From David Shepherd’s Journals: Working with Non-Professional Improvisers

David Shepherd, who in 1955 with Paul Sills created Compass, the first professional improv company in North America, has always been drawn to working with non-professional improvisers. He sort out groups that had no theatre experience from schools, churches, synagogues, senior citizen and community centers. David encouraged some groups to play in foreign languages, reasoning the audience would follow along if the emotion was sincere.

The Improvisation Olympics, which David created in 1972 with Howard Jerome Gomberg, (and which spawned i.O. in Chicago and the Canadian Improv Games in Ottawa, Ontario) was designed to promote interest in theatre. According to David, “Improvisational theatre, which involves no scripts or sets or props, is an ideal way to get people interested in the theatre. Also, the Improvisation Olympics, which is associated with sports, is an ideal way to involve young men and women in the theatre.”

 

In late 1981, David brought the Improvisation Olympics to Chicago. With Charna Halpern as his co-producer, the two designed a series of tournaments that involved professional and non-professional leagues. Several years later, David wrote about his observations working with non-professionals in his journal.

Chicago Improv Olympic handbook

 

From David's Journal. April 1986

THEORY:

Non-professionals can be interesting to observers because of intimacy. Intimacy prevents big flaws of non-professional "acting": exaggerated feeling, self-consciousness, forgetting lines, phony gestures, unnatural responses, interactions too slow or too fast, unbelievable characterization, imposing an idea of the scene that's not organic to the scene.

A coach can lead a few players into an intimate transaction, for instance at a bar or beauty parlor, at least for a few minutes. To do this the coach must know the desired transaction (e.g. betting on a game or gathering information about a trip). The coach must also know how to lead players into the intimate: explain it clearly, prevent players from veering away from it.

EXAMPLES:

What’s happening in an intimate scene, players are performing for each other. Because the scene is already textured improv with innuendo, mockery, conscious exaggeration, apology, stoned agreement, etc., we accept it--even though it's done by non-professionals.  EXAMPLES: Polish cook and waiter fight in Polish; Colonel and friend discuss red cars and women; Connie puts Mark down, I relate to Scott Vehill about cleanliness.

The main advantage non-professionals have is authenticity. Their tiffs and laughter ring true; if you can catch them at an unguarded moment, you get dialog and action as interesting, I believe, as that of the professional. Another advantage: they don't burden the budget and may even contribute money to it. Another: if you're doing a piece about a local theme, a local player is more likely to get the point, the emotions, and the accent, than a professional imported for the production.

STANDARDS:

In 1984 I was in Los Angeles recruiting for teams to play into an ImprovOlympix. We already had the "Free Radicals" and the Canadian team, among others. "Why not a Russian team?" I asked, driving across town to a well known Russian restaurant. The owner listened to my story about teams of Chicago cops, rabbis, comedians, techs, inmates, musicians. He asked how we worked. I described a process: training of the team, commitment to competition, warm ups, taking a suggestion from the audiences, running with it, being scared, winning or losing, exactly what we’d been doing in Chicago.

In response, he sang to me, very slowly and loudly, the oldest, most traditional Russian folk song he could pick. His eyes and hands spoke about what he was doing: a national rejection of improvisation in favor of something known that's been tested, that expresses the same sentiment century to century, and that demands interpretation--tremolo, change of rhythm or volume, attack, dynamics.

So what can improvisation offer in response?

First of all improvisation represents the energy, not of individuals taking turns to speak or sing, but of a group. The product is only as strong as the group. If the group is not together; if members are not relating to each other, then the result is disappointing. On the other hand, sometimes the group plays far above its abilities. Improvisation also represents the insights and feelings of a group. You get up a totally new statement of a theme, or a totally new story, within minutes of meeting. There's an excitement in this speed, this forced growth of a seed that blossoms within an hour or two.

David Shepherd, center, working with a group of non-professional improvisers

Michael Golding is a writer, director and improv teacher.  He can be contacted for workshops, festivals and private consultations at migaluch@yahoo.com. Michael participated in the evolution of the Improv Olympics & Canadian Improv Games. Artistic director of the Comic Strip Improv Group in N.Y. & created the Insight Theatre Company for Planned Parenthood, Ottawa.  He is a faculty member at El Camino College in Los Angeles, working with at-risk teens and traditional students. He wrote and co-produced the documentary "David Shepherd: A Lifetime of Improvisational Theatre" (available for free on YouTube).  His book, Listen Harder, a collection of essays, curriculum and memorabilia on improvisation and educational theatre, is available on Amazon, Barnes & Noble and CreateSpace. Michael holds a BFA degree in Drama from New York University’s Tisch School of the Arts & an MA degree in Educational Theatre from NYU’s Steinhardt School of Culture, Education & Human Development. 

Harassment and Sexism in Improv by Michael Golding

 

Lately I’ve been reading multiple posts about harassment and sexism in the improv community. Considering trust is a key element to a successful improvisation, I find this highly disturbing.  A major contention amongst female improvisers fifty years ago was that if they were cast in a scene, they were more likely to play a mother, wife, girlfriend, nurse, secretary, than say a lawyer, doctor, boss, police officer or scientist. Not certain how far we’ve evolved in that respect.  

Years ago I had an actor in one of my professional workshops, who was clearly a misogynist, but considered himself a feminist, (because he had sisters).  For the purpose of this article, let’s call him “Dick.” If he was asked to suggest a role for a female player, invariably it was wife, girlfriend, secretary or nurse.

If Dick was in a scene with a female player, it was going to be a seduction scene, whether the scenario warranted it or not.  Those who were familiar with Dick’s modus operandi would either play along, adhering to the yes and philosophy, or find a way to shift the situation into another area. One time Shelly, a new player to the workshop, confused by the lack of collaboration she had with Dick in a scene about a fortune teller and client, asked him afterwards what his objective was.  “I was trying to seduce you,” Dick answered incredulously. Surprised, Shelly responded “Oh, is THAT what you were trying to do?  The class erupted in laughter. Dick was confused by the response of the class.  He later speculated that Shelly was clearly a lesbian, which is why she didn’t pick up on his offers.

When I called him out on this after the workshop he referenced a quote from Elaine May; “when in doubt, seduce.”  I referenced the wisdom David Shepherd and Paul Sills shared with me when I studied under them; “when in doubt, focus on the where and activity.” Regarding his casting suggestions for women which were gridlocked in the fifties, I pointed out that Elaine May once did a scene with Mike Nichols about a son telling his mother that he wanted to be a registered nurse, which was freaking hysterical to audiences of that era. Perceptions and approaches change. Dick wasn’t particularly enlightened by that observation.

Elaine May seducing Mike Nichols

  

A pivotal moment in the workshop was when Dick and Jennifer (someone Dick had a crush on) were improvising a scene about a married couple whose relationship was in its death throes. The set-up was that the relationship had gotten so toxic; they could barely stand to be in the same room with each other. That didn’t matter to Dick. Right off the bat, he started mauling Jennifer as she was packing to leave.  I stopped the scene and asked Dick what he was doing, considering the context of the scene.  Dick said he was playing Viola Spolin’s Contact game (players touch whenever they say something)  to elicit an honest emotional reaction from Jennifer.  Her reaction was honest. She was obviously uncomfortable being groped while exclaiming “This is why I want out! You don’t respect me!”

I decided to continue the scene from the moment we left off, with a change; I had Dick and Jennifer switch roles. It empowered Jennifer. Her physicality was clearly an attempt to control and dominate Dick, rather than seduce him and the hostility behind the husband’s actions was clear. However, Dick was receptive to being touched, despite the fact it had been established previously in the scene that the wife was repulsed by her soon to be ex-husband and he quickly segued from revulsion to arousal. I stopped the scene again. “What’s going on here, Dick?  The wife wants out.”  He’s changing my mind,” Dick reasoned, “I think this marriage can be saved.”

So I decided to continue the scene one more time, with another change. I replaced Jennifer with Cliff, who was twice the size of Dick, and had the scene proceed from where we left off.  His hands were all over Dick, who segued quickly from “I think this marriage can be saved” to “what the hell are you doing? I don’t love you anymore!” Cliff was persistent, forcing Dick to use one of Jennifer’s previous lines; “This is why I want out! You don’t respect me!”

I side-coached with one more direction, “switch roles.”  Back in the husband role, Dick acquiesced that the relationship was over, apologized for his behavior, and kept his hands to himself.  Suddenly the scene had more of an atmosphere of authenticity than before. Discussing the scene afterwards, Dick was surprisingly more empathetic to the role of the wife and how the husband refused to respect her boundaries, admitting “Yeah, the husband was being an asshole.”

Did Dick learn anything that day? I hope so. But it provided me with a new four step approach when dealing with harassment and sexism in male/female scenes:

·        Play scene as originally cast.

·        Have the players switch roles and continue scene.

·        Replace the female player with a male player in the same role and continue scene.

·        Discuss the results of switching afterwards. This is paramount.

Ninety percent of the time, the scene becomes more realistic – and maybe, just maybe, the harassing male player has learned something about boundaries, respect and trust.

I’ll check back on this in another fifty years.

In the meantime, enjoy Mike Nichols & Elaine May improvising the scenario of a son telling his Jewish mother he wants to be a registered nurse.

Michael Golding is a writer, director and improv teacher.  He can be contacted for workshops, festivals and private consultations at migaluch@yahoo.com. Michael participated in the evolution of the Improv Olympics & Canadian Improv Games. Artistic director of the Comic Strip Improv Group in N.Y. & created the Insight Theatre Company for Planned Parenthood, Ottawa.  He is a faculty member at El Camino College in Los Angeles, working with at-risk teens and traditional students. He wrote and co-produced the documentary "David Shepherd: A Lifetime of Improvisational Theatre" (available for free on YouTube).  His book, Listen Harder, a collection of essays, curriculum and memorabilia on improvisation and educational theatre, is available on Amazon, Barnes & Noble and CreateSpace. Michael holds a BFA degree in Drama from New York University’s Tisch School of the Arts & an MA degree in Educational Theatre from NYU’s Steinhardt School of Culture, Education & Human Development.  

The Comic Strip Improv Group (Improvising with Robin Williams) by Michael Golding

From 1983 to 1985 I conducted workshops and directed shows for the Comic Strip Improv Group.  Since 1976, the Comic Strip, now known as Comic Strip Live, has been one of the top comedy showcase clubs in New York, where stars such as Jerry Seinfeld, Eddie Murphy, Chris Rock and Adam Sandler honed their skills.

The group was originally started by Steve Shaffer, but overseeing a pool of sixty comics while pursuing his own stand-up career quickly proved to be overwhelming.  Gabe Abelson, a mutual friend and comedian who I had worked with before on several off-Broadway revues, brought me in to take over the group.  The immediate challenge was to change the standup comedian’s mindset of being on one’s own, to relying on others as part of an improv ensemble.  This was accomplished through weekly three hour workshops during which I assaulted the comedians with a barrage of techniques from Viola Spolin, David Shepherd, Keith Johnstone and a few formats of my own design.  I was impressed by how the comedians threw themselves into the workshops, including the seasoned acts, who were interested in broadening their repertoire.

Still, there were a few in the group who were uncomfortable with acting, who abhorred some of the “touchy-feely” exercises, and who preferred to participate in formats that relied on their verbal skills.  These formats included: (1) Expert, in which the audience provided a topic for a comedian to do a monologue on, followed by follow-up questions from the audience;  (2) Man In The Street, which involved a comedian playing a tv news reporter, interviewing various characters on the street concerning a topic given by the audience; (3) Round Table Discussion, in which four comedians were cast by the audience as famous characters from history or literature, with another moderating the discussion of a controversial topic which was also selected from audience suggestions and (4) Commercial, in which the audience provided a name, purpose and tag line for an object that a comedian would then improvise a commercial for.  Sometimes I chose two comedians for Commercial, forcing them to collaborate and, dare I say, act.

Author at the Comic Strip.

For the comedians who had theatrical backgrounds, I threw them into formats that explored emotions, status, and imaginary objects.  Slow Motion Commentary became a personal favorite for those who excelled at pantomime.  In this game, the audience would suggest a common household activity that a comedian would execute in slow-motion, as two other comedians off-stage provided the commentary akin to a sports event.

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Three nights during the week, I chose six comedians from the core group to perform in half hour sets of various games.  We were decades ahead of Whose Line Is It Anyway?  Andy Ashe, the club pianist who was a classically trained musician, provided the atmosphere for some of the games.  Since the performing skills of the group were diverse, I always tried to match players who could compliment each other.  There is a big difference between a comedian and a comic performer.  The former goes for the one liner.  The latter will always try to get a laugh from the humor of the situation and character. 

Comic Strip Live audience.

Once a year, through improvisation we developed a full length show.  Each show bore the stamp of one of the personalities from the group.  “The Mickey Davis, Jr. Telethon” was the brainchild of Ron Zimmerman.  A deeply bent parody of the Muscular Dystrophy telethons, the goal was to wipe out death in your lifetime.  Incidentally, Ron created “Ledge,” one of the darkest improv formats around at the time. There were three players in the format – a person who was on a ledge of a building contemplating suicide for a reason which was provided by the audience.  One comedian played the devil encouraging the person on the ledge to jump. Another comedian played the angel trying to change the person’s mind.  Ron frequently played the devil, Barry Neikrug the angel, and soon the byplay between the two became the highlight of the evening.  It was like watching two Jazz musicians jamming.

Bill Masters & Ron Zimmerman; The Mickey Davis, Jr. Telethon

“A Day In New York” was Steve Shaffer’s baby, which was a series of sketches and songs based around life in the big apple.  “The Laff Maker” was mine, a rags to riches story of a comedian’s ascent, and inevitable downfall. 

"The Laff Maker" was the first time I developed a show around a personality, Hiram Kasten, and it was his energy that successfully propelled the production.  Hiram, unbeknownst to many, had a strong theatrical background, and his performance blew the minds of many in the comedy community who were unaware of the depth of his talent. 

Stu Trivax, Rob Ross & Cathy Ladman; A Day In New York

Steve Hytner & Hiram Kasten; The Laff Maker.

At the time, no other comedy club was doing what we were doing.  Many of the performers in my company at the Comic Strip have gone on to work professionally in film, theatre and television, including Susie Essman (Curb Your Enthusiasm), Steve Hytner (Seinfeld, Hung), Janette Barber (Rosie O’ Donnell Show), Bill Masters (Grace Under Fire), Dom Irrera (Aristocrats) Gabe Abelson (David Letterman, Jay Leno and the Tom Green Show), Wayne Federman (Late Night with Jimmy Fallon), the late Dennis Wolfberg (Quantum Leap), Allen Enlow (Sopranos), Joe Bolster (Academy Awards) and Cathy Ladman (Roseanne).  Chicago City Limits frequently invited members of my group to be guest stars, performing a stand-up set, followed by improvising with the company in a series of games.

Allen Enlow & Joe Bolster; The Laff Maker.

Wayne Federman; The Laff Maker

Cathy Ladman, Susie Essman & Wayne Federman; A Day In New York

Johnny Solomon; The Laff Maker

Steve Shaffer; A Day in New York

Gabe Abelson & Patty Rosborough; The Laff Maker

Barry Neikrug ; the Laff Maker

Joe Vega, Rob Ross & Steve Shaffer; A Day in New York

Allen Enlow & Marian Allen; The Laff Maker

Steve Hytner, Hiram Kasten & Nancy Redman;The Laff Maker.

We had frequent guest stars of our own:  Eddie Murphy, Carol Leifer, Rick Overton, Sam Kinison and Chris Rock.  But it was Robin Williams who had the strongest affect on the group – both good and bad.

Robin was in Manhattan shooting “Moscow on the Hudson.”  By day, he worked on location.  At night, he hit every comedy club and improv company in town.  He was everywhere.  We were all thrilled when he first started playing with us, but that dissipated quickly as certain elements became painfully apparent.  From the moment he set foot on stage, the audience didn’t care about the rest of us.  If you were in a scene with Robin, he was leading.  A few of my players who had the improv chops to keep up, would sometimes mistakenly think they were in a teamwork situation, until Robin would whisper “Just follow me.”  That’s when it became apparent that Robin wasn’t doing true improv.  He just took his vast repertoire of characters and one liners and threw them into every situation, whether the scene warranted it or not.

Robin Williams & Jeannie McBride

Dennis Wolfberg playing Expert as Robin Williams watches.

I mustered up the courage to talk to Robin about some of these things and surprisingly, he was gracious and accommodating.  He agreed to only appear in the last third of the set, and I started pushing him towards verbal based formats where he just had to rely on himself.

There were nights when he would come just to watch and sit in the dark on the side of the room so the audience wouldn’t notice him.  He often made a point of talking to some of the members of the group after the show, expressing how he liked what they did on stage.  For many, having someone of Robin’s caliber complement their work, was a magnificent ego boost.  I had some wonderful conversations with Robin about the work I’d done with David Shepherd and Paul Sills.   Paul found himself in a similar situation to mine when Robin was a guest star in “Sills & Company,” an off-Broadway show consisting of Spolin games performed by original Compass and Second City cast members.  Paul had to quickly put the brakes on Robin doing whatever he wanted to on stage, and forced him to learn the games.  Paul once said to me that Robin was a “brilliant hog.”

Wayne Federman improvising with Robin Williams

Dom Irrera & Robin Williams improvising.

One night while I was introducing the improv set, there was an audible gasp from the audience followed by thunderous applause.  I knew immediately it wasn’t for me.  Robin simply walked on stage, slid his arms between mine and proceeded to unbutton my shirt as I continued to talk.  As his hands reached down towards my fly, I pulled myself away and bellowed “Ladies and gentlemen, you’re in for a treat.  Robin is going to play a game by himself called “Silent Wrestling,” which is a situation beyond words.  Let’s have a suggestion for why Robin can’t talk!”  Silent Wrestling was originally an event from David Shepherd’s Improv Olympics.  It is an extremely difficult game which forces the player to focus primarily on activity and space without any recourse to verbalizing.

Silent Wrestling Event rules

 

As Robin glared at me, I took the suggestion “Man comes home drunk in the middle of the night.”  I beckoned Andy Ashe to come on stage and accompany Robin on the piano.  I then reminded Robin once again “Remember, you cannot talk!  You can make non-verbal sounds, but you can’t talk.” 

Robin is no slouch when it comes to pantomime. He was brilliant at trying to put the key in the door, stumbling into the living room banging into various pieces of furniture, and almost urinating in one of the potted plants.  His work was exquisitely detailed and vibrant.  Rather than relying on non-verbal sounds, he made up his own non-verbal sound effects which immediately got laughs from the audience, particularly when he kept stepping on his cat.  

Then, he cheated.  Periodically, he would turn his head and do the offstage voice of his wife, who was wondering what was going on downstairs.  Soon, he had his children do the same, eventually getting into a dialogue with their mother.   As we kept glaring at each other from across the stage, my expression said “You prick.”  His said “What?  My character isn’t talking.”   The scene ended with Robin curling up in the cat’s litter box.  I had to admit, it was a brilliant one man performance.  As Robin bounced off the stage, breathing hard and sweating profusely, he grabbed me and whispered “That was hard!”

We talked about the format for a bit, as well as other events from the Improv Olympics.  Robin’s improv background doesn’t follow the path of discovering the discipline through group activity.  Growing up as a single child with hardly any friends, Robin entertained himself in the attic by making up characters interacting with each other.  So, he’s really a one man improv ensemble, relying on nobody else but himself, which is sort of antithetical to improv.

The last time I saw Robin, I gave him one of the old format books from the Improv Olympics. Robin thanked me, anointed me as the "Improv Sensei," and disappeared into the city, hitting at least several more clubs, cabaret and theatres before the night was out.

Robin plays Expert, as Rob Ross, Dennis Wolfberg, Lisa Mende, Abby Stein & Ron Zimmerman wait - and wait.

By the end of my tenure at the Comic Strip, I was burned out and it was time to move on, although the club has always remained my second home.  There is a common misconception that comedians are aloof and self-centered, but I found the comedians I worked with to be warm, loving, inclusive, and always looking out for each other.  I was an outsider, yet from the start, they embraced me and instantly made me feel welcomed.  Aside from the workshops and shows I ran, my fondest memories come from hanging at the bar watching the Tonight Show or Letterman as one of the members of my troupe were having their first national tv exposure.  Not a day goes by when I’m watching tv, that some member of my company doesn’t pop up on screen.  Smiling, I close my eyes and I’m back in that dim, dark, musky environment reeking of cigarettes and beer. The Comic Strip still intoxicates and excites me.

Michael Golding is a writer, director and improv teacher.  He can be contacted for workshops, festivals and private consultations at migaluch@yahoo.com. Michael participated in the evolution of the Improv Olympics & Canadian Improv Games. Artistic director of the Comic Strip Improv Group in New York & created the Insight Theatre Company for Planned Parenthood, Ottawa.  He is a faculty member at El Camino College in Los Angeles, working with at-risk teens and traditional students. His screenplay credits include "Celebrity Pet" for the Disney Channel and the documentary "David Shepherd: A Lifetime of Improvisational Theatre."  His book, Listen Harder, a collection of essays, curriculum and memorabilia on improvisation and educational theatre, is available on Amazon, Barnes & Noble and CreateSpace. Michael holds a BFA degree in Drama from New York University’s Tisch School of the Arts & an MA degree in Educational Theatre from NYU’s Steinhardt School of Culture, Education & Human Development.