Posts Tagged ‘magnet’
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.
Charlotte Rabbe, a phenomenal Magnet improviser, previously on The Wrath, is now out in L.A. We wanted to catch up with Charlotte and shine the Magnet Theater Blog Spotlight on her and her journey in comedy. We conducted an email interview with Charlotte. Below are her responses:
What’s your home town?
CR: Where I grew up? Most of my family is living in NYC now so I consider that my hometown.
What is your comedy history (highlighting improv and sketch especially)? What got you interested and when were you first exposed to improv?
CR: I would watch a lot of stand up/sketch shows growing up (The State, The Upright Citizens Brigade TV show, SNL) and I was obsessed… When I started coming into the city after high school I went to a lot of stand up shows but was too afraid to ever do it. I ended up taking an improv class after college even though I had seen very little and got hooked.
The Director Series is a monthly improv installation wherein a director picks a new form and sets it on a new cast. This month, Michael Lutton is directing “One Hit Wonder”. We chatted with Michael via email to discuss the form.
1. What is ‘One Hit Wonder’?
One-Hit Wonder is a new form that Jon Bander and I came up with. It’s a narrative that follows the story of a band: how it was created, how the group became famous with their number-one hit, the band’s downfall and where the band members are now. I wanted to direct it because I think it has a lot of fun possibilities. Everyone is familiar with “Behind the Music” and biopics about recording artists, so there is a lot to play with, and with that simple story arc the improvisers will have a lot of room to find patterns and develop characters.
2. How does this differ from normal Musical Improv?
This form uses documentary-style interviews to bookend scenes, and since the story arc is one that is already familiar, the cast members are free to focus more on character dynamics.
3. What is your favorite one hit wonder?
The Night the Lights Went Out in Georgia by Vicki Lawrence is one of the best story songs of all time, and I will fight anyone who says different. Physically fight them.
4. What is the future of musical improv?
Musical improv is usually narrative, which is a lot of fun but also very challenging. Moving ahead, I think groups will find new ways to tell stories. Our musical program is relatively new and still growing, but we a have a few veteran groups that are doing interesting things with form and genre, and starting to test the limits of what you can do with a musical. I’m very excited to see what happens next!
‘One Hit Wonder’ premiers Thursday, January 2nd at 9pm and continues Thursdays at 9pm in January!
The Magnet Theater not only boasts its current roster of powerful improvisers and performers, but also celebrates those who have taken on new adventures in their lives and with their comedy.
George Basil (The Pete Holmes Show, College Humor), a Magnet performer known for his epic improv with 4Track, is now out in L.A. You probably have seen him in a Vonage commercial or maybe even a bunch of CollegeHumor Originals. We wanted to catch up with George and shine the Magnet Theater Blog spotlight on him and his work. We conducted an email interview with George Basil. Below are his responses:
What is your improv and comedy history? What got you interested and when were you first exposed to improv?
GB: I didn’t learn about improv in high school or college. The first time I’d ever seen improv was on “Whose Line Is It Anyway.” Watching those performers fly around looked so fun. Then I researched it a little and came across something called the “Big Stinking Comedy Festival” in Austin, TX. It boasted amazing improv groups, and it got me hard, so I went down. Eventually I took a class at the Hideout Theater and from then on I was totally hooked. I’ve always kind of known that my only redeeming quality is finding the keys to a person’s laughter lock, it was just hard to find the confidence to pursue it. When I got to NY I took classes all over and then found a home at the Magnet.
What initially attracted you to the Magnet?
GB: All the misfits. There were no preconceived notions about the comedy we wanted to explore. We were all making mistakes and figuring it out and loving the process of learning about people through improv.
What teams, shows, and projects were you a part of while at the Magnet?
GB: A ton of different teams and shows. The first I think was “Munchaüsan” then “El Partido”? I was at the Magnet every night until their doors were locked. I was also in 4-Track which was one of the most fun experiences of my life. Really proud of all the teams I was on and every performer I got to play with.
What were some of your favourite shows and performers while here?
GB: I loved watching “Pax Romana” a lot. They always had so much fun, it was contagious. I can’t name just a few performers I liked to watch. It was literally every last one. Aside from being my friends, they were all so fucking funny.
Who were or are your favourite improv instructors? Who do you attribute to your growth as an improviser and comedian? Who influences/had influenced you as an improviser?
GB: Obviously Armando had a lot to do with how I approached comedy and improv. His patience and insight into the reality of character was huge. He’s been my biggest influence to date, for sure.
I got to work with Mark Sutton in Vancouver once, he was awesome. Mick Napier was great too.
Dan Bakkedahl is still the improviser that knocks me out anytime he’s on stage. I love that dude’s work, always have.
What did you learn at the Magnet that helps you now?
GB: Patience. Laying in the cut. Screaming doesn’t get you food. Cool doesn’t mean shit. Any and all confidence I have as a performer I attribute to the Magnet. I feel like I grew up on that stage, having never done any other theater training.
Why did you leave NYC?
GB: I had some work in LA and everyone encouraged me to make the move for professional reasons. And I owed the Italians money.
Are you still improvising?
GB: I am but not as much as I’d like to.
What projects have you taken on since your departure from the Magnet?
GB: A lot of web shorts and indie films. Anything and everything. Always saying yes.
What are you currently involved in?
GB: I’m co-writing a web series that’s loosely based on my life as a weird stonerish dad. It’ll hopefully show the ups and downs of alternative style parenting.
What excites you and inspires you?
GB: Watching youngins do improv. This art form is still in its infancy. 4-track toured Canada a bunch and watching kids that have been doing improv since high school and in some cases even earlier was fucking rad. Game didn’t matter, character didn’t matter, they just knew. They were so good at emoting and everything
What are the differences between the New York scene and the scene of Los Angeles?
GB: The biggest difference for me is that in LA you can’t walk from one theater to another the way you can in NY. Aside from that, great stuff is happening in both cities. The weirdest thing about LA is that instead of rehearsing in a studio, you go to someone’s house.
What shows and performers should us New Yorkers totally take note of in case we take a trip out West?
GB: The main thing I would suggest is to check out every venue- there’s good shows and performers scattered across LA. The Clubhouse, Second City, UCB, I.O.West- try not to limit your perspective on style, go tons of places, and don’t be too stuck up to laugh.
Thanks George! When in New York, George has been known to drop by Magnet for shows. Keep an eye out for more of George’s work.
Mail’s here! Jon Bander (Aquarius), 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:
Greetings from beautiful “the sea”! Though I miss New York and all you lovely people, I’m really enjoying my time aboard the ship. Things are really different on the ship from New York. For example, I can afford to eat dinner and drink beer in the same day! Godlike, I know. Life is really fun when you can afford it!
It’s amazing how quickly things become routine on the ship. New crews board on Sundays, a few days later we do our shows, and by Thursday we’re being aggressively booed until we dock again Sunday. The shows have been great. We do sketch shows in a theater that holds around 1000 people! Usually the house is packed, unless we’re in any port at all, and then it’s empty. I mean, we’re funny, but we’re not DRY LAND funny.
We rehearsed in Chicago for a week, where we drilled sketches over and over until they were in our bones. Second City treated us very professionally, giving us an excellent director, producer, and support from their entire staff. I felt incredibly well taken care of. They even got me one of those hot dogs with a pickle on it! Eh.
It’s pretty amazing rehearsing on that same stage where so many of my heroes have played. We get to watch the old reviews on DVD, and it’s amazing to see both how comedy has evolved and see people I now know in their original SC revues. Plus they all had hair!
We’ve been to some really beautiful places. Bermuda, Aruba, and Barbados to name a few. But even though we’re far away, it’s still easy to feel like I’m right back in America. For examples, I still avoid the sun. And everyone hates me!
We’ve done some pretty great activities on and off the boat. We’ve been to breathtaking beaches. I had monkeys running around on me, macaws on my shoulder, and a woman hated a bit I did so much that she said, “You guys still here?!” in a contemptuous tone. So it’s all my dreams come true.
Life on the cruise ship can best be described as a combination of summer camp and college, minus the shows. Our cast really gels well and hangs out all the time, which makes things much easier. It’s the first time in close to a decade I’ve had a set group of friends that I do everything with. We eat together in the cafeteria, we hang out together, we cry together. It’s like family! We’ve become fast friends with the other performers, especially the dancers, who make us feel self-conscious at every beach. The nice thing is I get to snuggle with Ross Taylor every night and feel good about myself.
In all seriousness, it’s been a completely fantastic experience so far. I’m very grateful to Second City for giving me the opportunity, and to the Magnet for the training and support that allowed me to get this job. I do miss you, Magnet, and all your wonderful people and shows. I especially miss seeing my Phookas and playing with Aquarius! I miss doing and seeing the great work we all do so much, and I can’t wait to come back to see and play with you all. You’re all my best friends, colleagues and inspirations! So keep it up.
See you in the new year! Check Facebook for occasional photos through which I will try to make you jealous.
We’re very excited to announce the next round of The Circuit, which will begin Friday, January 10th, 2014!
The deadline to apply is Friday, December 13, 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. To apply, please fill out this form.
If you have any questions or comments, please email us at circuit [at] magnettheater [dot] com.
During November, Alex Marino directs the latest installment of The Director’s Series, The Wake. Every Thursday night at 9pm, The Wake takes you on an adventure inspired by an obituary. I interviewed Alex via email to discuss The Wake and his inspiration behind the form.
What is The Wake and why did you choose this form?
The wake is a form I started thinking about when i was taking classes in LA. I was feeling kinda frustrated because we had been working on the invocation, which I found really interesting, but a lot of my classmates were really dismissive–they’d roll their eyes if they didn’t think the suggestion was cool, they seemed a little bit mocking of improv itself. It was LA and they were just too cool for it. So I started trying to think of a way to approach the invocation that would force performers to at least have a little bit of respect for the suggestion… and I figured “what if you had to do an invocation of a person who had just died… in a room full of people who loved them.” So it kinda stayed in my head gestating for a while. Then when Magnet first opened I was approached by a practice group, it was one of the first groups I’d coached in New York, and that was Louis Kornfeld, Megan Gray, Charlie Whitcroft, Jon Bander, Corey Grimes, and Kelly Buttermore. And after working with them for a little bit I asked if they’d like to experiment with this form I’d been thinking about and they were totally game. What we arrived at was a modified invocation of someone in that day’s obituaries, inviting them to come into the theater and share their story before they go. I heard, and this may be apocryphal, that the practice of holding wakes came from a period in Ireland where they disinterred a lot of old graves and found scratch marks on the inside of the coffins. They realized that something like 1 in 10 people were being buried alive. So they decided to leave the dead out in for a period of time after they passed to give them one last chance to wake up. So the Wake seemed fitting as a name for the form. I kinda liked the notion that this show is one last chance for the dead to come back.
I chose it for this Director’s Series because it had been a while since I’d seen it done and I wanted to work with the original cast again. A couple years ago I taught a class in The Wake, and those bozos have been asking me when they were gonna get to do it again, so I thought I’d invite them along too.
What do you find funny?
All kinds of stuff. Smart stuff, dumb stuff. Deep stuff, light stuff. Lots of things are funny. To me, the funniest thing to think about is that we’re all just a huge biological accident that learned how to wear clothes and comb its hair. That shit is hilarious to me. We’re a mostly bald, mostly flimsy, slow moving animal, with small, dull teeth and worthless claws. We can barely climb, we can’t fly, or hold our breath very long. We have bad backs and lethal allergies to peanuts and shellfish–but not all of us, so you don’t even know if someone is allergic until they just almost die. We eat and drink through the same hole we use to breathe and speak, and somehow we’ve survived long enough to figure out space travel, novelty t-shirts, iPhones and art that goes on your fingernails. It’s incredibly funny to me just how we spend our time.
Do you find death funny?
Death is not funny, no, but everything around death is funnier because of it. Death is the ultimate straight man. I think to have laughter there needs to be a break in tension, which means there needs to be tension to begin with. The more the tension and the bigger the break, the more satisfying the laugh. The uneasiness people feel when they’re faced with death is a great primer for laughter, and that kind of laughter makes it easier to live with death.
What is the future of improv?
I dunno. At some point enough people are going to complain loudly and correctly enough about not getting properly recognized and compensated for content they improvise for commercials and movies… so probably a union will come out of that. And you’ll see “additional content improvised by” in the credits of films which will be good, but things will be weird… or maybe they wont. Maybe the improviser union will be chill. Eventually there will be an improvised show that is so undeniably good that it will get a run on Broadway. Eventually there will be an improvised show that wins a Tony. Some people will be upset by that… or maybe they wont. Maybe Broadway will have relaxed a bit by then. Someone is going to bring a true and honest, disinterested study of improvisation with all its techniques, history, and various applications to the university level, build a curriculum around it, and just like performance studies and jazz you’ll be able to get a college degree in improvisation. I would like to think that degree in improv would be worth more than getting a degree in performance studies or jazz, but it probably won’t be… and after four years, it definitely won’t make anyone a better improviser than performing in every black box and bar that will let you… but, no matter how much actual experience you may have in the field, you’ll need to have a degree in improv to be able to teach improv at the university level… So that will be a nice little scam.
The Wake plays every Thursday in November at 9pm. Make Reservations Here!