It's every actor and crew member's nightmare: something going wrong onstage. Someone forgets a line, an actor misses an entrance, a light blows out, a mic stops working...there's all kinds of opportunities for accidents in live theater.
Yes, these mistakes are horrifying when they happen. But when you look back on them, honestly?...they make for the best stories. You can always laugh about it later. And most of the time, the audience doesn't even notice!
We here at Improv Playhouse have had our fair share of theater-gone-wrong stories. Just so you know that it isn't the end of the world, here are some of our favorites:
-"I worked on a show for preschool kids where, before entering the theater, the kids went through several hallways that engaged the senses. One was the hamster disco. The hamster disco had stars all over the walls, a rotating disco ball, and a video of hamsters playing projected on the wall. One day, after our pre-show meeting in the theater, we went into the hall and it smelled of SMOKE. We ran around trying to fix it and discovered that our cheap disco ball was the culprit! We immediately turned it off and opened all of the doors we could. The kids were waiting outside with their chaperones (who were very suspicious of our frantic door-opening), but they were having a blast just being outside. Once the smell died down and we assured everyone of their safety, we brought the kids through and skipped the disco. They certainly didn't notice! They and their chaperones loved the show. And for the rest of the run, we just turned the disco ball on without letting it rotate and all was well."
-"In high school, I was an ensemble member in Into the Woods. Our one and only dance number came at the end of the opening song as the main characters head into the woods. On opening night, I waited until exactly the right moment to take my first creeping step onstage with everyone else--and the buckle of my shoe caught on the hem of my dress! I yanked it free, but the buckle ripped off! It was too late to do anything about it, so I had to wobble onstage and dance anyway. Luckily, I didn't twist my ankle, and also luckily, our wonderful costume lady was there during the performance. I ran my poor little shoe over to her and she was able to fix it before I needed it next!"
-"I was asleep in my bed the night before my production of Godspell opened--and in my sleep, I pulled my calf. Bad. I had to hobble around in crutches the next day and the whole cast had to arrive early to go over what needed to be changed! I was so embarrassed. But everything worked out well--there was even one song where everyone danced with canes, so I just used my crutch instead. There was also a part where everyone was yelling at each other, and just as we were cut off, my friend turned to me and yelled "SHUT UP, GIMP!" The audience burst out laughing and it took every ounce of self-control for me to hold it together! (And don't worry--I was recovered for the rest of our run!)"
-"During a run of The Imaginary Invalid, one of the actors (who was onstage the entire second act) had a hairpiece wrapped around his ponytail to make it look like he had long hair. His character talked to his brother (who was also on the entire second act). The brother wore a headpiece shaped like a turban with two curls of hair attached to make it look like his long hair was escaping it. Towards the beginning of the act, the first actor's hairpiece fell right off--just a quick little plop on to the stage. He turned and stared at it while the audience laughed. He turned back to his brother and improvised, "It's a piece." The audience roared with laughter and his brother said, "It's okay! Me too!" and lifted up his turban to show that the hair was attached. The audience could tell this wasn't scripted, but it was handled so well on stage that they didn't care. The brother just picked up the fallen hairpiece, yelled the name of the show's maid, and threw it offstage. Worked like a charm!"
We want to know--what are YOUR favorite stories of theater gone wrong? Tell us below!
Showing posts with label acting. Show all posts
Showing posts with label acting. Show all posts
Monday, February 6, 2012
Tuesday, January 24, 2012
Quick Improv Games: Genre Replay/Scene Three Ways
Do you ever see your life through the lens of a movie? What kind of movie would it be? Romantic comedy? Silent film? Horror? (I hope not!)
In today's Quick Improv Game, you get to embody several genres in the scene you perform. How, you ask? It's quite simple! Just play this fun game known by many names: Genre Replay, aka Scene Three Ways!
Start your scene like it's any normal improv scene with one or two others. You can ask for whatever you like from the audience--relationship, conflict, location, the usual. Perform a short scene for them. But you have to remember each step you take in this scene!
When you're done, take a short bow. But then say to the audience, "How would you like to see that scene done differently? What genre should that scene be in now?" Get a genre suggestion from the audience, and redo that exact same scene as if it were from a movie in that genre! Don't be afraid to change lines, aspects of your character, and certain steps from your escalating tactics. As long as it's a similar scene in essence, have fun with it!
Finish up your new version amid laughter and applause. But ask for yet another genre this time! If you can, make it as different a genre as possible from the previous scene, just to keep things interesting. Again, don't be afraid to play with your givens this round! Wrap it up in a vaguely similar way and enjoy the raucous applause.
What are some genres that you can expect from the audience? Well, don't expect them to stay limited to movie genres! There's...
-Action
-Three Stooges
-Shakespeare (harder than you'd think!)
-Musical (also hard, but worth it if you can stumble your way through!)
-Cooking Show
-After School Special
-Anime
-Soap Opera
-Music Video
And many more! And don't be afraid to try a genre that you aren't too familiar with. Sometimes you get the best scenes that way!
Have you played this game? What were some of your favorite genres? How did you adapt your scene?
In today's Quick Improv Game, you get to embody several genres in the scene you perform. How, you ask? It's quite simple! Just play this fun game known by many names: Genre Replay, aka Scene Three Ways!
Start your scene like it's any normal improv scene with one or two others. You can ask for whatever you like from the audience--relationship, conflict, location, the usual. Perform a short scene for them. But you have to remember each step you take in this scene!
When you're done, take a short bow. But then say to the audience, "How would you like to see that scene done differently? What genre should that scene be in now?" Get a genre suggestion from the audience, and redo that exact same scene as if it were from a movie in that genre! Don't be afraid to change lines, aspects of your character, and certain steps from your escalating tactics. As long as it's a similar scene in essence, have fun with it!
Finish up your new version amid laughter and applause. But ask for yet another genre this time! If you can, make it as different a genre as possible from the previous scene, just to keep things interesting. Again, don't be afraid to play with your givens this round! Wrap it up in a vaguely similar way and enjoy the raucous applause.
What are some genres that you can expect from the audience? Well, don't expect them to stay limited to movie genres! There's...
-Action
-Three Stooges
-Shakespeare (harder than you'd think!)
-Musical (also hard, but worth it if you can stumble your way through!)
-Cooking Show
-After School Special
-Anime
-Soap Opera
-Music Video
And many more! And don't be afraid to try a genre that you aren't too familiar with. Sometimes you get the best scenes that way!
Have you played this game? What were some of your favorite genres? How did you adapt your scene?
Monday, November 7, 2011
Improv Scene Basics: Finding a Conflict
When it comes to improv, one of the most important things you need to establish in your scene is a conflict. (In real life, this is a little less desirable.) No conflict = nothing to do. Nothing to do = a boring scene for your audience. And we certainly can't have that!
In some games, it's much easier to figure out your conflict because it's given to you. For example, in Party Quirks, the conflict is the need to figure out who the guests are. But in a game like Genre Replay (aka Scene Three Ways), it's absolutely crucial to find your conflict. When you redo your scene, the audience will know what to look forward to and you will have something to work with.
So how do you go about finding your conflict? Well, sometimes it's given to you by the audience. Your emcee might ask specifically for a conflict ("There are no paper towels left in the house!"), or it might be obvious in your character or setting suggestion ("Teacher and disruptive student!" "In a volcano!"). But that doesn't happen too often, so it's best not to count on it.
Take your givens--whatever your suggestions are from the audience as well as the confines of the game. If it's Genre Replay, remember you'll be doing your scene again in a different style. If it's Freeze, remember you'll need to keep it short and include some wild poses and gestures for your fellow teammates. The rules of the game should help you rather than hinder you in terms of what you need to do and how to do it.
The next step is a logical one for any improviser: think, "How can I take what I know and cause some drama?" No matter how normal or wacky your givens may be, all you have to do is figure out what might throw things off.
Let's do an example. Say you're doing a basic open scene (no rules) and your suggestion is a relationship, so you and your scene partner are neighbors. What could be the problem?
-Each neighbor's lawn has grass of a different height
-A ball is in one neighbor's yard, but the other neighbor isn't allowed to retrieve it.
-The water isn't working, so neither can shower, water the lawn, or wash their hands.
-Whose flowers will win the garden show???
-A stray dog dug holes in everyone's yard--and uncovered some buried treasure
These are all simple ideas that can turn a basic scene into a grand adventure. You can even be inspired by your own life (the "no water" idea happened to my dad and his neighbors). Taking steps to resolve that conflict is your next step--but that's another blog post.
For anyone but the experts, we highly recommend keeping the conflict external (which means your conflict shouldn't be BETWEEN you and your fellow improvisers). If you and your partner aren't allowed to work together to find a solution, much of what improv builds upon is lost. The beauty of each scene is that you get through it with teamwork as well as building from everyone's imagination. It's hard for you, your partner, and the audience to get through a scene filled with animosity.
We would wish you luck in your scenes, but you won't need it. Finding the conflict is easier than you think. Just relax and play. You'll be surprised how conflicts can come naturally out of your givens.
In some games, it's much easier to figure out your conflict because it's given to you. For example, in Party Quirks, the conflict is the need to figure out who the guests are. But in a game like Genre Replay (aka Scene Three Ways), it's absolutely crucial to find your conflict. When you redo your scene, the audience will know what to look forward to and you will have something to work with.
So how do you go about finding your conflict? Well, sometimes it's given to you by the audience. Your emcee might ask specifically for a conflict ("There are no paper towels left in the house!"), or it might be obvious in your character or setting suggestion ("Teacher and disruptive student!" "In a volcano!"). But that doesn't happen too often, so it's best not to count on it.
Take your givens--whatever your suggestions are from the audience as well as the confines of the game. If it's Genre Replay, remember you'll be doing your scene again in a different style. If it's Freeze, remember you'll need to keep it short and include some wild poses and gestures for your fellow teammates. The rules of the game should help you rather than hinder you in terms of what you need to do and how to do it.
The next step is a logical one for any improviser: think, "How can I take what I know and cause some drama?" No matter how normal or wacky your givens may be, all you have to do is figure out what might throw things off.
Let's do an example. Say you're doing a basic open scene (no rules) and your suggestion is a relationship, so you and your scene partner are neighbors. What could be the problem?
-Each neighbor's lawn has grass of a different height
-A ball is in one neighbor's yard, but the other neighbor isn't allowed to retrieve it.
-The water isn't working, so neither can shower, water the lawn, or wash their hands.
-Whose flowers will win the garden show???
-A stray dog dug holes in everyone's yard--and uncovered some buried treasure
These are all simple ideas that can turn a basic scene into a grand adventure. You can even be inspired by your own life (the "no water" idea happened to my dad and his neighbors). Taking steps to resolve that conflict is your next step--but that's another blog post.
For anyone but the experts, we highly recommend keeping the conflict external (which means your conflict shouldn't be BETWEEN you and your fellow improvisers). If you and your partner aren't allowed to work together to find a solution, much of what improv builds upon is lost. The beauty of each scene is that you get through it with teamwork as well as building from everyone's imagination. It's hard for you, your partner, and the audience to get through a scene filled with animosity.
We would wish you luck in your scenes, but you won't need it. Finding the conflict is easier than you think. Just relax and play. You'll be surprised how conflicts can come naturally out of your givens.
Friday, October 28, 2011
Halloween Improv Games
Are you throwing a Halloween party? Need some spooooooky games to play? Well, you've come to the right place. Some of these are scary on their own, and for some all you need is a haunting suggestion!
Chain Murder: Three people go out of the room, and while they're gone, one person sees a MURDER! The first person is told the murder's location, the occupation of the victim, and the weapon used (remember these with the acronym LOW). Person #2 comes in from outside, and the first person needs to tell the second what happened--but they both speak gibberish! Once the second person has learned the LOW-down, they MURDER the first person! The third person from outside the room comes in, and second person needs to tell the third person what happened. Once he/she figures it out, the third MURDERS the second! The fourth comes in and finds out what happened from the third. Once the fourth person finds out, he/she MURDERS the third! Then all four need to tell the audience what they think the location, occupation, and weapon were. It ends up being like the game telephone--it's never the same! (This description makes the game sound very complicated, but don't worry, it's not hard at all!)
Spooky Party Quirks: Party Quirks is an improv classic! One person is the host of the party, and they leave the room. Three other people are guests at the party, but each one gets a strange quirk or identity from the audience. For this Halloween version, think monsters, ghosts, or Voldemort! Once the guests know who they are, the host comes back in and throws a party! The host needs to figure out who the scary guests are...before they get him!
Zombies: This starts out like a normal improv game--you get any basic scene suggestions from the audience that you want (location, relationship, conflict, the usual). But at any point, another player who isn't in the scene can MURDER one of the other people in it and take their place! Anyone who gets murdered has to stay on the floor until someone yells "ZOMBIES!" Then they can get up and go back to their seat, but only if they move like a zombie.
Horror Freeze: Two people start a scene, but it has to be Halloween-themed! At any point, someone else can yell "FREEZE!" The two people have to freeze, and the new person taps out one of the two and starts a new scene based on the position they were in. But again, keep it all Halloween-themed! Perhaps there's a visit to a graveyard, or a spooky mansion, or Dracula!
Whatever you do for your Halloween party, be safe and have lots of fun! Halloween is a great time to play games and have lots of fun. And candy.
Also, if you want a spook, come see the Improv Playhouse Radio Players perform DRACULA, this Saturday night at our black box! Tickets are $15 for adults and $10 for seniors, students, and military at the door, but if you come in a costume, you get $2 off. Join us for either of two shows at 7:30 or 9:00 pm. We'll see you there...and so will the Count...
Chain Murder: Three people go out of the room, and while they're gone, one person sees a MURDER! The first person is told the murder's location, the occupation of the victim, and the weapon used (remember these with the acronym LOW). Person #2 comes in from outside, and the first person needs to tell the second what happened--but they both speak gibberish! Once the second person has learned the LOW-down, they MURDER the first person! The third person from outside the room comes in, and second person needs to tell the third person what happened. Once he/she figures it out, the third MURDERS the second! The fourth comes in and finds out what happened from the third. Once the fourth person finds out, he/she MURDERS the third! Then all four need to tell the audience what they think the location, occupation, and weapon were. It ends up being like the game telephone--it's never the same! (This description makes the game sound very complicated, but don't worry, it's not hard at all!)
Spooky Party Quirks: Party Quirks is an improv classic! One person is the host of the party, and they leave the room. Three other people are guests at the party, but each one gets a strange quirk or identity from the audience. For this Halloween version, think monsters, ghosts, or Voldemort! Once the guests know who they are, the host comes back in and throws a party! The host needs to figure out who the scary guests are...before they get him!
Zombies: This starts out like a normal improv game--you get any basic scene suggestions from the audience that you want (location, relationship, conflict, the usual). But at any point, another player who isn't in the scene can MURDER one of the other people in it and take their place! Anyone who gets murdered has to stay on the floor until someone yells "ZOMBIES!" Then they can get up and go back to their seat, but only if they move like a zombie.
Horror Freeze: Two people start a scene, but it has to be Halloween-themed! At any point, someone else can yell "FREEZE!" The two people have to freeze, and the new person taps out one of the two and starts a new scene based on the position they were in. But again, keep it all Halloween-themed! Perhaps there's a visit to a graveyard, or a spooky mansion, or Dracula!
Whatever you do for your Halloween party, be safe and have lots of fun! Halloween is a great time to play games and have lots of fun. And candy.
Also, if you want a spook, come see the Improv Playhouse Radio Players perform DRACULA, this Saturday night at our black box! Tickets are $15 for adults and $10 for seniors, students, and military at the door, but if you come in a costume, you get $2 off. Join us for either of two shows at 7:30 or 9:00 pm. We'll see you there...and so will the Count...
Wednesday, October 12, 2011
Improv Scene Basics: Creating a Character
Creating a character is a ton of fun. You get to completely define who you're going to be and what you're capable of! You can give yourself superpowers, be a talking animal, or become the richest human being alive. Unless you're Superman, Flounder, or Bill Gates, your character probably isn't exactly the same as you. But it's very easy to fall into the trap of forgetting your character over the course of the scene (especially if it hasn't been assigned to you). By the end of the scene, it's YOU finding your way out of the forest, breaking out of jail, or taking a tour of the floor factory. While this can definitely work, it's not quite as fun or advanced. If you're comfortable taking your improv to the next level, here are some handy questions to keep in mind for creating your character.
-What's your character's name? What does that name say about you?
-Where is your character from? Another town? Another country? Another planet?
-How was your character raised? Were you teased? Are you insecure about anything?
-How does your character stand? Are their shoulders hunched? Do they stand tall and proud?
-What's your character's personality? Are you a know-it-all? Are you sneaky? Are you eager?
-What are your goals? If the world worked your way, what would it be like?
-How old are you? Did you see the fall of Rome? Are you in preschool?
-What are your hobbies? What do you like to do? Homework? Rock collecting? Archery?
-What clothes are you wearing? What do those clothes say about you? How do they feel?
-Is there a gesture or facial expression you're known for? Why do you make it?
-How does your character walk? What speed? Is there a limp?
These are just a few of the ways you can bring your character to life. Obviously, you don't always have time to think all of these through in the few seconds between the audience's suggestions and the beginning of your scene. But if you can define even a few of these, you've created something engrossing for the audience to enjoy. You'll also notice the scene become a lot easier. There are more places you can go as a character than just as yourself! You get new ideas and discover ways to solve the conflict--plus the audience will just eat it up.
In fact, Chris Farley, who was a very famous actor, got his start because of his renowned character improv. He joined Second City and rose quickly through the ranks until he was on the Mainstage--and it was because he could create those well-rounded characters. In fact, there was one improv scene he did as a waiter to a couple on a date when he first started on the Mainstage . The couple was fairly normal, but he was an incredibly depressed waiter. Everything he did was with an air of hopelessness and the audience couldn't get enough. They hadn't given him this quirk, he just came up with it on his own. Don't be afraid to go for it onstage like he did! (Fun fact: did you know Chris Farley's famous SNL sketch "Livin' in a VAN down by the RIVER" was born on the Second City stage?)
Best of luck shaping your characters! Perhaps your character can come with you to school or work tomorrow...
-Allie
-What's your character's name? What does that name say about you?
-Where is your character from? Another town? Another country? Another planet?
-How was your character raised? Were you teased? Are you insecure about anything?
-How does your character stand? Are their shoulders hunched? Do they stand tall and proud?
-What's your character's personality? Are you a know-it-all? Are you sneaky? Are you eager?
-What are your goals? If the world worked your way, what would it be like?
-How old are you? Did you see the fall of Rome? Are you in preschool?
-What are your hobbies? What do you like to do? Homework? Rock collecting? Archery?
-What clothes are you wearing? What do those clothes say about you? How do they feel?
-Is there a gesture or facial expression you're known for? Why do you make it?
-How does your character walk? What speed? Is there a limp?
These are just a few of the ways you can bring your character to life. Obviously, you don't always have time to think all of these through in the few seconds between the audience's suggestions and the beginning of your scene. But if you can define even a few of these, you've created something engrossing for the audience to enjoy. You'll also notice the scene become a lot easier. There are more places you can go as a character than just as yourself! You get new ideas and discover ways to solve the conflict--plus the audience will just eat it up.
In fact, Chris Farley, who was a very famous actor, got his start because of his renowned character improv. He joined Second City and rose quickly through the ranks until he was on the Mainstage--and it was because he could create those well-rounded characters. In fact, there was one improv scene he did as a waiter to a couple on a date when he first started on the Mainstage . The couple was fairly normal, but he was an incredibly depressed waiter. Everything he did was with an air of hopelessness and the audience couldn't get enough. They hadn't given him this quirk, he just came up with it on his own. Don't be afraid to go for it onstage like he did! (Fun fact: did you know Chris Farley's famous SNL sketch "Livin' in a VAN down by the RIVER" was born on the Second City stage?)
Best of luck shaping your characters! Perhaps your character can come with you to school or work tomorrow...
-Allie
Friday, October 7, 2011
Focus, people!
We've all been there: it's a Friday, everyone's a little too excited for the weekend. Nothing gets done. No one can focus. Whether it's class, rehearsal, or a family road trip, it's a tough situation.
Energy is great (as all improvisers know), but you have to be able to channel that energy in a way that aids the scene, you, your fellow performers, and the audience. You can't just run around the stage yelling "WHEE!" at the top of your lungs for a few minutes. That lacks characters, a relationship, a location, a conflict, and, you know, quality. If you and those around you have got the squigglies and can't sit still, here's a great way to center without losing the excitement.
This game is called Counting. The premise is incredibly simple--count as high as you can. But here's the catch: if two people say the same number at the same time, you have to start back at 1. No patterns allowed (meaning you're not allowed to speak in order around the circle, or stare at the person you think should talk next). It has to be entirely random. And you certainly can't say multiple numbers in a row.
What tends to happen is that it takes several rounds to really get going, even if you set a goal. Giggles ensue when four people say 3 and then pairs keep saying 1 over and over. But eventually, things start to calm down. Everyone starts focusing. And you may get up to 20, 30, or even higher. In rehearsal for a play, my cast and I played this game every day. And at our last rehearsal, we got up to 100!
Strange though it may seem, everyone starts to feel the group energy. You can actually start to tell when you're clear to say a number and you can let the rhythm of the counting take you away. It's an amazing feeling to be so in tune with your group like that. Give it a try! You'll be surprised how calming it is.
What other games do you use to focus? Let us know, we'd love to try them!
-Allie
Energy is great (as all improvisers know), but you have to be able to channel that energy in a way that aids the scene, you, your fellow performers, and the audience. You can't just run around the stage yelling "WHEE!" at the top of your lungs for a few minutes. That lacks characters, a relationship, a location, a conflict, and, you know, quality. If you and those around you have got the squigglies and can't sit still, here's a great way to center without losing the excitement.
This game is called Counting. The premise is incredibly simple--count as high as you can. But here's the catch: if two people say the same number at the same time, you have to start back at 1. No patterns allowed (meaning you're not allowed to speak in order around the circle, or stare at the person you think should talk next). It has to be entirely random. And you certainly can't say multiple numbers in a row.
What tends to happen is that it takes several rounds to really get going, even if you set a goal. Giggles ensue when four people say 3 and then pairs keep saying 1 over and over. But eventually, things start to calm down. Everyone starts focusing. And you may get up to 20, 30, or even higher. In rehearsal for a play, my cast and I played this game every day. And at our last rehearsal, we got up to 100!
Strange though it may seem, everyone starts to feel the group energy. You can actually start to tell when you're clear to say a number and you can let the rhythm of the counting take you away. It's an amazing feeling to be so in tune with your group like that. Give it a try! You'll be surprised how calming it is.
What other games do you use to focus? Let us know, we'd love to try them!
-Allie
Friday, September 23, 2011
Theatre, a risk....who knew!
Hello, readers! This week, we here at Improv Playhouse would like to welcome our new intern, Jordan! Check out his first blog post.
Every day I wake up and I have a different thought. Yesterday I thought about what I was going to eat, today about not finishing my homework, and tomorrow it will most likely be about not wanting to get up! Now I am sure that whoever is taking the time to read this is saying, “Well, hey! I’ve had the same thoughts!” And I would have to say, “I’m sure you have.” This is what makes us so unique as the people we’ve become and the people we want to become: aspiring theatre geeks.
Today, Joe Schmo, who lives next door to you, woke up and said, “I’m going to put on my tie, drive to work, take two aspirins, go to lunch, kiss up to the boss, leave at five, come home, eat, watch Law & Order: SVU, then go to bed.” Now this is a daily routine for Joe and his life never changes. That is why Joe makes five figures a year and we only make four. Now don’t get discouraged. That is just how theatre is, a risk; and now let’s divide even theater from improv.
Improv Playhouse prides itself on who they are in the world today with astonishing actors and many years of experience. But what really sets IP apart from the rest of the world? I’d have to say improvisation. Improv builds the best fundamentals for an actor while remaining the most unstructured form of art out there. Structure is something a theatre person has probably never heard of, but it can be good when it comes to keeping organized (and don’t forget obeying the laws). Without structure, you’re actually preparing yourself for any situation life can throw at you. Every day people lose their job, people divorce, cars gets towed, or you are broke and won’t get paid for another two weeks!
The ironic thing about it all is that everything is a risk. Daring to be different is a risk, as director Lloyd Richards once said. “Some risks cost more than others, and I guess those are the ones that you recognize as risks. But all of life is a risk. You try and achieve whatever you as an individual human being can achieve. To make that attempt is a risk. I guess I never decided to take risks with my life, I just had no choice. You take risks, whether they be small ones or whether they be large ones.” So, as I wrap up my first blog entry ever, I hope I have left you with a little something to think about: Life is a risk. Many people don’t ever want to touch on the subject of theatre being a risk, but inevitably you will risk it all in the end. And if you really want to pursue your dream, don’t stop. I am learning now to never give up because "All the world's a stage; all the men and women are merely players."
-Jordan
Every day I wake up and I have a different thought. Yesterday I thought about what I was going to eat, today about not finishing my homework, and tomorrow it will most likely be about not wanting to get up! Now I am sure that whoever is taking the time to read this is saying, “Well, hey! I’ve had the same thoughts!” And I would have to say, “I’m sure you have.” This is what makes us so unique as the people we’ve become and the people we want to become: aspiring theatre geeks.
Today, Joe Schmo, who lives next door to you, woke up and said, “I’m going to put on my tie, drive to work, take two aspirins, go to lunch, kiss up to the boss, leave at five, come home, eat, watch Law & Order: SVU, then go to bed.” Now this is a daily routine for Joe and his life never changes. That is why Joe makes five figures a year and we only make four. Now don’t get discouraged. That is just how theatre is, a risk; and now let’s divide even theater from improv.
Improv Playhouse prides itself on who they are in the world today with astonishing actors and many years of experience. But what really sets IP apart from the rest of the world? I’d have to say improvisation. Improv builds the best fundamentals for an actor while remaining the most unstructured form of art out there. Structure is something a theatre person has probably never heard of, but it can be good when it comes to keeping organized (and don’t forget obeying the laws). Without structure, you’re actually preparing yourself for any situation life can throw at you. Every day people lose their job, people divorce, cars gets towed, or you are broke and won’t get paid for another two weeks!
The ironic thing about it all is that everything is a risk. Daring to be different is a risk, as director Lloyd Richards once said. “Some risks cost more than others, and I guess those are the ones that you recognize as risks. But all of life is a risk. You try and achieve whatever you as an individual human being can achieve. To make that attempt is a risk. I guess I never decided to take risks with my life, I just had no choice. You take risks, whether they be small ones or whether they be large ones.” So, as I wrap up my first blog entry ever, I hope I have left you with a little something to think about: Life is a risk. Many people don’t ever want to touch on the subject of theatre being a risk, but inevitably you will risk it all in the end. And if you really want to pursue your dream, don’t stop. I am learning now to never give up because "All the world's a stage; all the men and women are merely players."
-Jordan
Wednesday, August 3, 2011
Ah-CHOO...oh no! Fighting sickness during a show
Everyone in theater has had that sinking feeling upon discovering a tickle in the back of the throat right before opening night. While it most noticeably affects actors, it's still no fun to need to blow your nose when pulling the curtain, to hold back a cough over the stage manager's headset, or to try not to sneeze while aiming the spotlight. And since an exhausting tech always comes before a show opens, it seems almost inevitable that the cast and crew can come down with the sniffles.
Here are some tips that come mom-approved to help you stay healthy for opening night!
-The most widely known way to fend off a cold is Vitamin C. Make sure you're getting a good amount by eating oranges, drinking orange juice, and, if you feel the cold starting, you can even take a Vitamin C supplement. Check here (http://www.webmd.com/
-Gargling with Listerine not only gives you good breath and a healthy mouth--it also kills cold germs! Swishing it around your mouth is the best way to get good breath, but make sure you spend some time gargling to get those germs in the back of your throat.-This one sounds the strangest of all, but pay attention: heat up a mug of water and pour about 1/4 teaspoon of salt into it. Stir it up and dip a Q-tip in. Rub the dipped Q-tip on the inside of one nostril. Use the other end of the Q-tip for the other nostril and repeat. (Make sure you get each nostril twice, each time with a new Q-tip end!) Then blow your nose (for bonus points, use the Kleenex antibacterial tissues)!
-If you have a scratchy throat (especially when you wake up in the morning), one of the best ways to calm it down is to drink tea with honey mixed in. Choose a flavor of tea that won't mix badly with honey (I recommend English Breakfast) and stir continuously while you drink. You don't want all that delicious honey to pool at the bottom!
-The number one way to fight a cold is to get enough sleep! I know it's useless to tell this to theater kids--sleep is hard to come by during rehearsals and tech week--but do everything you can to get at least 8 hours a night!But do you know the absolute best way to keep yourself healthy to start with? WASH YOUR HANDS!!! Tempting though it may be to reach into a common bag of chips during tech, remember that's how the germs latch on! (On a similar note, if you're the one who has a cold, please be courteous and wash your hands/use hand sanitizer as often as you can, especially after you blow your nose.)
Good luck getting better. It's awful to get a cold, but being in a show at the same time adds another level of horror that only theater kids understand!
-Allie
Here are some tips that come mom-approved to help you stay healthy for opening night!
-The most widely known way to fend off a cold is Vitamin C. Make sure you're getting a good amount by eating oranges, drinking orange juice, and, if you feel the cold starting, you can even take a Vitamin C supplement. Check here (http://www.webmd.com/
-Gargling with Listerine not only gives you good breath and a healthy mouth--it also kills cold germs! Swishing it around your mouth is the best way to get good breath, but make sure you spend some time gargling to get those germs in the back of your throat.
-If you have a scratchy throat (especially when you wake up in the morning), one of the best ways to calm it down is to drink tea with honey mixed in. Choose a flavor of tea that won't mix badly with honey (I recommend English Breakfast) and stir continuously while you drink. You don't want all that delicious honey to pool at the bottom!
-The number one way to fight a cold is to get enough sleep! I know it's useless to tell this to theater kids--sleep is hard to come by during rehearsals and tech week--but do everything you can to get at least 8 hours a night!
Good luck getting better. It's awful to get a cold, but being in a show at the same time adds another level of horror that only theater kids understand!
-Allie
Wednesday, July 27, 2011
What Do Theatre Majors Do?
Many of my students have expressed interest to me in becoming a professional actor someday, and furthering their theatre education by majoring in theatre when they reach college age. However, very few of them seem to really understand what that entails. In fact, I didn’t really myself until my parents and I started researching different schools. Below, you’ll find my account of what being a theatre major at Butler University is like. I hope this will help to demystify the world of higher theatre education.
To get into a theatre program, most colleges and universities require you to audition. You will perform one of two memorized monologues, depending on the school, and most likely interview with several professors, attend a theatre class or workshop, and meet with students already in the theatre program.
Once accepted, you will devote a great deal of time to performing in addition to your course load, which means that being a theatre major is very time consuming. You will probably be required to audition for a few mainstage shows per year, which are produced by the university and your professors. If you don’t make these productions—even if you do—you will most likely be required to do some sort of crew to help with the show. Crew hours can actually be very fun in addition to being extremely educational.
As first and second year theatre majors, younger students who don’t make mainstages often build up experience and establish reputations as good performers in student shows. These shows are directed and designed by students, but since your professors will almost always attend the performances of these shows, they’re a great way to get your face out there. They’re also a wonderful way to make friends.
If your school is by a big city, like Butler is, than you may also have to opportunity to audition at professional theatres, and begin your career as an actor while you are still in school. In addition, many students intern in fields such as stage management, artistic design, and dramaturgy.
When you aren’t working crew or rehearsing, you will be doing homework and preparing for classes. Most schools have academic requirements for all their students, including theatre majors, but you will also attend theatre classes. Courses include classes like Acting, Voice for the Actor (a study in elocution and projection), and Stage Movement (a practical study of how the actor can employ their body in their work), but also ones that focus on design elements like Costume Design, Lighting Design, and Production Fundamentals. While most theatre classes involve practical, hands-on work, students may find themselves behind desks, involved in classroom discussions with professors and fellow theatre majors in courses like the History of Theatre and the Idea of Theatre.
All in all, being a theatre major is hard work, but it is also incredibly rewarding. You become a part of a community of peers and make friends you will have for the rest of your life. Professors have so much to offer and serve as mentors who will shape the kind of actor and person you become. Don’t worry—if for some reason, you decide not to major in theatre, most schools allow non-majors to audition for many, if not all, shows. If you want to do theatre, you can always find a way!
Note: Musical theatre majors would have a different audition process and course load that of course includes singing and dancing lessons.
Guest blogger Shannon Campe is imProv Playhouse’s Resident Dramaturge. She has worked as both a teacher and an actress during her ten years at iP, where credits include The Glass Menagerie (Amanda), Blithe Spirit (Elvira), and Alice in Wonderland (Alice.) She is currently studying Theatre and Creative Writing at Butler University in Indianapolis.
Monday, July 25, 2011
Audition Secrets from the People Who Cast You...SHHH!
Auditions are scary, whether you’re a student actor, a theatre major, or a professional actor! An actor must learn a monologue, perform with a complete stranger, pick up a dance on the fly, or even sing a song, depending on what kind of show he or she is auditioning for. As an actor, I’ve always dreaded auditions, but as a teacher, I enjoy them. I love seeing what young performers have to bring to a production. To help keep nerves a bay, here are a few things to keep in mind when you audition, pulled from my own experience casting and being cast:
1) Attitude is everything. Directors want to work with actors who are cheerful, enthusiastic,
and helpful. Show the directors that you can be a team player by treating both them and
your fellow performers with the respect and compassion they deserve.
2) Be loud! Just because it’s not a performance doesn’t mean that you can be lazy with your
projection. If we can’t hear you, we won’t want you to cast you in a leading role.
3) Don’t apologize if you fumble a line or mess up a dance move. We know that you’re a
nervous and everyone makes mistakes. We would rather see you keeping trying—“The
show must go on!”
4) Be prepared. You will probably not be expected to have lines memorized for your audition,
but if you’ve been asked to prepared a monologue or a song, you should know that
monologue and/or song like the back of your hand. I also recommend knowing something
about the show going in, so that if you cold-read a scene, you have some idea of what it’s
about. If you continue acting at a college of professional level, they will most likely expect
you to have read the entire play beforehand!
5) Don’t be a gossip. This piece of advice ties very closely into number one. When another
performer is auditioning, you should be a quiet and respectful audience member. If you get
caught whispering with a friend or rolling your eyes during another actor’s audition, not
only does it have the potential to hurt that performer’s feelings, we directors will most likely
notice it, and it will negatively affect your chances.
6) Take care of yourself. Get a good night’s sleep the night before you audition, and make
sure you’ve had plenty to eat. Always bring a water to drink so that you are hydrated. Wear
comfortable clothes (especially if you have to dance) and shoes that won’t trip you up.
7) Most importantly, remember that the people casting you are most likely performers as
well, who understand how nerve-wracking auditions can be. We aren’t looking to pick your
performance apart; we want to see you succeed! In addition, we always hope that you will
enjoy the role we cast you in. A good director will never put you in a part to spite you or
hurt your feelings, and just because we don’t cast you in the lead doesn’t mean we don’t
like you or we didn’t enjoy your performance.
Break a leg!
Guest blogger Shannon Campe is imProv Playhouse’s Resident Dramaturge. She has worked as both a teacher and an actress during her ten years at iP, where credits include The Glass Menagerie (Amanda), Blithe Spirit (Elvira), and Alice in Wonderland (Alice.) She is currently studying Theatre and Creative Writing at Butler University in Indianapolis.
1) Attitude is everything. Directors want to work with actors who are cheerful, enthusiastic,
and helpful. Show the directors that you can be a team player by treating both them and
your fellow performers with the respect and compassion they deserve.
2) Be loud! Just because it’s not a performance doesn’t mean that you can be lazy with your
projection. If we can’t hear you, we won’t want you to cast you in a leading role.
3) Don’t apologize if you fumble a line or mess up a dance move. We know that you’re a
nervous and everyone makes mistakes. We would rather see you keeping trying—“The
show must go on!”
4) Be prepared. You will probably not be expected to have lines memorized for your audition,
but if you’ve been asked to prepared a monologue or a song, you should know that
monologue and/or song like the back of your hand. I also recommend knowing something
about the show going in, so that if you cold-read a scene, you have some idea of what it’s
about. If you continue acting at a college of professional level, they will most likely expect
you to have read the entire play beforehand!
5) Don’t be a gossip. This piece of advice ties very closely into number one. When another
performer is auditioning, you should be a quiet and respectful audience member. If you get
caught whispering with a friend or rolling your eyes during another actor’s audition, not
only does it have the potential to hurt that performer’s feelings, we directors will most likely
notice it, and it will negatively affect your chances.
6) Take care of yourself. Get a good night’s sleep the night before you audition, and make
sure you’ve had plenty to eat. Always bring a water to drink so that you are hydrated. Wear
comfortable clothes (especially if you have to dance) and shoes that won’t trip you up.
7) Most importantly, remember that the people casting you are most likely performers as
well, who understand how nerve-wracking auditions can be. We aren’t looking to pick your
performance apart; we want to see you succeed! In addition, we always hope that you will
enjoy the role we cast you in. A good director will never put you in a part to spite you or
hurt your feelings, and just because we don’t cast you in the lead doesn’t mean we don’t
like you or we didn’t enjoy your performance.
Break a leg!
Guest blogger Shannon Campe is imProv Playhouse’s Resident Dramaturge. She has worked as both a teacher and an actress during her ten years at iP, where credits include The Glass Menagerie (Amanda), Blithe Spirit (Elvira), and Alice in Wonderland (Alice.) She is currently studying Theatre and Creative Writing at Butler University in Indianapolis.
Tuesday, July 19, 2011
Stage Fright!
As many of you are aware, last week Improv Playhouse had the honor of hosting the revered Hollywood acting coach Diane Christiansen. I've known about this annual event since I started here about two months ago, but I didn't really know what it would be like. As the time got closer, excitement built and the registrations continued to fly in. I had an inkling that this might be big news.
For those of you who are learning about this for the first time, this set of week-long workshops were for children, teenagers, and adults. Diane was to provide professional tips for acting and auditioning (because you certainly can't work on a part if you can't land said part) in individual workshops for each age group and then coach them through a combined workshop and a showcase for family, friends, and invited agents. Diane is no small-time coach, either: her credentials come in the form of actors placed on almost every TV show imaginable and many movies. This includes Lost, Glee, Arrested Development, and recently Hailee Steinfeld, the 16-year-old Oscar nominee and general scene-stealer in 2010's True Grit. Both my and Keanu Reeves' reactions were simple: Woah.
I was all set to be Diane's assistant the first two nights and was looking forward to watching her in awe while she was in her element. Then I found out I needed to drive her to and from her hotel on the second night. My first reaction was of course willingness to help out, but then I got nervous. I'd be spending a good amount of time alone with a famous Hollywood acting coach. What would I say? What would I do? What if I got us lost even with my GPS? What should I wear? What if I smell bad? What if she jumps from my car at highway speeds and catches a cab to avoid my inane conversation? She seemed very nice on the first night, so I had no rational basis for my nervousness, but rationality is not necessarily a specialty of Theater majors.
I left my house with plenty of time to spare--partially to claw my way through rush hour and a number of stoplights being out from the freak storm of the day before, and partially so I could get my jitters out in a normal way (which of course consisted of singing along with various showtunes at the top of my lungs). I arrived at the hotel in one piece and very early, called Diane to let her know I was ready whenever she was (but of course to take as much time as she needs), and settled in the lobby to hold my book in front of me while my eyes darted all over. After a few minutes I heard a kind "Hello, Allie!" and was thanked for the ride with a hug to boot.
Well, this didn't seem so scary. I had thought up a few conversation starters in preparation for the ride, but found myself with no need for them. Not only was Diane incredibly friendly and conversational, she was genuinely interested in me and the stories I had to tell. Of the two of us, I firmly believe she is the more interesting one, so I was floored that she was so amiable. By the end of the night, we had learned quite a lot about each other, gone out for a delicious snack at Mickey Finn's with Tony, and shared an inside joke. She was kind enough to give me some pointers and we're even friends on Facebook.
My point, I suppose, is that I'm quite happy to dismantle a portion of the stereotype that people from Hollywood are elitist snobs. Diane was not only an excellent resource to the aspiring actors and actresses of Improv Playhouse, but she is an incredibly fun person as well. I was even disappointed that I wasn't able to assist with the rest of the workshops. But that's what next year is for.
-Allie
Are you interested in taking Diane's workshop next year? Join the Improv Playhouse mailing list by emailing office@improvplayhouse.com to be kept updated!
For those of you who are learning about this for the first time, this set of week-long workshops were for children, teenagers, and adults. Diane was to provide professional tips for acting and auditioning (because you certainly can't work on a part if you can't land said part) in individual workshops for each age group and then coach them through a combined workshop and a showcase for family, friends, and invited agents. Diane is no small-time coach, either: her credentials come in the form of actors placed on almost every TV show imaginable and many movies. This includes Lost, Glee, Arrested Development, and recently Hailee Steinfeld, the 16-year-old Oscar nominee and general scene-stealer in 2010's True Grit. Both my and Keanu Reeves' reactions were simple: Woah.
I was all set to be Diane's assistant the first two nights and was looking forward to watching her in awe while she was in her element. Then I found out I needed to drive her to and from her hotel on the second night. My first reaction was of course willingness to help out, but then I got nervous. I'd be spending a good amount of time alone with a famous Hollywood acting coach. What would I say? What would I do? What if I got us lost even with my GPS? What should I wear? What if I smell bad? What if she jumps from my car at highway speeds and catches a cab to avoid my inane conversation? She seemed very nice on the first night, so I had no rational basis for my nervousness, but rationality is not necessarily a specialty of Theater majors.
I left my house with plenty of time to spare--partially to claw my way through rush hour and a number of stoplights being out from the freak storm of the day before, and partially so I could get my jitters out in a normal way (which of course consisted of singing along with various showtunes at the top of my lungs). I arrived at the hotel in one piece and very early, called Diane to let her know I was ready whenever she was (but of course to take as much time as she needs), and settled in the lobby to hold my book in front of me while my eyes darted all over. After a few minutes I heard a kind "Hello, Allie!" and was thanked for the ride with a hug to boot.
Well, this didn't seem so scary. I had thought up a few conversation starters in preparation for the ride, but found myself with no need for them. Not only was Diane incredibly friendly and conversational, she was genuinely interested in me and the stories I had to tell. Of the two of us, I firmly believe she is the more interesting one, so I was floored that she was so amiable. By the end of the night, we had learned quite a lot about each other, gone out for a delicious snack at Mickey Finn's with Tony, and shared an inside joke. She was kind enough to give me some pointers and we're even friends on Facebook.
My point, I suppose, is that I'm quite happy to dismantle a portion of the stereotype that people from Hollywood are elitist snobs. Diane was not only an excellent resource to the aspiring actors and actresses of Improv Playhouse, but she is an incredibly fun person as well. I was even disappointed that I wasn't able to assist with the rest of the workshops. But that's what next year is for.
-Allie
Are you interested in taking Diane's workshop next year? Join the Improv Playhouse mailing list by emailing office@improvplayhouse.com to be kept updated!
Movie Night!
I believe that one of the best things a student actor can do to educate themselves about the theatre is to go to see professional plays and musicals. Some of my favorite family memories include trips to the theatre with my parents and younger brother, an athletic type who ended up enjoying musicals like Wicked and The 25th Annual Putnam County Spelling Bee. That being said, a trip to the theatre is often expensive, and may require a time-consuming trip to the city. With that in mind, I have created a list of fun movies based on stage musicals that young actors and their families may enjoy watching and even learn something from.
- Fiddler on the Roof has won a slew of awards both onscreen and onstage. It is the perfect balance of humor and drama. Topol’s iconic performance as Tevye, a Jewish peasant living in Russia just before the turn of the century is incredibly touching, and his struggle to keep his family together is one we can all relate to. Popular songs from this musical include “If I Were a Rich Man,” “Tradition,” and “Matchmaker, Matchmaker.” I recommend it for ages ten and up.
- West Side Story is the gold standard of movie musicals. Catchy numbers like “Jet Song,” America,” and “Cool” will get stuck in your head for days! Young dancers will be impressed by all the amazing choreography, and although this gangland America story is an adaption of “Romeo and Juliet,” the story is often funny and exciting. I recommend it for ages twelve and up.
- Bugsy Malone is a little-known movie musical that, while American, is actually very popular across the pond and was adapted for a stage performance on the West End in London. Child actors, including young Jodie Foster and Scott Baio, play 1930s gangers and showgirls embroiled in a fight between two rival gangsters—a food fight, that is! This is a great family movie that kids will love and parents will find amusing. I recommend it for ages six and up.
- The Phantom of the Opera is one of the most popular Broadway musicals of all time. The story of opera ingénue Christine and the mysterious man who teaches her sing has everything a show needs: passion, intrigue, humor, and romance. Many of the songs have attained status as absolute musical theatre classics…you may find yourself humming along to “Think of Me,” “Angel of Music,” “All I Ask of You,” and, of course, the unforgettable Phantom theme. Since this movie contains some scary moments, I recommend it for ages twelve and up, and a parent or guardian may want to watch this movie with their young actor.
- CATS holds the record for longest-running musical. The great thing about this movie is that is simply a taping of the live stage show…you will truly feel like you are in the theater when you watch it! A combination of beautiful dance and incredible acrobatics bring songs like “Jellicle Songs for Jellicle Cats,” “The Rum Tum Tugger,” and “Memory” to life. While this movie is appropriate for all ages, younger viewers may be frightened by the actors’ cat makeup, so I recommend that parents assess their child’s comfort level before showing the film.
- High school age actors may want to check out the following musical movies, but as they contain more adult-oriented material, I recommend that parents screen them first to make sure they are age-appropriate: Chicago, Company, Hair, Rent, and Sweeney Todd. All five are excellent films with amazing performances, and musical theatre actors may find some new tunes that suit their voices for auditions.
Thanks to popular movies like the High School Musical franchise and the television show GLEE, movie musicals are having a major comeback! Upcoming Hollywood musical movies include adaptions of Wicked, In the Heights, and Spring Awakening. Who knows, maybe your favorite play will be next!
Guest blogger Shannon Campe is imProv Playhouse’s Resident Dramaturge. She has worked as both a teacher and an actress during her ten years at iP, where credits include The Glass Menagerie (Amanda), Blithe Spirit (Elvira), and Alice in Wonderland (Alice.) She is currently studying Theatre and Creative Writing at Butler University in Indianapolis.
Friday, July 15, 2011
You're a. . . What?
When we are young, most student actors are involved in all parts of the process: the same director or teacher may block us in scenes, teach us our songs, help us pull together costumes, and show us how to paint the set. Although we hopefully realize that the backstage elements are important in creating our show, we think of all theatre people as falling into two very general categories: those who work onstage, and those who work backstage.
The amazing thing about theatre is that there are so many jobs available to creative people. I didn’t even realize until I got older and started studying theatre at a college level how many careers are available in the world of theatre.
A good example of one of these jobs, which bridges the world between “onstage” and “backstage”, is a dramaturge. Those of you who read my last blog entry or recent Improv Playhouse flyers may have noticed that I’m billed as our dramaturge. It’s such an unusual and funny-sounding word, and not very many people know what it means.
Most professional theatres have a resident dramaturge who works at the company full-time. A dramaturge researches each play the theatre produces, and works closely with the director and the designers to help create the world of the play, using historical and cultural context. The dramaturge also gives the actors notes to help inform their performances. In many cases, the dramaturge also writes program notes to help audiences understand everything they see onstage. They may also create educational material for the benefit of young audiences and their teachers.
Remember, if you want to work in the theatre, it is absolutely possible! It takes many people to put a show together. Who knows…the job you have someday may be one you haven’t even heard of yet!
Guest blogger Shannon Campe is Improv Playhouse’s Resident Dramaturge. She has worked as both a teacher and an actress during her ten years at iP, where credits include The Glass Menagerie (Amanda), Blithe Spirit (Elvira), and Alice in Wonderland (Alice.) She is currently studying Theatre and Creative Writing at Butler University in Indianapolis.
Monday, June 20, 2011
Diane Christiansen Visits July 11th!
Hey, movie fans, don't forget! We've got less than a month until our favorite LA star-maker comes to visit us this summer! Diane Christiansen is one of the best acting coaches and casting directors in the business, and if you don't believe us, check her out for yourself at www.dianechristiansen.com. Diane is in demand all over the United States acting scene, but she's been gracious enough to visit us at IP and coach her own special week-long class, Acting for Film, the week of July 11th. (Monkey #8 would like me to add that he took it last year, and vouches for it being the highlight of his summer.) Don't miss out on one of the best coaches Hollywood has to offer, at the best price you'll ever see!
Closer to today, the little chimps in our High School Musical camp are pumped to perform Disney's sensation for the stage Thursday, June 20th, at 1pm at Highland Middle School. I got to get a sneak peak at one of their rehearsals last week, and they are sounding good! Only $5 to come see them, and it's sure to be a blast.
So don't forget!
Monkey #4
Closer to today, the little chimps in our High School Musical camp are pumped to perform Disney's sensation for the stage Thursday, June 20th, at 1pm at Highland Middle School. I got to get a sneak peak at one of their rehearsals last week, and they are sounding good! Only $5 to come see them, and it's sure to be a blast.
So don't forget!
Monkey #4
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