Posts Tagged ‘Improv’
We’re so very excited to announce the new Conservatory Circuit Fall 2015 season, debuting Friday, November 6th at 10pm at the Magnet Training Center. Congratulations to everyone!
Coach: Tim Canty
Coach: Collin Batten
Coach: Eleanor Lewis
Coach: Shacottha Fields
Comedian and activist, ROMAN RIMER, visits us from San Francisco to talk about using comedy to punch up, learning from personal confrontation, and the development of our cities. This is an episode unlike any we’ve had thus far, dealing with matters of social tolerance, capitalism, and human nature. It’s a thought-provoking episode and we’re thrilled to have Roman as a guest!
A one-time Magnet student and performer, Roman now lives in the Bay Area. Louis is quick to point out that, perhaps more than anyone he knows, Roman truly straddles the line between comedy and activism. As he puts it, he is always looking to use comedy to “punch upward.” Amongst the causes he champions, Roman is particularly interested in combating police brutality, prison abolition, and cannabis legalization. Roman talks a bit about growing up in the Bay Area and Chicago and how, as a child of the 1980’s he feels as though the media and authority figures of that time were very much interested in scaring people into conforming, especially children. Louis leads them into talking about the “us vs them” mentality which is so prevalent in our society.
Roman studied Theater and Psychology in college and eventually made his way to NYC, where he was immediately confronted with the challenge of being an artist in a capitalistic society where funding was difficult to come by. We hear a bit about how Roman got his start in the arts and Louis deconstructs our “top dog” nature. He then asks Roman about traveling all around the country doing his solo shows, which have always been heavily autobiographical. Given that Roman shares such personal details through his shows, Louis wonders what it’s like to be so intimate with strangers in strange places. Has he encountered a lot of people he doesn’t see eye-to-eye with? Roman describes a performance where he was confronted by an audience member and how both men have grown from the experience. Louis wonders, are we as a species getting closer as time goes on, or is the gulf widening? Louis likens improv training to Professor X educating the X-Men as a force for good, which is a beautiful thing to think about.
Where is Roman’s art these days? He tells us about his podcast called The Weekly Review on Mutiny Radio out of San Francisco, which deals with current events and activism. Speaking of – what’s going on in San Francisco right now? It sounds horrible, right? At least, that’s Louis’ take. They discuss the development of San Francisco and the changes that have been occurring in NYC as well. Finally, Louis asks Roman how the improv scene can address the issue of diversity? What resource does Roman want you to check out? Find out all that and more.
One this is extraordinarily clear from this episode, Roman Rimer is making a dedicated effort to change the world around him and it’s damn impressive.
- cannabis legalization
- human nature
- Louis Kornfeld
- magnet theater
- magnet theater podcast
- magnet training center
- Mutiny Radio
- new york
- new york city
- police brutality
- prison abolition
- roman rimer
- San Francisco
- social change
- The Weekly Review
- urban development
Magnet performer, writer, and talk show host, PHOEBE TYERS, joins host Louis Kornfeld to talk about the outsider view of comedians, her background in playwriting, and so much more! Phoebe performs regularly on Megawatt with The Music Industry and on Magnet Sketch Teams with Stockton. Additionally, you can catch her late night talk show Phoebe Tonight Tonite regularly at the Magnet. She and Louis dive deep into the psyche of comedians in this episode, which is perfect for all you performers and writers out there. Tune in!
This episode begins with Phoebe and Louis talking about finding comedy despite not being comedy geeks. Adding to that, Phoebe talks about how she doesn’t even like being the center of attention. So how did it come to pass that this woman became so taken with the world of comedy?
Phoebe tells us why, despite making life her a mess, comedy has enriched it in a way she never thought possible. This “wildly dyslexic” comedian speaks with Louis about the secret language and point of view of comedians everywhere that link them to each other and separate them from the “pinks.” Is it possible to enjoy simple things if you’re conditioned to look for the skewering point?
Louis asks Phoebe about her approach to character work in improv and we hear about how certain characters allow Phoebe to share herself with the audience. They explore character and what it means to be truly playing with your teammates. Although she was first mystified by the structure and inner workings of improv, Phoebe comments on the fact that it’s now become more like second nature. They talk about being zen and you get to hear about it.
Maybe you had no idea, but before comedy, Phoebe was a playwright! She and Louis compare and contrast playwriting with sketch comedy and it’s all kinds of interesting. Is length the biggest difference between the two disciplines, or is it more nuanced than that? Hear about Louis’ head-fuck confusion with the “assumed genius” of great playwrights. Plus, Phoebe and Louis take the pretension of certain writers to task.
They talk about Phoebe’s late night show, Phoebe Tonight Tonite, and bringing a little bit of soul to everything she does. At the center of her universe is the idea of telling a good story. They circle back to discussing the beauty of being able to enjoy simple things in life and Phoebe’s experience of acting in a pilot directed by Michael Showalter.
The NEW YORK MUSICAL IMPROV FESTIVAL by T.J. Mannix
In 2009, musical improv was still a relatively new form. The Magnet had two musical teams performing on every-other Friday – and the weekly Made Up Musical.
Having been a part of so many improv festivals over the years, I thought the time was right for one that focused just on musical improv. When I pitched the idea of the first annual New York Musical Improv Festival, I had no idea what I was getting myself into.
I went to the two musical teams and asked if anyone wanted to volunteer. Two hands went up, Robin Rothman and Melanie Girton. We became a producing team (eventually including Mary Archbold, Lisa Flanagan, and Michael Lutton) and organized the first festival in November 2009.
It was two nights long and featured NYC teams, Broadway performers, and “BASH” from Chicago – Blaine Swen’s incredible one man improvised musical provoked the first spontaneous standing ovation I ever saw at the Magnet. (The photo [to the right] is from the Tara Copeland’s “NYMIF All-Star Show.” Notice the old wooden chairs.)
2010 included performers from Chicago, Minneapolis and Washington DC, and cast members and musicians from Broadway’s “Bloody, Bloody Andrew Jackson.”
We sponsored our first benefit performance for Gilda’s Club New York City – featuring our first Tony Award winner (Cady Huffman from “The Producers”) and Tony nominated guest performers. This has become an annual event raising money and awareness for Gilda’s Club NYC. We also celebrate the comedic legacy of Gilda Radner with an all-female musical team “Generation G.”
It also featured over-doing it, forgetting to eat, and not sleeping – as one of our producers was carried from the Magnet office into to a waiting ambulance.
2011 may have over-expanded. It was six nights long and had a producing teams of 16 people. Since then, we have enjoyed a four night festival with three or four people on the producing team and over the years, the festival has featured hundreds of performers from across the U.S. and Canada, and even Australia.
From the beginning, the goals of the New York Musical Improv Festival have been clear:
1. Treat the performers like gold.
2. Promote Musical Improv as a form in NYC and across the country.
3. Promote the Magnet Theater.
4. Feature every performer and their home theatre – even if it’s down the street from ours.
As the festival grew, so did the musical improv program at the Magnet – from one level to four, from two musical megawatt teams to as many as nine. Other musical improv programs in NYC, Chicago, Boston, and across the country grew every year. Chicago now has MCL – Music Comedy Live – with musical improv shows seven nights a week.
Performers return to the Magnet year after year for the NYMIF, meeting, performing, watching shows, exchanging ideas, talking theatre upkeep and mortgages, arranging to perform at each others theaters – and relaxing at the annual performers brunch.
As we head into our 7th annual festival, we can proudly say that the NYMIF and the Magnet are recognized as national leaders in musical improv.
We’re so excited to announce the brand-new season of Conservatory Circuit is now open for applications! What’s Conservatory Circuit, you say? Why, it’s just like the regular Circuit, except it’s open only to students who have been accepted into Magnet’s Conservatory program (Level 5 and above). It’s a really great way to work consistently with a team and coach as well as get more reps under your belt. We highly recommend it!
Application deadline: Friday, October 23rd at noon
Team announcements: Wednesday, October 28th
Shows: Fridays at 10pm; November 6th, 13th, 20th and December 4th, 11th, 18th
What are you waiting for? Check out the details and apply now!
Questions, thoughts, comments, or concerns can be directed to firstname.lastname@example.org.
Whoa, boy! Watch out now, because local southern gentleman and big juicy peach, KEVIN COBBS, sits down with host Louis Kornfeld on Episode #61 to talk about getting his start in Atlanta, being a musician, and his comedic love of stupidity. They talk about Kevin’s guides to New York, his experiences working for Second City, and what else, but being a college radio DJ. You can catch Kevin every Wednesday at Megawatt with The Music Industry and you ain’t gonna wanna miss this episode!
And the episode begins with a song of rebellion! Just kidding, folks. This episode starts off with Kevin talking about being from Atlanta, getting his start in comedy at Dad’s Garage, and moving to NYC in 2010. Although he thought New York was a nightmare when initially visiting, Kevin was still filled with wonder when he first moved here. Does he have a master plan for his career or does he just take things as they come? As Louis wades through questions related to career goals, he also finds that for Kevin, the creative process is all about collaboration.
They back up to talk once again about Kevin’s improv beginnings at Dad’s Garage in Atlanta and what the scene was like down there. We find out that, similar to Episode #60’s guest T.J. Mannix, Kevin was a graveyard-shift college radio DJ! Louis asks about Kevin & Jimmy’s Guide To New York and they discuss the awkwardness of doing comedy with the public. Where do Kevin’s comedic sensibilities come from and what’s he usually going for? Kevin answers these questions and talks about working with long-time buds Jimmy O’Connell and Al King.
Kevin has done two stints with Second City cruise line casts and so he and Louis get into what that life is like. Most recently, Kevin was doing 11 shows a week, which was far more intense than his first time around. The busier schedule was more enjoyable, he says. Louis wants to know what was the difference Kevin saw between his two experiences and they discuss the advice of, “You gotta be good even when you’re not.” Plus, so much is explained when we find out that Louis loves the Kardashians.
One thing is made clear, and that’s that Second City knows how to build a sketch show. Gaining such professional experience has helped Kevin become comfortable as a sketch director here at Magnet, where he has directed Wendigo and The Executives. Hear about Kevin’s approach to directing sketch and how he focuses on keeping a show moving.
Enjoy all of this, plus, we discover how far into his own future Kevin can see and we hear him speak briefly about his experiences writing for Sesame Street! Go Panthers!!!
- Al King
- Dad's Garage
- Jimmy O'Connell
- Kevin & Jimmy's Guide To New York
- Kevin Cobbs
- Louis Kornfeld
- magnet sketch teams
- magnet theater
- magnet theater podcast
- magnet training center
- new york
- new york city
- Second City
- Sesame Street
- sketch comedy
- The Executives
- The Music Industry
Musical improviser, gifted actor, and flat-out handsome man, T.J. MANNIX stops by the podcast to talk about pursuing his dreams in NYC, the craft of acting, and the upcoming New York Musical Improv Festival [NYMIF]. This is our 60th episode and we’re excited to share it with one of Magnet’s beloved instructors and long-time performers. T.J and host, Louis Kornfeld, discuss T.J.’s wide range of experience as an entertainer, everything from DJing for college radio to getting the right take on Law & Order, and of course, Louis opines on NYC’s romantic appeal. Give it a listen, kiddos!
Hear about T.J.’s time spent as a middle-of-the-night college radio DJ and about how Louis didn’t start listening to music until college. Find out what Louis’ first two cassette tapes were and what songs kept T.J. connected to English while studying abroad in Germany. Plus, Louis talks about his years in “local local broadcasting” on Staten Island.
T.J. moved to NYC in 1997 from North Carolina, where he had lived for a few years. He was working for Blockbuster Video and acting on the side, but was finally convinced by visiting actors from New York to give his dream a shot. He subsequently moved to NYC and got a job at the Jekyll & Hyde Club, which he explains was a very different place when he worked there. He talks all about all the fun the staff had and what it was like having it as his first gig in New York. Louis gives his thoughts on surveys, which we know you want to hear.
It’s been about 10 or 11 years now that T.J. has been a performer without a “day job,” so Louis wants to know, “What is it like to be a working actor?” Amongst the advice T.J. bestows, he says you’ve got to “9-to-5 it” because you’re the CEO of your own company. He gets into the life of a working actor and he and Louis end up disucussing NYC neighborhood culture. Next, Louis wants to know, “What’s the strangest job you’ve had in recent memory?” You’ll get to hear all about that, but [spoiler alert] it wasn’t playing Santa Claus at Radio City Music Hall, but he talks about that fun experience as well, even giving away some Rockettes stage secrets.
Without a doubt, T.J. loves the process of acting. He talks about learning on your feet as an actor and tells of his experience working on Law & Order: SVU. He embraces and cherishes the challenge of just about any acting job and recognizes both the strengths and weaknesses in different kinds of actor training. He and Louis talk about small moments on stage and dealing with auditions. Plus, T.J. gives a great tip for playing villains.
Finally, the episode concludes with a discussion of the upcoming 7th Annual NYMIF, Oct 15-18 at Magnet Theater. Working with co-producers Robin Rothman and Michael Lutton, the festival is in its 7th year and has 215 performers coming to the stage. T.J. talks about what the festival has meant to the musical improv community and he shouts out some returning favorites that he’s looking forward to seeing!
- Jekyll & Hyde Club
- Law & Order
- Louis Kornfeld
- magnet theater
- magnet theater podcast
- magnet training center
- Michael Lutton
- musical improv
- musical theater
- new york
- new york city
- new york musical improv festival
- NY Film Academy
- Radio City Music Hall
- Robin Rothman
- t.j. mannix
- TJ Mannix
- working actor
Step right up and listen to Episode #59 of our show with veteran performer, beloved instructor, and resident clown, ALAN FESSENDEN. Alan joins host Louis Kornfeld to talk about clowning, theater, nervousness, and of course, a deep dive into improv philosophy. It’s always great to hear two seasoned performers discuss the ins-and-outs of improvising and this episode is no exception!
Louis begins the interview by asking about Alan’s background in clowning. Though he says that blackmail got him to take his first clown class, Alan soon found himself very interested in the process of finding one’s own clown and how performers can magnify certain characteristics of themselves for use in clowning. Louis asks him to describe what a clown show might look like and we get to hear Alan’s clown Bartholomew say “vagina” several times. Clowning has helped Alan open up a particular path of communication within himself that informs all performance he now does.
Getting into his background before improv and comedy work, Alan tells us of going to school for theater and trying to forget that he once did musical theater. He’s come around to appreciate the latter at this point in life, which causes Louis to opine that dismissing any type of genre or show isn’t any good for us. These vets talk about the arc of doing your first shows, filled with excitement, to the hard work of getting good, and then becoming an expert. Despite his experience, Louis like to always feel a little bit lost and confused. Similarly, Alan likes the first time he runs an exercise with a class or team, because he’s exploring it with them, rather than simply handing something off to a group.
Hear Louis and Alan talk about nervousness and fear before and during shows!
Louis gets to talking about how Alan improvises and engages with the audience, particularly within Hello Laser. Describing his own development, Alan feels like he had a great freedom of play for a while, then became complacent, and now he fears losing it. They debate relaxation versus putting forth effort in improv and Louis shares with us that he feels tight if he finds his body going for laughs. There’s a nice bit about exploring and being playful even within scenes where you know where you’re trying to get to and Alan talks about eating cake.
Plus, Alan shares great enthusiasm for Louis’ thoughts on “Yes, And” and his habit of playing shows with a secret. They talk about experiencing life and moments, and Alan worries that maybe he doesn’t teach comedy, just moments. While it’s good to know that something is funny, he wants to know, can it be real? They also talk a lot about finding truth and being challenged, which is something that theater is perhaps more readily suited to do than improv.
Finally, Louis and Alan touch on the ability to laugh at who we are and the difficulty of being good people. How can you be a part of the problem even when you’re trying to fix it?
We’re looking for eager improvisers (prerequisite: completion of Level 1) to participate in warm-ups and exercises run by the students in Armando’s coaching class. All the details are below—but keep in mind that space is limited. Hope to see you there!
When to be available: Saturdays, October 17th-November 21st from 12:00-3:00pm
How to sign up: Simply send an email to email@example.com with the subject line: “COACHING CLASS VOLUNTEER.” Please include your full name and phone number.
If you have any questions, feel free to contact us at (212) 244-2400.
The Magnet Theater Podcast triumphantly returns from a late-summer respite with a glorious episode featuring Magnet performer, gamer, Training Center House Manager, and boy made of metal, PAT MAY. He sits down with host Louis Kornfeld for a sweaty conversation all about going to comedy camp, his approach to improv scenes, and how he seeks to create shows that are truly for the audience. He also discusses writing and performing sketch comedy, TV Party Tonight, and his incessant self-deprecation.
Louis begins this episode by asking Pat about his summers spent at Buck’s Rock Performing & Creative Arts Camp and doing comedy for the first time at age 16. At Buck’s Rock, Pat met a lot of folks now in the comedy world like Rebecca Drysdale, Louie Pearlman, Griffin Newman, and Sam Rogal. He grew up in Hastings-on-Hudson, which allowed him to do some open mics in NYC as a teenager, but the stand-up environment soon turned him off. Pat believes that the open mics he went to were like YouTube commenters in a circle jerk, which is a beautiful analogy.
It didn’t sit well with him that people simply wanted to be funny, or simply to be funny to themselves. When performing or putting up a show, Pat always tries to think: “What would make someone get off their couch and come out to the theater?” He loves to make things that people genuinely enjoy. Pat tells of a recent show he put up to which zero people showed up and gets into the topic of failure. Even on his team Metal Boy, which is a sucessful team, Pat knows that he’s still going to have fuck ups. It can be frustrating to know that you’re not in control of the whole show or team, but part of that is also what’s exciting about improv.
Talking about improv mechanics, Pat has never really cared about labeling from inside the scene. It’s all about the present dynamic for him. “Who cares about labeling?” he asks. “Just improv nerds!” What does Pat think about before a show or do to prepare for it? To describe his style, Pat says that he’s not a thinker, which you might have already known if you saw his recent show where he repeatedly fell out of a window. Among the different members of Metal Boy, Louis takes particular interest in exploring Pat’s relationship with Sam Rogal, his frequent collaborate, former roommate, and longtime friend. Louis observes that Sam doesn’t let things go and Pat won’t give up on any small thing he’s doing, which often allows them to continue scenes forever. Breaking the rules of improv is one of Pat’s most favorite things. Louis thinks that if a team says they’re going to follow the fun that night, they’re doomed to fail. Pat weighs in on The Spokane as a form. Spoiler alert: He doesn’t like it.
Paying him a compliment, Louis says that Pat’s characters are always very clear and have obvious wants. What kinds of choices really click with Pat? He relates to a lot of the teaching he received from Louis and Rachel Hamilton.
Pat talks about his farts. For real. He also burps a lot. Powering through his bodily functions, Pat and Louis discuss being in the moment and having needs, wants, and drives in scenes. Both guys comment on big characters. Plus, you will learn Pat May’s improv cure-all. It’s really dumb!
Louis finally cuts through the heavy self-deprecation and asks Pat why he shits on himself all the time? Laughing at being called out, Pat claims he’s just trying to check himself and reign in his ego. He holds himself to a high standard and needs to be reminded of that.
Finally, they talk about Pat’s show TV Party Tonight and how he loves to create shows that the audience can feel a part of. TV Party Tonight is a show where Pat, his friends, and special guests watch TV and make jokes, talk to the audience, and give out free beers. For real though, Pat cannot stop burping and farting. Louis asks about translating the experience of hanging out with friends to a show meant for an audience. Pay says that performing can often be selfish, but a show like this is one that the audience too can get involved in. He really wants to make shows for other people.
Plus, these important topics:
- Do you ever feel truly great about what you’re doing in comedy? Or is ownership the best we can do?
- Pat talks about Sketch Jesus!
- Louis vamps a whole lot!