Ask Improv Andy

Disclaimer: Because this is the first edition of Improv Review, all questions to Andy were submitted by the editors.  The names and addresses were divined by Andy later while in a trance-like state.  Andy does welcome any improv related questions and will answer all that he can thoughtfully and respectfully.  He also knows the meaning of life, but will not take questions regarding it here.  See below for his e-mail address.

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Dear Improv Andy-

How should I handle a colleague who insists on using stock characters?  I am uncomfortable working like this since it doesn't feel improvised or in the moment.  – Keepin’ it Real, Baltimore, MD

Dear Keepin’ it Real-

The danger of stock characters is not the characterization, but the content.  For example, almost every experienced improvisor has their old person or little kid character, and can pull them out when appropriate and needed.  Due to the vocal and physical limitations of us all there is a finite number of characters we may have, so that’s not the problem.  The problem occurs when that old person who spoke of having bad feet three shows ago now, searching for the same audience response with the same line, brings up those bad feet with no motivation.

It usually works something like this:

Improvisor #1: We have three days to finish recording our gangsta rap CD.

Improvisor #2 (as old person): What do you want from me?  I have bad feet.

It’s playwrighting, plain and simple, and therefore shouldn’t be done.  How should you handle it?  Tell them to stop it, and point out that Saturday Night Live’s Mango was funny once.  ONCE!

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Dear Improv Andy-

Have you seen examples of "no-no" suggestions being accepted, and then working for a scene?  I mean, of course--toilet, bathroom, gynecologist, sex, etc. – Not a Prude, New York, NY

Dear Not a Prude-

Of course.  It is the audiences right to think that they are funnier or more clever than the performers.  After all, we ask for their suggestions, and if we aren’t asking in ways to thwart those answers, we have to take it and deal.  Most of the awful scenes occur when the audience is funnier or more clever than the performers.

Handled wisely even the most base of inputs can be turned into gold.  The gynecologist who wants to be one of Santa’s elves (a “Rudolph” spin) perhaps, or even the plumber who installs toilets for the rich, coaching his son’s Little League team.  Remember that Spolin wanted suggestions for inspiration, not direct interpretation, and most short-form games are based on her writings.  It is only the unthinking improvisor who feels that the cry of “Masturbation” means they have to wank it for everyone to see.

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Dear Improv Andy-

What do you do in the middle of a scene when a partner does something you feel is physically threatening or dangerous, like lift you up?  If you say no, you pop the audience out of the scene, but you can’t do good work when you’re trying to avoid your own death. –Heavier Than I Look, San Francisco, CA

Dear Heavier-

Prevention is the best medicine.  This is an issue that should have been addressed in one of the first rehearsals, that is, to discover what physical limitations folks have, and how to deal with potential dangerous physical acts, including stage combat.  Either you should have known that you could have been hoisted on the other player's shoulders, or they should have known not to put you there.

But let's say you're in an improv jam, or your group has had that meeting and someone has clearly ignored the guidelines.  The first thing to remember is your safety is more important than the integrity of the scene.  That said there are still many ways to change your circumstance besides saying no.  You use those skills all the time in improv when your safety is not threatened, now you just need them for a different reason.  What you say to yourself is "I have to get down from these shoulders, how can I justify that in the scene?"  Heck, even honesty works: "John, I know you want to be the chicken fight king of the beach, but I'm afraid of heights, if you don't put me down this minute, I'm going to puke."

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Dear Improv Andy-

Are we responsible for entertaining an audience?  I worked with a group whose philosophy seemed to be that whether or not the audience was enjoying the show was of low priority.  The emphasis was so strongly on the "truth" and the moment-to-moment I felt like the audience was being forced to take a dose of castor oil. –Just Conscientious, New York, NY

Dear Conscientious-

How is that troupe doing now in terms of audience?  That answers the question to some degree.  You are responsible for putting on an entertaining show.  If it is entertaining, people will come and you will pay your bills.  If it isn't, the show will close.  If you've satisfied that requirement, you are not responsible to cater your show to entertain a particular audience.  That's pandering.  Sometimes, the audience mix that night just won't find that show entertaining, even if other audiences did.  If the audiences of your former group are satisfied with that group’s style then perhaps they just weren’t for you, or they have a brilliant marketing team.

Finding a way to balance your artistic needs with the needs of your audience is a thin and changing line, but what every good show should try to do.

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To pose a query to Andy, please e-mail him at improvandy@improvreview.com.