Posts Tagged ‘nyc’
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.
The Magnet Theater is excited to announce that we are now accepting applications for the next round of MAGNET SKETCH TEAMS, which will run from February 2nd through June 1st.
Each sketch team will write and perform a show approximately every 3 weeks. Shows will take place Sunday nights at 7:30 pm. Completion of (or current enrollment in) Sketch Writing Level 2 is required to apply. Exceptions may be made for anyone currently performing on a Megawatt or Team Performance team.
HOW TO APPLY TO BE ON A MAGNET SKETCH TEAM:
Send an email with the subject line, “MAGNET SKETCH TEAM APPLICATION” and your name to firstname.lastname@example.org. Include your sketch and improv experience and at least 2 writing samples as PDF attachments (please limit total to 10 pages). The deadline to apply is December 20th.
“It’s amazing we’re even improvising at all.
So many people wouldn’t be able to be doing what we’re doing.
That in itself is exciting. Embrace that bravery.”
- Joanna Simmons, Story Pirates
The above is an improv mantra held dear by Elana Fishbein, one of the original members of Magnet House Team Featherweight. Hopefully you have seen one of their shows. If not, block off an hour on Wednesday and catch this notable Megawatt team.
On November 13th, 2013 I had the distinct pleasure of sitting down with 6 of the 8 current members to pick their brains about the team, themselves, and how they play together. For all of you who don’t know, Featherweight is the most veteran Megawatt team at the Magnet. They were formed on late August 28th, 2008 by Peter McNerney, who also served as their first coach for almost a full year (they are now coached by Joe Miles). Their original line-up was Jesse Acini (now on All American), Russ Armstrong (now on Chet Watkins), Noel Dinneen, Elana Fishbein, Jess Lane (now out in Los Angeles), Blake Merriman, Jared McGrail (traveling the country doing a webcast), and Justin Moran. Their first form was The Harold and their name came from a scene that happened at their very first practice: Elana Fishbein had brushed her hand against Jess Lane’s breasts to which Elana exclaimed, “Oh! They’re featherlight!” From Featherlight came Featherweight, also pitched by Elana. Since then, Featherweight has gone on to be one of the most celebrated teams of the Magnet – playing for over 5 years on Wednesday nights, traveling to do the Philly and Boston Improv Festivals, performing at colleges, launching 2 pilots, and competing and losing in the very first Inspirado competition (their challenge, titled Farts! Farts! Farts!, required every scene to have a fart).
Like every veteran Magnet team, Featherweight since its inception has undergone changes. The line-up that you will see today is almost a totally different set of faces you would have seen a few years ago, or even a couple of years ago. Only 4 of the original members remain. After Russ left, Dave Maulbeck was added and also served as the team’s coach. Featherweight then experienced four more losses including Dave. Willy Appelman was added in late August of 2012, but left shortly after. In April, they welcomed veteran players Frank Bonomo, Matt Shafeek, and Lauren Ashley Smith. Matt and Frank were cast alongside each other on Megawatt team Skosh a few years ago. The two also played with Noel on Oswald prior to Featherweight’s original casting. In addition, Matt and Elana had played together on Flea Flurkus, a 2007 team that performed the Evente. The most recent addition was that of Will Quinn this past August, who had been coached by both Elana and Frank. Collectively, Featherweight has over 50 years of improv experience loaded onto its current roster. Despite the new look and massive transformation (this is the first time in many years that Featherweight is an 8-person troupe), the feel and quality of the team remains the same as it has always been: “The Featherweight I watched is the same team I’m on now. It’s the same energy.” -Lauren Ashley Smith. It’s a testament not only to the casting of the team, but the openness, support, and skill these players bring to the stage of why things have always worked out.
Featherweight, who warms up by hitting a ball up in the air with great effort to not let it hit the ground, improvises a free form, meaning they find the form as they go. “It comes off having a feel of a little town where the characters know each other and other characters branch out of that.” – Will Quinn. Something Featherweight prides themselves on is having a great range with their shows. The spectrum they cover not only in their 25 minute set, but week to week, rivals most sets at the theater. When I asked Noel Dinneen what the most important quality an improviser should possess is, he responded: “The will to improvise, meaning the willingness to actually improvise as opposed to be married to a structure or game.” Some shows might end up being slow mono-scenes and the next week everything blows up. Regardless of what their set calls for, each week Featherweight brings their flexibility, vulnerability, generosity of spirit, and “imperviousness to fear of judgment” (Justin Moran) to create their fun and their funny.
Frank Bonomo has a strong gift at bringing the humanity to Featherweight’s shows. He lets characters be affected; he knows how each character he plays will react emotionally and is still so versatile in his play. He considers the small human moments.. Also, his object work is insane.
Noel Dinneen came to The Magnet to study with Armando. He considers his most influential instructors to be Mick Napier and Del Close. His team celebrates his fearlessness, range, and how he brings zero hesitation to his work. There is nothing Noel can’t yes and. He’s also got a pretty killer attitude.
Elana Fishbein came to The Magnet to study with Armando. She considers her most influential instructor to also be Armando Diaz. With a Featherweight set comes Elana’s ability to play a spectacular and effortless range of strong, intricate, fully-formed characters. She is so specific and grounds the work. Featherweight feels that when Elana is playing, the show is in good hands.
Blake Merriman is described as being incredibly emotionally present. He really lets his characters be affected. He is a reliable player and also a great actor and is emotionally present really lets his characters be affected by what is happening.
Justin Moran came to The Magnet to study with Armando. He considers his most influential instructor James Eason. His team refers to him as an “information robot” who not only brings incredibly smart scene ideas, perfect lines, and smart appropriate punchlines to his work, but amazing characters you could never imagine be a part of the scene but work every single time.
Will Quinn came to The Magnet because of the opportunities the theater would provide. He considers his most influential instructor to be Peter McNerney. Will has a great understanding of game and heightening as well as adding finesse to Featherweight’s sets. When Will plays, his joy as a player shines through. He brings to his characters a level of polish making things very clear and very full.
Matt Shafeek came to The Magnet to study with Armando. He considers his most influential instructor to be Michael Delaney. Featherweight describes Matt as a mature, confident, and joyful player. He’s always thoughtful and takes his time when making choices as opposed to exercising “quick lazy play.” He provides context and knows what a piece needs to create a successful scene.
Lauren Ashley Smith came to The Magnet because of its welcoming atmosphere, energy, and people. She considers her most influential instructor to be Armando Diaz. Her team pegged her as “a sniper” because of her sharp sense of humour, specific moves, and ability to bring to a scene exactly what is needed. Her mind is constantly exercising on how to heighten, instill more life, and bring things together.
On Tuesday, November 19th Magnet will host the first ever Musical Mustachewatt. The night will be the typical Musical Megawatt affair (with Jezebells, Aquarius, Wonderland, and Mint Condition) however throughout the night we’ll be taking donations to go towards the Movember.
Movember is more than just a bad pun putting together November and Mustache. It is a month long movement where men grow mustaches to show support of men’s health. Unfortunately, science has not found a way to turn mustaches into the cure for cancer. In the mean time we are raising money to go towards the Movember Foundation, the Live Strong foundation, and the Prostate Cancer Foundation. For more information on what organizations are benefiting from Movember and how you can help out even more, check out the US Movember website.
Movember has grown into a friendly competition between men to see who can grow the best mustache and who can raise the most money. Everyone starts clean shaven on November 1st and does their best to grow a full “Burt Reynolds” and raise a ton of money.
We know it’s hard to just throw your money at something. So in exchange for your donation towards men’s health you can grab some delicious home made treats made by the Musical Megawatt performers! In the lobby there will be a bake sale! From tradtional sweets to mustache inspired munchies, you’re donation will get you some serious goodies.
Come out and support musical improv comedy, men’s health, and those poor souls who can barely grow even a “John Waters” above their lip. Shows at 7, 8 and 9pm. Bake sale all night long.
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!
Time Out NY chatted with Magnet Theater’s Trike (Peter McNerney & Nick Kanellis) for their 2013 Comedy Glossary. The list includes stand-up and improv words you probably didn’t know existed. Trike described the ins and outs of improv and explained some of the forms most confusing terms. Check the Article out HERE!
If you’re interested in catching Trike at Magnet, catch them every Saturday at 10:30pm. Reserve Tickets HERE!