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Andy does welcome all
questions and will answer whatever he can thoughtfully and
respectfully. Write him at improvandy@improvreview.com.
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Dear Improv Andy
My troupe admires the musical work done on "Who's Line..." especially Wayne
Brady's stuff. We want to get better at it. Is it "cheating" to pre-write
the melodies if we are improvising the lyrics? What about the members of
our troupe who don't sing very well? Should they sit out during the musical
games, and if so--is that unethical? - Tuneless, Atlanta, GA
Dear Tuneless-
Improv ethics. Now there's an oxymoron. "Improv Andy is here for all
eternity, please, try the veal!" But seriously folks... Most questions of
what is ethical within a show format can be answered with another question:
"What are we promising our audience?"
First let me say that everyone loves music. I have often heard folks ask
one another what kind of music they like, but have never heard the question
"Do you like music?" Nor have I ever heard that someone doesn't like music
of any kind. Therefore, when I hear of an improv group who is aiming to add
music to their set list, I always encourage them to jump right in.
That being said, there are many games you can play that use pre-established
tunes and never feel like you are cheating. A written blues song can be a
lot of fun if you pass the verses from performer to performer and let the
audience see different takes on the same theme. I have often seen troupes
use The Crystals' song "Da Doo Ron Ron" to present music in the show, but is
actually more of an ad lib rhyming game. So the answer is no, using a
pre-written song is not cheating.
I have also, in this column, always encouraged casting strong, rehearsing
weak. So in your shows it may be most practical to throw your better singers into the musical pieces, for the sake of your audience, until the
others are up to snuff.
Wayne Brady does do nice work. Just remember what makes him so good is not
simply his voice, but rather his fine command of styles and his ability to
sell the hell out of whatever he's singing. These are skills that can be
learned and constantly be studied. And should be.
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Dear Improv Andy
I am tired of performing to a bunch of other improvisers. I love Improv and
want to use it as a path to being seen by agents so I can start making a
living by performing. How do I get important people to come and watch? -
G.F., New York, NY
First of all, stop capitalizing improv. That kind of elitism has already
alienated much of the performance community, and subsequently the show-business industry. Secondly, wait.
The pending Writer's Guild strike already has some industry looming around
improv shows in the major markets, and more are bound to follow. The biggest problem with attracting any industry is that improv does not have a
rich history of goodness as does theater. Most agents and casting directors
think improv is crap, and in most cases they would be right. To set your
shows apart perhaps you should utilize new formats and market your troupe as
a fine night of theater rather than an "improv show." It's only a lie if
you cannot deliver a fine night of theater. If you can than the industry
people will be fascinated and overjoyed at what you were able to accomplish.
Take the lessons of the big money people. Paul Sills' "Story Theater," which was produced on Broadway, and "Lifegame" (off-Broadway) attracted a
lot of industry and the general public by proclaiming themselves improvised
theater.
The words themselves are that important in how you present yourselves. "Theater" conjures images of strong performances and strong words presented
on ancient stages, "improv" conjures images of frat boys in T-shirts telling
dick jokes. Not that dick jokes can't be fun, but they are more fun to you
Cousin Joey than to Steven Spielberg.
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Enjoying
sitting at the feet of Improv Andy? Check out these previous musings
from the mountain. October, December,
February
To
pose a query to Andy, please e-mail him at improvandy@improvreview.com.
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