Team ZEPPO
There will also be additions to Brick:
New teams premier this Wednesday, March 5th at 7pm.
Ever thought about starting your own web series? Or capturing your comedy in film? 20/400 (www.20-400.com) is a new web series brought to you from the Magnet’s own Lauren Olson, Christian Paluck, and Jana Schmieding. These three have known and have performed with each other for a very long time. Credits they have been involved in (not necessarily all three) include, Chet Watkins, Good Morning Ladies, Les Encompentent, Company 29, Risky Bottom, Tonight’s Performance, 4Some, Big Fat Liars, Jana and Lauren Presents, and The Armando Diaz Experience among various Director Series and many many other shows.
20/400, which releases new videos every Monday, is their latest on taking and based on their track record will not be their last. Recently I (Amanda Ariel Peggy Xeller!) got the awesome opportunity to sit down with 20/400’s three creators to learn more about them, their comedy background, and “friends helping friends” – 20/400.
Where are you all from originally?
Jana Schmieding (JS): I’m originally from a small town in Oregon near Portland.
Lauren Olson (LO): I’m originally from Portland proper. North West Hills.
Christian Paluck (CP): Ooo city girl! I grew up in Springfield Massachusetts.
When and how did you all meet?
LO: Jana and I met in college at the University of Oregon doing theatre. She was a year ahead of me in the acting program. She was a theatre major, I was a theatre minor. But we didn’t really get to become good friends until the end of our senior year when we both realized we were moving to New York. We were also in an improv group together.
JS: And then Christian and I met on Chet Watkins, well we were taking classes at the Magnet together.
CP: Prior to Chet Watkins.
JS: Yeah. We were put on Chet Watkins via our class.
LO: And then I met Christian through Jana and going to all the Chet Watkins shows. Christian and I were on Good Morning Ladies together.
What attracted you to the Magnet to begin with?
CP: For me, I had been studying at UCB and kind of was getting frustrated with improv. I went away and did stand up for a couple years. A friend of mine, I had been aware of Armando for a long time though I had never studied with him. So at a certain point, I had an inkling to do improv again and looked specifically for a class that he was teaching. I think it was called Instant Brilliance, which he doesn’t do anymore. It was a great class and that’s what introduced me to the Magnet and enticed me into getting back into the frame of mind where I was willing to take classes knowing I would have to get through levels to get on a team. That’s how I came to be here.
LO: Jana and I came to the city in 2005 and we started studying at UCB. UCB at the time, I think it still is, but it was very hard to get into the classes. But Jana found the Magnet online and was like, “Check this out.” We were interested and it was so new – only 6 months old. Armando started a class and it was 50 bucks off if you wanted to join it. And I was like ring-a-ding-ding.
JS: And I couldn’t start classes until a year after that. It was my first year teaching. I was just too broke and stressed out to even think about doing comedy, which was the wrong thinking because comedy actually saved my life in the second year of teaching when I wanted to kill myself every day.
Who influences you and who had influenced you when you first got into the comedy game?
CP: For me, the first time I remember being aware of comedy as a specific thing was watching Airplane or the original Police Squad, the predecessor to Naked Gun, it was on TV, but watching that with my dad. And seeing him laugh at stuff was the first specific awareness I had to comedy. And later on in High School and stuff, finding friends who were into Monty Python and the current SNL, which was the Chris Farley era. At that point, I was interested enough to try to look at is as a potential life focus. I didn’t get there until later, but knew it then.
JS: I don’t think I considered it a life focus until college because I was interested in theater and performing and even though my friends and I used to make funny videos and stuff. when we were kids. I didn’t really think of it as a career choice or a life choice until I studied in college under this man named John Schmor who was a great acting coach and he was very influential in shaping how I performed and the ability to not always strive to be a young ingénue or a young female lead, which I was quickly realizing in college was not an option for me. And I was okay with that once I realized ugly grotesque kind of ballsier characters are a skill. Once my eyes were open to that I jumped at it at every opportunity I could get. And I decided upon leaving college that instead of pursuing acting or Shakespearian Performance, I was going to try to pursue comedy when I moved to New York.
LO: My first influence is easily from my Dad. He used to bring in a lot of Charlie Chapman movies when I was a lot young and Bringing Up Baby, which is one of my favorite movies to date. I used to grew up on this stuff and Nick at Night. I would watch I Love Lucy and I Dream of Jeanie constantly. I used to watch a ton of SNL and tape it. My cousin used to write for it so we would watch for him and that continued out of habit just watching it and loving it. I was a Business major in college. I didn’t even get into acting and really thinking I could do anything like that until one of my friends wanted to launch an improv troupe in college. I loved it and found out I was decent at it. When I moved here, I wanted to do straight acting. But then Jana pointed out this improv class. I had never taken a class, that was previously mentioned. I got really jazzed about it and studying it. I never really studied theater and was thinking about going to grad school for that, but the Magnet almost became my grad school in a way. It was an interest that I really immersed myself in. I remember taking Sketch with Ed my first year here and I remember all of a sudden getting it and watching my favorite shows like Curb Your Enthusiasm and stuff and predicting it. You look at things in a different light and understand it. That was a big epiphany for me. That was probably my first year in the city and really immersing myself fully.
What is 20/400?
JS: 20/400 is a project that the three of us have been working on since September. August? August September. We really wanted to strategically to make a move from live character sketch to digital. So we started writing to have 3 minute episodes and slowly we developed a concept: having the three of us as ourselves talking about ourselves in the beginning and then a tangential character sketch would come of that conversation. I’m trying to frame it as a project because it’s not the only thing the three of us have collaborated on and it won’t be the only thing the three of us have collaborated on. But it’s really fun to move into a different medium of entertainment. It’s kind of the one one thing the three of us have yet to conquer, besides of course independent film, which is our third conquest.
CP: I have an independent film credit. It’s called Sam & Amira. It’s a Vanishing Angle Productions. Sean Mullin directed it. I play Officer O’Rourke.
I think the most important thing for me is the fact that these would live farther than just an improv show or a 3-4 week run of a live sketch show. You can start to build a body of work that has some pertinence to it. If someone asks to see an example of what you do, you wouldn’t just have to say, “Hey come see me Wednesday night or Thursday night,” or “I have a sketch show up in July (that you’ll probably never come to).” There are things accessible to a broader audience in a readymade form. It’s the same things we enjoy doing on stage, but again, existing longer in this format.
LO: We want to showcase to people what we do. I think the coolest thing that has come out of this, for me at least, you see us working together and you see the finished product and you get a sense for our general sensibility and aesthetic. It meshes well. There’s a lot of similarities in what we find funny, and differences too, but there is a clear point of view which is fun to own. It’s a more marketable thing to have it all in one place as an ongoing project.
Is Jana and Lauren Presents a playing ground for trying out characters to be used in 20/400?
LO: I don’t look at it as trying out new characters for 20/400 but there definitely is an overlap. If I do something that could work I think, “This is fun. I could do this more. I bet I can find a way to put this person somewhere else.”
JS: It certainly has been an opportunity to meet collaborators – people who are also interested in doing characters and that we can use in 20/400. We are really interested in moving forward with 20/400 and getting a lot of different friends and people in the episodes. We recognize that we are only as wealthy as our network of hilarious people. Also, there is just so much talent in this community that is a little bit untapped online, I find.
CP: I agree. Now that the theater has grown, your experience as an improviser and performer might be limited to one theater or another. Some people might overlap but I find that once an improviser goes through a structure of a particular theater and they find some level of success there, they only have time to do that one commitment. While UCB probably has x number of thousands of people producing videos, the Magnet doesn’t have that as much yet and therefore the performers at the Magnet haven’t done that much yet, as I’ve noticed. There certainly are so many good people that you can draw upon for their talents and their abilities. It’s nice to know that it’s out there and that when you have an idea to do something that there are places to go to get people to fill it out.
LO: Yeah, I think too, that it’s nice to have someone else put a framework on it for you. With our show, I think it’s great because there’s this link for your talent. It’s intimidating to write a whole solo show by yourself. But if I put this character out, and find success with it, soon I have enough for a 30 minute show or an hour show. It’s the same thing with video, that we found, we don’t know what we are doing, really, when we are starting to film stuff. But we try to figure it out. We coordinate to find people to do film and sound or help out because they want to be a part of the thing. It opens up an opportunity for people to get involved in a less intimidating way instead of saying, “I’m going to do this one web series by myself.”
CP: The technical people involved, we’ve been really fortunate to have people willing to donate their time and their resources to get stuff done. At this level we have nothing to offer compensation wise. You are relying on people, not just cast to donate time, but people with cameras and sound equipment. We have been very very fortunate to have worked with all the people we have to get everything done. We wouldn’t have without a lot of help from a lot of different arenas.
JS: I think that that is how our other shows have played into 20/400. With Jana and Lauren Presents, for example, we’ve been able to network with people who are like, “hey this is an interesting idea. If you guys ever need to get something taped let me know.” People have come out of the woodwork and have offered to help. Simply by just having a little bit of visibility and just spreading the net really wide – getting different kinds of people into the show or people from different theaters – opens us up to a great many kinds of people in the entertainment industry.
LO: I think it requires a liking to collaborate with each other. It takes a long time to find your people with a common unique sensibility and also who are on the same page. There’s a level of commitment and taking it seriously as a job that you don’t actually get paid for. It’s important in order to get stuff done. The more you put yourself in a position to meet other people that are also doing the same thing you are and who are also serious improve your chances of producing something. That has worked to our benefit this past year, being around and taking it seriously, networking. Everything like that helps.
Let’s talk a little bit about relationship in comedy. You all are very close. How would you describe your relationship and the importance of it in taking on a project like this?
CP: For me, it’s important that you like the people that you are going to endeavor to do something with. It’s important you like the people because you’re going to do things that are kind of a pain in the ass for each other. It’s easy for those things to take focus at a time when you are trying to be liked and do things that are fun. If the day that you are having around it is not that much fun, it’s hard to flip the switch on camera and just doing something absurd and be really committed to it. It’s not to say that everything goes perfectly all the time, but now you have a fighting chance with the people you signed up with to take it through all the daily grind issues. I think we all know each other well enough that we can exist in those environments for day here and there where we are not going to lay into each other about things that are not important. That’s how I feel.
JS: We are old friends. Well, Lauren and I are older than Christian and I but the three of us have been collaborating for many years now. There came a point in the comedy journey where you step into a more professional mindset about the work. I think that the friendship was all ready to handle that. I think there are some friendships that when you take a professional tone in the friendship that it doesn’t go well. Amy Poehler said you have to find your tribe. That is super true in comedy because the product is supposed to be funny and the process should also be really enjoyable otherwise what the hell’s the point in doing it? I think we were ready. All three of us were on the same page at the same time with the same aesthetic ready to launch ourselves into something more serious or to take our ideas a little more seriously. We had a lot of time to fuck around and be funny with each other and we are all ready to take that next step into making comedy more of a career.
LO: Being on the same page is super important and the minutia of what that means. I completely trust them. They are not the type of people that or going to bail out or slack off. You know shit will get done. We hold each other accountable. We follow through.
JS: Yeah, reliability has become a huge friendship asset.
LO: Yeah. I mean if you get burned out or you’re exhausted and if one person is doing more of the work than the other two people are doing and it’s not equal you are going to get angry you are going to get frustrated. I mean, that’s why a lot of improv groups split up, I mean because of a lot of reasons, but also because you don’t feel like it’s equal or that responsibility is shared. But I trust them on that level – that they are going to follow through – and also trust their comedic sensibility. If they say something is funny and I’m having a tired day and just don’t understand or whatever, I trust them. I don’t stress about it or over-think it. And if it sucks, there are 2 other people sharing the burden of it sucking.
JS: We have had a lot of those conversations where one of us has been like, “I don’t think this is funny,” and the other two have been, “Nope. Definitely funny.” You just have to be honest and also pick each other up when one person isn’t feeling their best about something. The other two have to either say “Yeah you’re right. Let’s scrap it,” or “Absolutely not! This is some of the best work you’ve done!”
LO: I think we are old enough and also mature enough to understand what it is to get upset about. I don’t think we’ve really gotten upset. We really like to have fun and get really excited for fun stuff. It is a treat day to shoot.
JS: Shoot days are really fun.
CP: We get a bouncy castle.
LO: We get really big on crafts services. Snacks happen.
Who are your production people?
JS: We have worked with Bill Scurry. He’s really great in terms of camera work but he’s really busy though. He has a lot of projects he is working on. We have also worked with Bryan Berlin. He was introduced to us through Matt Antonucci. Him and Matt have kind of paired up to do more production stuff and they have helped us a great deal in shooting our last few shoots. Matt is on sound, which is something he says he likes doing, which is awesome and he’s really good at it. Bryan is really good at editing and camera work. He went to film school. They are also both at the same place that we are in terms of just wanting to put stuff online, not necessarily interested in getting paid for it yet because they are not at that level yet. It’s a collaboration in an effort to get them known to the community as well.
LO: There’s also a guy named Matt Ott who shot a couple of ours as well. We’ve only done two sketches that he’s shot because he’s busy with other stuff. I think that’s all the people.
JS: Jamaal did sound for one of them.
CP: HORRIBLY. Make sure you put horribly.
LO: And my little sister has shown up expecting to do stuff and then not.
CP: But she has been there! She did publicity stills.
LO: Oh yeah! She has taken pictures for us.
JS: Jeremy Munro did our poster. He’s an old friend of Lauren’s. They grew up together –
LO: Well in college. We were roommates for three years.
JS: He helped us create our image for 20/400. Just another example of friends helping out friends for free.
So you release 2 videos (now 3) right? Is there a video that has not been released that you are particularly excited about showing the community? Videos we should should we look out for?
CP: There’s a couple. That one that we showed last night (Homeless Mary), I was crying.
JS: The first one that we should probably plug to look out for is called “Hyah!” It won’t come for another few weeks.
CP: Jana did a character, Canning Lady.
LO: We just saw the rough cut last night.
CP: It’s a mockumentary style piece but, it just moves really well.
JS: The editing is pretty spectacular.
CP: Along those lines, some of the stuff has been, to me, some of the best stuff I’ve seen any of us do. I wouldn’t say it’s been a pleasant surprise but it’s nice to have confirmation that the efforts are panning out the way you expected they would. That makes it worth doing, to me.
JS: And you are not only not disappointed but faith is consistently renewed and the bar is only set higher with every release we do or every finished project we see. It’s like, “SHIT! Good job guys! We nailed it”
LO: We always get excited with every rough cut of what it could possibly look like. It could do with just a little green screen action or a short 20 second clip and it really just is ridiculous of how it gets us pumped up. It’s really fun! We’re like the little engine that could with, “If we put a little time and effort into something, look at what we can put together!”
CP: You can get close enough to execute the idea that is in your mind without almost no resources. No need to pay for a location or camera rental or anything. We are doing all of this on almost $0, not to say that that is not a pleasant surprise, but you can execute with the help of others to a level that fulfills your ideas from paper to finished sketch.
JS: Just a little bit of production value and your good performing goes a long way.
LO: Initially we set out with the format of our videos to be less than 3 minutes, which we are not going to totally adhere to but not going to be these long epic things. It’s fun because we’ll do stuff that we’ve put a lot of effort into and then there’s other ideas that are like “Here’s this one funny vision I had that I want to see,” and those are really fun too. I always thought that SNL was really cool because you’ll have an idea and assuming you had backing for it you’ve got thousands of dollars to put up your idea exactly how you saw it in your mind. It’s the coolest thing in the world to me. This is our low budget version of it. But it’s a bonus because very few people have veto power.
CP and JS: No censorship.
LO: And quite a wide range of ideas.
JS: Very weird.
If people want to help or get involved how should they go about it?
JS: We have an e-mail address now and a website and a facebook page and a twitter account. I mean we’re going balls to the wall with this and we love when people are interested and want to be a part of it.
LO: It’s www.20-400.com and you can find everything else through there. You can help us! If you like the video, share it, so you can help on the low level of supporting it and sharing it with other people or contacting us with an idea or if you want to help us film or if you have an idea that you want to get made can you help me. Also, I will put this as a pitch in general, the Magnet has a lot of talented people and people should reach out if they are interested. People should be doing this video stuff. It’s not that hard. If we can do it you can do it.
CP: There’s help out there. There’s no reason not to do it if you have an inkling to do it because there’s enough people to get everything done, to a surprising degree, for me. The amount of immediate yeses we got when we are really asking for peoples time, sacrificing a day or more, doing something that is not necessarily their passion project.
LO: You can also help, you know…if you know anyone who works for Adult Swim or something and tell them that they should have us in for a meeting. You can help us doing something like that. Passing this on to a higher level. Promote us and allow us to have a budget to let us do this more.
CP: Or buy the show.
LO: We would love that. ALSO! If you have access to a crazy location like a weird hospital, or your apartment is crazy, holler at us. We’ll put together the sweetest crafts services spread and maybe give you a line in one of the videos.
JS: If you are funny!
LO: Probably the number one thing.
CP: And most consistent challenge – navigating around locations.
LO: And also the connection to Adult Swim. I just feel like that’s the perfect place for us.
We’re very excited to announce the Spring 2014 round of The Circuit, which will begin Friday, March 28th, 2014!
Applications for Circuit teams will open Monday, March 3. The deadline to apply is Monday, March 10, at noon.
Applicants will be chosen by lottery. If chosen, you will be placed on a team of 8 improvisers and assigned a coach. You will rehearse with your coach and team once a week, with rotating performances on Friday nights at 10:30PM at the Magnet Studio Theater.
If you have completed Level 3 of Magnet’s Training Program and are not part of a Magnet house improv team, you are eligible to apply.
The Circuit is a great way to gain experience in being in an improv ensemble. We highly encourage those who are eligilble to apply.
If you have any questions or comments, please email us at circuit [at] magnettheater [dot] com.
The Magnet Theater not only boasts its current roster of powerful improvisers, writers, and performers, but also celebrates those who have taken on new adventures in their lives and with their comedy.
Matt Koff, a writer for the Daily Show and stand-up, started off here at the Magnet and is now taking NYC by storm. We wanted to catch up with Matt and shine the Magnet Theater Blog Spotlight on him and his journey in comedy. I (Amanda Ariel Peggy Xeller!) conducted an email interview with Matt. Below are his responses:
Where are you from originally?
Ardsley NY. It’s 45 minutes north of the city
When did you realize you wanted to get involved in comedy?
In my senior year of college. I had majored in English so going into comedy seemed like a similarly practical pursuit.
But I had been obsessed with comedy since I was a kid. In middle school I didn’t listen to music. I listened to Monty Python casette tapes.
What is your improv and comedy history?
I started doing sketch and improv in college at SUNY New Paltz.
Then around 2004 I moved to the city and got involved with a theater collective known as Juvie Hall. There I got involved writing for a weekly show called Saturday Night Rewritten. I met a lot of very talented people, little did I know, I’d be working with later in my career, including my current Daily Show officemate Dan McCoy and my current boss Elliott Kalan.
Armando Diaz was teaching classes at Juvie Hall. I started studying sketch and improv under him, and continued doing so when the Magnet Theater opened. I was on a few Magnet House teams while also working with an indie sketch group known as Mr. Whitepants.
Along the way there were a few small successes that indicated to me that what I was doing wasn’t a total mistake. I was hired to be a regular contributor for the Onion’s video site, a webseries that I worked on with Dan McCoy, 9 AM Meeting, was popular at Channel 101 NY screenings, and actually got us a development deal with MTV. Then Dan got hired to write for the Daily Show and had to abandon the MTV project. The development deal withered because the truth is I’d been riding Dan’s coattails during this process.
Around 2010 I stopped doing improv and sketch and decided to pursue stand-up comedy. The thing I like most about it, as opposed to improv and sketch, is that you don’t need to book rehearsal space or corral fellow team members. It’s a lot less administrative and you get to figure out how funny “you” are in your own voice, without the variables of being onstage with other people or hiding behind characters. Although, I’ve recently come back to improv and sketch and I like it a lot more now that I’ve sort of found my “groove” with stand-up.
What initially attracted you to the Magnet?
Armando Diaz. He is a great teacher!
Would you recommend that people interested in comedy start with improv? Why/why not? (if not where should they start in your opinion).
Yes. It’s great training. It teaches you how to be in the moment, which is huge for any kind of comedic performing. And it also teaches you how to think and build of ideas (if this, then what) which is huge for any kind of comedic writing. Also for networking reasons. Doing improv is a great way to bond with total strangers immediately.
But in general, I would say try every form of comedy, especially when you’re first starting out. You may be surprised at what you’re good at. I came to the city to be in a sketch group, and 10 years later I do stand-up on most nights of the week.
How would you describe the feel of your comedy and stand-up? What’s your style?
That’s a hard thing to say from my perspective. I guess “dry”, “Weird” maybe? Then again I know a lot of people who are a lot drier and weirder than I am. I guess you could say I tell one-liners, but that’s not intentional. I’m just bad at writing long jokes. I guess what I’m trying to say is, “don’t try and put me in a box, man.”
How much does audience factor into your performance? Is there a specific group of people you are playing to?
Well, for stand-up, the audience factors in a lot. If people don’t laugh at a joke, I probably won’t tell it, or at least until I work on it some more. Then again, not every audience will laugh at every joke. If a joke gets laughs more times than not, I consider it: “a joke that works.” The only group I’m playing to is “people who might find me funny.” Certain audiences you just know you’re not going to connect with as soon as you hit the stage, and you know what: THAT’S OKAY.
What tools do you use when creating work be it in stand-up or writing?
I tend to use a tiny notebook, a big notebook, a pen, a sausage a craisin, and Evernote. I will also workshop potential stand-up jokes on Twitter.
Can you talk about some of the projects you have taken on since improvising and performing here?
I co-wrote and co-voiced a webseries called “9 AM Meeting” with Dan McCoy, as mentioned before. I started a fake online campaign to raise money to buy a roomba. Last year I did a sketch show called The Matt Koff Show, which is the first sketch show I’ve ever written by myself.
How did you get involved with writing for Jon Stewart?
Well my old comedy buddy Dan recommended I submit a packet. So then I did. The show liked that packet, so then I submitted another packet. Then they told me no and almost a year later they were like “OK fine you can write for us.”
Any parting advice?
If you want to do comedy, do it. If you want to write, write. If you want to perform, perform. Do it constantly. Make it your life. Don’t compare yourself to others. Delete your Facebook account. Don’t actually delete your Facebook account though, it’s a good networking tool. And most importantly, HAVE FUN.
Mail’s here! Kevin Cobbs (The Music Industry, Listen, Kid!), who is performing full time on one of the Second City Cruise Ships, just sent a letter to us here at the Magnet to give us a glimpse of his travels. Check it out! And check out that picture of Kevin in San Juan! Wowie-wow-wow-wow!
Greetings and salutations from the Norwegian Gem. As I write this I’m about halfway through my four month contract with the Second City, and so far its been an absolutely wonderful experience.
Here on the Gem we typically perform one sketch show, two improv shows and one murder mystery luncheon show per nine day cruise. All of which we rehearsed extensively during our week of training in Chicago. I’d never been to the Second City before and it definitely felt like hallowed ground for a sketch and improv performer like myself. It was humbling to get up on their different stages to rehearse. And as a cool bonus experience, our director let us perform in an improv set with the regular cast on their ETC stage.
My cast here on the Gem comes from LA, Toronto and Chicago and they’re all hysterical improvisers and good people. We hang out together quite a bit and we’ve also become good friends with some of the crew and some of the other entertainers on board.
When we’re not performing, we have a lot of free time to work on our own projects. So I’ve been writing quite a few pee pee jokes and even some poo poo jokes.
In addition to writing, I’ve used my down time to finally fulfill my main duty as a liberal white person by watching the Wire (it really is great so far). I’ve also used my free time to work out every day in the ship’s gym. I’m totally ripped now and I plan on fighting all of you at the Magnet when I return. One by one. Starting with the weakest (Branson Reese) and then working my way up to the strongest.
Its a blast performing our sketch show to a crowd of 1,100 people each week. Our improv shows are in a smaller space but equally fun and they’re all short form. I was originally trained in short form so it feels a bit like returning to my improv roots, which is nice.
Passengers are very complimentary when they see us around the ship. And we get to visit some beautiful ports: San Juan, Puerto Rico, St. Maarten, St. Thomas, and Samana, Dominican Republic. Living on the boat is like living in a floating bubble where all of us performers are pseudo celebrities. Then when each cruise ends, everything resets and we’re nobodies again for the first couple of days before our first show.
Though I’m enjoying my time at sea, I look forward to coming home to New York and seeing all y’all Magnet people. Stay warm and I’ll see you in the spring!
On Wednesday, December 18th, I (Amanda Ariel Peggy Xeller!) got to interview Magnet’s own Russ Armstrong about growth in improv, understanding the makings of a good team, and how to be a good teacher, director, and improviser. Below is the transcribed interview.
Where are you from originally?
I’m from Michigan. I’m from Ann Arbor, Michigan.
How did you get involved in improv?
I started improvising in high school. I was watching Whose Line Is It Anyway? with my friends and started an improv group to play short form games. The Pioneer Comedy Troupe from Pioneer High School. It was my junior year of high school. We thought we were the coolest people in the world and we didn’t know we were actually the lamest people in the world.
You went to Northwestern yes? Did you do improv in college? What was the improv there called.
I did. Yep. It was the Mee-ow Show. It was billed as 1/3 improv, 1/3 sketch, 1/3 rock ‘n’ roll. Lots of short form stuff. It was great, super fun. It was a blast.
And you studied in Chicago as well? At iO and Second City? How does the training there compare to the training you learned in NYC?
It’s all the same stuff just different approaches to it. I think Chicago tends to nurture you finding your voice a little bit more. They give you a little more time, marinates in a way that Chicago does with everything, with theater and music and food. Because the spotlight isn’t on it as much, there’s less pressure to produce immediately. New York tends to have a little more pressure because it is New York. And it’s more expensive. I think they are both awesome attributes. It’s good to have that pressure. I love that about New York.