Posts Tagged ‘Louis Kornfeld’
Magnet instructor, writer, and performer, MIKE DWYER, takes a few minutes out of his comedy-making schedule to talk with host Louis Kornfeld about simplifying improv scenes, the difference between talent and skill, and how he missed the point of film school. These two gentlemen find that they have remarkably similar paths to becoming comedians and relate over their experiences studying with Rebecca Drysdale. You can catch Mike performing with The Wrath and Friday Night Sh*w at Magnet and Southpaw at UCBeast.
Louis kicks off our interview by referencing a recent show of Mike’s with The Wrath. He describes a quintessential Mike Dwyer move, which is characterized by very quickly finding an opportunity that others might miss and then using it to crack a scene wide open. Louis wants to know how Mike is able to be such a lightning fast player and more specifically, how he’s able to take on points of view so quickly. Though Mike thinks that his process is more patchwork than precision, he says that he approaches scenes knowing that his characters are doing what they do on purpose, which leads quickly to POV. He certainly doesn’t think of it as, “Better have an answer real fast.”
Despite his patchwork approach, Mike tells us that he does have conscious goals, and currently, he is working on making scenes be as simple as possible, even dumb, if they have to be. There should be no over-complicating a scene, which happens very often in group scenes. Mike says that it comes from a feeling of wanting to add your own thing, but that it’s liberating to know that everything you need is already there. Louis thinks maybe the over-complication comes from AND-ing too hard and that people botch the YES too often. Mike and Louis get into the difference between passively accepting offers versus enthusiastically accepting them and agree that you don’t have to add things to every single moment of the scene. Mike likens new improvisers to goldfish in a loving analogy.
Flattering him once again, Louis says that Mike is an incredibly good game-based improviser — so, what’s his approach to finding games in scenes? Perhaps surprisingly, Mike thinks that game is merely a result of good improv, so he’s usually not thinking hard about it. He trusts that his training has worked and instinct will lead him down the right path, so that he can find himself in a place of flow. Louis offers two rival takes on how we learn game as improvisers: You have conscious thought and effort, but you can also absorb a lot of that skill by being around it all the time.
What pisses off Louis in class? When people don’t want to do the hard work it takes to gain skills. Both improvisers agree that coasting through your improv education isn’t going to end very well for you and it isn’t very fulfilling. They examine the difference between skill and talent, noting that no matter how much talent someone has, they’ve got to keep developing their skill in order to feel satisfied. Mike finds the skills that he’s acquired to be more interesting than any talents he may have held innately.
What’s the highest compliment Mike could get about a show? That it was funny, duh. Louis talks about the roots of “funny” being a dirty word in improv. Maybe believing in “don’t be funny” is only really important early on in an education and scene? Mike concurs, saying there needs to be a set up in order to have a punchline. Improv scenes are like inside jokes and Harold is a sophisticated form of hanging out with your friends at the bar. Often, when people start getting decent at improv, they focus too much on the unusual thing and forget about the boring stuff. Mike describes a phenomenon regarding going back and forth between the unusual thing and the base reality. The mundane things in our scenes make the ridiculous shit digestible. Louis prods everyone to look up Norm McDonald’s “The Moth” joke from CONAN. Spoiler alert: It’s great.
Although Mike spends nearly all of his time doing or teaching comedy these days, he started out as a film student at NYU’s Tisch School of the Arts. Louis had the exact same path, he says. He talks to Louis about his writing partner and best buddy from high school and how they took themselves very seriously. Comedies, interestingly enough, were never a focal point until later on when they finally attempted to write one. In fact, he first took an improv class simply because he wanted some basic comedy training. In film school, Mike thought of himself as very serious and very lazy. He’d always loved comedy, but had no pretense about being a part of it. Because of his perceived laziness, Mike thinks that perhaps he missed the point of film school at the time. Louis and Mike have strikingly similar backstories, including the fact that they were both great illustrators at the age of 12. For both of them, realizing that comedy was going to be the central thing in their life was a very slow process.
Since it wasn’t immediate, Louis asks Mike when it was that he began taking improv seriously. When he felt competitive about it, Mike says. He shares an an eye opening experience from a Rebecca Drysdale class that came directly from listening. Louis says that he also had a breakthrough moment in a Drysdale class and they discuss for a bit what it was like to study with her.
Mike teaches Level 3 now, so Louis wants to know – what’s he focusing on? Coming back to some earlier points, Mike says that he focuses on keeping scenes simple, committing to the mundane, respecting each others’ ideas, and getting enthusiastic about what your scene partner is doing. These two teachers discuss how to encourage people to be enthusiastic without planting a fake enthusiasm in them. He also shares a note that stuck with him: Always have a sense of mischief. The rules of polite society are exactly the things we look to avoid in improv. This is something The Wrath is very good at, Louis claims. But they’ve been together for years, so what can less experienced groups do to instill that sense of troublemaking? Mike shares a fun exercise in that pursuit and clarifies what we mean when we say, “Everything you need in a scene is already there.”
Louis claims that improvisers look younger than everybody else and quotes Magnet founder Armando Diaz, saying, “The trick to improvising is to do just enough to not get fired.” If that doesn’t get you excited for this episode, I don’t know what will.
Our very own Lauren Ashley Smith stops in to talk about Speech & Debate, loving television, and engaging with her dog brain. A writer for Bravo’s “Fashion Queens” and VH1’s “Best Week Ever,” Lauren also performs at Magnet with Megawatt team TITAN and The Friday Night Sh*w. Host Louis Kornfeld kicks off their interview by discussing how she came to be involved in comedy.
Originally from St. Louis, Lauren first became interested in comedy during her days doing Speech & Debate in high school. She once found herself thrown into a “humorous interpretation” tournament and did quite well, which gave her the idea that maybe she wanted to pursue more laughs. Louis, too, did Speech & Debate in high school, which is where he finally talked to girls, so it sounds like both of them have lots of warm feelings regarding their time in S&D. Lauren’s story is particularly heartwarming because her father was her coach and director, which gave them a lot of one-on-one time together. Louis wonders what traits Lauren garnered from each of her parents, and while her dad taught her how to talk forever about a subject, she says that her mom gave her a sense of humor.
After high school, Lauren did short-form improv at Dickinson College and then moved to NYC, where she became involved with Story Pirates. Though she was very shy when she got into SP, Lauren figured out that a lot of other Pirates were Magnet improvisers, which is what led her to study there and eventually, become a Magnet performer herself. Lauren describes that time in her life as a transition from that of a wallflower to the confident, outspoken person she is today.
Switching gears, Louis wants to talk about pop culture, since that is at the foundation of Lauren’s livelihood. In addition to her work with Fashion Queens and Best Week Ever, Lauren also writes for humor site Reductress and other talking head and reality recap shows. She got her start producing for VH1’s “Best Week Ever” and talks about the production process for that show and how she got that job in the first place. From the production side, she began pitching a lot and eventually got to submit as a writer, for which she was then hired. Writing actually became harder once she had the title, she says. When asked if she prefers working alone, or having other people to bounce ideas off of, Lauren says that she likes working in a group and using improv concepts in the writers room to collaborate on ideas. Louis shares his last writers room experience and both profess that it’s very important to have a producer that trusts the writers’ ideas.
So, how did Lauren become an authority on pop culture and reality TV? Her secret is out: Watch a ton of TV and be on Twitter all the time! She proves her prowess by quickly naming all of the Real Housewives locations. Though she always has favorite shows, Lauren says that she often becomes a fan of new shows by doing research for work. Lauren talks about her parents battling over whether or not she and her sisters could watch The Real World and Louis admits his TV addiction to world. Even though a lot of TV is crap, Louis thinks that you can still grow up okay despite watching it all. How does Lauren feel being a part of the negative stereotype that reality TV is rotting people’s minds? She says despite the fact that many reality TV stars may serve as poor examples to younger people, there are still enough incredible moments to help her keep the faith and that there are many other factors at play for how an audience might internalize what they see on TV.
In a moment of great humility, Louis asks Lauren to explain Twitter to him. She does so very gently, and also tells us that she finds out about all major news events on Twitter and loves to play #hashtaggames. They talk about what constitutes something as newsworthy and how there’s a difference between dumbing things down and making sure that shows are accessible and relatable. To that end, she wishes she were a sillier person. Louis relates, saying that he wants to start closing the gap between his “show brain” and his”shower brain,” which Lauren says is the same as her “dog brain.” There are a lot of brains at play in this episode!
Finally, learn about who Lauren idolizes, the price we pay for being so angry all the time, and how Lauren’s family feels about her comedy.
Tune in to hear all of that, plus Lauren and Louis say “magnet” twice without intending to reference the Theater!
- All That
- armando diaz
- Best Week Ever
- Black Twitter
- Buffy The Vampire Slayer
- Dickinson College
- Fashion Queens
- Friday Night Sh*w
- Friday Night Show
- hashtag games
- James Eason
- Lauren Ashley Smith
- Louis Kornfeld
- magnet theater
- magnet theater podcast
- magnet training center
- new york
- new york city
- reality TV
- Speech & Debate
- speech and debate
- St Louis
- story pirates
- The Real World
Hello friends and family at the Magnet Theater.
August makes the end of summer Megawatt, and with the change of season the time has come for me to step down as Megawatt director. Come September, I’ll be turning the show over to the endlessly amazing Nick Kanellis.
To accommodate the transition, we’ve decided to push the next audition back to mid-September. Dates will officially be announced on this blog within the week.
I’ve had the privilege of getting to be a part of this show for the last four years, and have watched it grow in leaps and bounds. Hell, I’ve watched the whole theater grow in leaps and bounds. The work on the Magnet stage has never been funnier, smarter, or more exciting to watch. And there’s no doubt that it will only be getting more exciting as we move forward. The bar just gets higher and higher. Well done, everyone.
It’s truly been an honor to have been a part of all this.
Megawatt is brilliant. Magnet is brilliant. Long live improv!
This week, the delightful Ellie Kemper takes a quick break from making TV & movies to talk with us about positivity in comedy, Unbreakable Kimmy Schmidt, and of course, improv! In the midst of hosting the TODAY show last week, and performing at Magnet with Christina Gausas (as KempSas), Ellie was kind enough to sit down with our lovable host Louis Kornfeld for a brief interview.
Louis wastes no time getting into it, asking Ellie, “How do you make positivity so funny?” Ellie admits that there is a a fine line between grating and funny when it comes to positivity. And though many positive characters have a naiveté to them, she maintains that you can bring more to those characters than simply ditziness. Louis believes that earlier improvisers shy away from being positive because it feels like there’s not much fuel to burn, yet he observes that Ellie is able to keep positive characters going endlessly. Perhaps it’s a psychological reflection of the performer?
Continuing in this vein, Ellie talks about her one-person UCB show centered around a cheery airline attendant who is falling apart on the inside, which of course brings us to Kimmy Schmidt. On Unbreakable Kimmy Schmidt, all of the characters, and particularly Kimmy, maintain a very upbeat disposition despite the darkness that seems to exist just offscreen or looming right behind them. Why are they able to stay funny? Probably because they all make good on the show’s motto: “You’re stronger than you think.”
In an improv scene, what makes one dark character entertaining to watch and another just sad? Both Ellie and Louis agree that confidence goes a long way and gives the audience faith in the actors trying to pull it off. Ellie talks specifically about how Christina Gausas’s confidence puts her at ease when they play together. The focus that Christina gives her scene partners takes their stress away and let’s them know they’re being taken seriously. Ellie and Louis both feel that anytime you have to sell what you’re doing to the audience, it puts a stress on the scene. A great strength of an improviser is to simply “be here right now.”
Louis then wants to talk about relaxation. How does Ellie deal with the difference in scale between the pressures of earlier performances and auditions, and the types of high-profile projects she does now? Interestingly, Ellie has actually gotten more anxious as time has gone on and, despite her prowess on stage, is still mystified by how other performers improvise so well. Louis digs deeper, asking Ellie if being famous has changed what it’s like to improvise in front of people. She says that audiences will laugh at things that aren’t really very funny and that you run the risk of becoming a lazy improviser. She’s returned to improvising more regularly this past winter after being away from it for some time, and though she felt rusty at first, she’s been loving it.
Louis’ favorite shows are the ones where he knows it was great improv but the audience was lukewarm about it – the pride of content over response. But that pride doesn’t prevent even great performers from going for the response sometimes. Ellie and Louis discuss the terrible feelings associated with making an easy joke in a scene. Guilt keeps you honest.
For his concluding question, Louis asks Ellie to describe what it’s like to come from the grungy, DIY world of NYC improv and sketch, and now, to be working amongst the most successful, absolute best people in comedy. Her answer is simple and reassuring. They’re all cut from the same cloth, right? Hear her answer to that question and all the others on this week’s episode. We know it’s a short one, but we swear on the skull of Del Close that it’s packed full of great stuff.
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.
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
An improviser with Ariana Grande (the improv team) and founding member of BRICK, the handsome Joe Miles stops by our studio to talk with host Louis Kornfeld about discovering improv, the influence of music on his life, and touchy improv scenes. Joe talks to us about coming to NYC from Cleveland (Go Cavs!) in order to further his career as a rapper, but then discovering improv and being sucked into it. Still a drummer all these years later, Joe tells Louis how he uses music as inspiration for characters and Louis tells Joe about his past as an illustrator. We hear about Joe’s favorite music and the two men wonder if new genres will ever be invented. Also, Joe describes how he psychs himself up for a show, answers the questions of how he’s changed as a performer, and discusses BRICK’s run of shows where they did a different form each week. If that’s not enough, Louis mentions the presence of our engineer Grant, who disapproves of Louis’ musical leanings. Check it out!
Native son of New York State, Andrew Yurman-Glaser (Broad City; Magnet’s The Wrath, Friday Night Sh*w; UCB’s Mermaids; Upstate) joins us in the studio to talk about improvising, coaching, and the dynamics of a good team. Host Louis Kornfeld dives in by asking, “Do you remember when you got good at improv?” Humility abounds as Andrew tells of getting his improv start in college and how he’s grown over the last nine years in NYC. He goes on to compare his Megawatt team, The Wrath, to an orchestra and tries to shed some light on how a team maintains their integrity over the course of years. Louis asks if Andrew plays differently on Lloyd Night, Harold Night, Megawatt, or Friday Night Sh*w and Andrew talks about when shows feel the most successful. Hear Louis’ favorite things about how Andrew improvises, Andrew’s thoughts on the importance of listening, and of course, how improv makes you a better person. Plus! Did Andrew’s parents watch him play a masturbator on Broad City? Does Louis like giving notes?? Has this episode been recorded in front of a group of prisoners??? Find out the answers to all of these questions and more on Episode #48.
**PS** Andrew plays with his very good friend Dustin Drury as UPSTATE on Monday, June 29th at 8:30PM. These two former INSPIRADO Oh Shit! champions only get a chance to play on occasion these days, so make sure to check out this show!
- Andrew Yurman-Glaser
- Binghamton University
- broad city
- Friday Night Sh*w
- Harold Night
- Lloyd Night
- Louis Kornfeld
- magnet theater
- magnet theater podcast
- magnet training center
- new york
- new york city
- The Wrath
- Upright Citizens Brigade