2015 is The Year of the Teacher

logo-2015When the site launched back in 2013, a big goal of the site was to start bridging the gap between improv festivals and traveling troupes. We knew it was important to get great shows to festivals to help raise public awareness of how beautiful this thing we do can be. We spent a lot of time talking to both festivals and troupes about their difficulties communicating with each other. We’ve put in a lot of time and consumed a lot of Mt. Dew building tools that we hope are bridging that gap. We’re very proud of the small contribution we’ve made towards facilitating those conversations.

As we worked, it’s become more and more clear that there’s another gulf in the improv world, and that’s getting some great improv teachers in touch with growing theatres.

Improv companies – those that are starting out and those that have been growing for years – all of them thrive and grow only when they are pushing their performers to learn and grow. Theatres excel when they expose their performers to the best education. Access to quality education used to mean flying to Chicago or Los Angeles or New York, and the cities left behind stagnated. That’s not the world we live in anymore. Improv can flourish everywhere. It’s absolutely in our reach to have amazing education and amazing performances everywhere. It’s absolutely in our reach to have improvisors pursing their craft as a full time career. It’s all right within our reach if we come together.

So after a lot of work, and a lot of work to come, we’re very excited to announce that 2015 will be The Year of the Teacher.

Theatre owners – You have a part in this

Running a venue can be expensive. You have to pay professionals every day; A/C repair techs, web designers, marketing people, landlords. I hear too often that there just isn’t a budget to fly or drive in quality instructors. That’s like building the world’s classiest steak house and not having the budget to get good steak. Bringing out instructors to challenge your performers is the best investment you can make in your theatre. If you plan well, you will see a huge leap in both the quality of shows and tickets sales. It will absolutely spur your growth.

There are dozens of great instructors you can get to come to you with decades of experience. They want nothing more than to help you. They’ll bend over backwards to help you. But you have to treat them like the professionals they are.

Local teachers – You have a part in this

For every famous master teacher, there are countless unsung heroes. You are often the first person a new improvisor will be exposed to improv through. You will be the ones to spark that first ember of passion in them. Don’t ever take that for granted. You are a teacher. That’s the most noble thing there is. Take it seriously. Work with your fellow teachers to build a lesson plan. Throw away a one-size-fits-all curriculum and replace it with a set of teaching standards. Make sure you impart the real wisdom of the ideas of improv. It really doesn’t matter if they learn it through clams are great or hot spot. Be available to your students. Be available to other teacher’s students. Really read and respect your teacher evaluations. (You do have teacher evaluations, right?). Most importantly, always be learning yourself, both as a performer and a teacher. Talk to teachers you admire. Ask them for advise. Be a better teacher. Inspire the next generation.

Traveling teachers – You have a part in this

You have something specific you want to say. That’s awesome. Don’t wait for the phone to ring. If you want to be taken seriously as a professional, act like one. Build a portfolio. Get feedback. Ask for referrals. Don’t be pushy. Don’t be a jerk. But if this workshop is something you believe in. Keep that fire burning under you. Don’t rest until it’s out there. And hey, if you don’t have something to say, wait until you do.

NIN – You have a part in this

Hey, that’s us. The truth is, nothing that’s been said above is groundbreaking or controversial. Most people would agree they’re nice ideas in theory. But in practice, it’s still very difficult. We all understand the festival submission process, but setting up a workshop with a teacher is uncharted territory. We get many questions here about “How do I approach a teacher?” “What should I charge for workshops?” “How do I ask a theatre if they’d like to have me.” We’re still very much at that seventh grade party awkwardness of asking each other to dance. We don’t need to be anymore. We don’t need to be confused to not know how to start the conversation. We don’t need to be embarrassed to talk about money.

So we’re going to spend the next year trying to facilitate those conversations. We’ve talked to a lot of you; at festivals, in bars, over email. We hope to keep talking to you in the year to come to make teaching improv something everywhere.

So where to be begin

We’re ready to start dedicating all our efforts into channeling these ideas together. We’ll have a lot of blog posts this year dedicated to the subject. A lot of venues honestly don’t know what a teacher expects when they visit. We hope to do a lot of writing to help you prepare for their visit without surprises or confusion. We’ll talk about how to make the finances work for your budget. We’ll talk about how to work together with other theatres to share workshops. We’ll talk about how local teachers can improve their skills and create great student teams. We’ll talk about the differences between a teacher, a coach and a director.

The page itself will start having more tools available for teachers and for theatres. Very soon, any NIN member who is a teacher will be able to have an extended profile in which they can list their workshops with all the contact and logistics. Teacher’s will also be able to include testimonials on their teaching profile and also include a history of the theatres and festivals they’ve visited so people can reach out to past students and learn about the workshop from those who have taken it. There will even be a trip planner for teachers hitting the road to help get them in touch with the right theatres looking for workshops. Oh, and teacher’s will be able to submit workshops directly to festivals as well. Teaching standard builders, schedulers and other tools will be available for people trying to build a training program.

And in the non cyber-world, we’ll be traveling to festivals and theatres hosting conversations and Q&As with teachers and theatre owners in hopes of raising the national dialog on how we can share information and tools with each other, on how to build a better index of teachers than any Facebook page can hold, on how we can start the process of helping theatres know which instructors are the best bang for the buck.

There is no club for improv teachers, no guild, no union, no secret handshakes. There is only word of mouth and a thousand blind emails. That’s not enough. But it’s as start. We can start working together, theatres, festivals, students and teachers to build a stronger network of instruction across the continent and beyond.

And wouldn’t that be lovely?


Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America.

5 Ways an Improv Troupe Can Communicate Better

I get asked this a lot…How do we deal with someone in the troupe that is hard to work with? How do we kick someone off the team? Should we add new people? Should we get a coach? How do we make these decisions? Improv is such a positive force we sometimes forget to set some ground rules because we assume everything will work itself out because we are all easy-going people. Well this is not the case all the time. We are also artists that have strong passionate feelings about things. Sure, improvisors are awesome we all know that, but a troupe needs to communicate and be on the same page or else it will quickly fall apart.

A troupe needs to set up expectations up front so when you come across a situation it’s easier to figure them out in a diplomatic way. Below I have listed some things that will help guide you and your troupe into communication bliss.

1. Get Organized From the Start:

I’ve mentioned this in a blog post before. Your troupe should start an improv bible. Now the bible in the blog mentioned is focused more on the improv aspects of your troupe, which you should have, but in addition to that bible, start a bible on the rules of your team outside of performance. Here’s an example of what you’d have in there:

A. How do we pay for a things – rehearsal space, coach, etc… – Dues Based? Monthly Dues? When we show up for rehearsal? I would personally recommend a monthly dues based system. Why? It’s easy and holds every member accountable. So if they miss a rehearsal you don’t get screwed out of money to pay for the space or the coach. This saves you a lot of tracking people down.

B. Troupe Positions – Sure you’re all improvisors in an ensemble but get organized – Like a Boy Scout or Girl Scout Troupe they have Senior Patrol Leaders, Patrol Leaders, Scribe etc. What are you in your troupe? Positions I think you need to have – 1. Booker – Books the rehearsal spot, coach and submits to festivals etc. 2. Treasurer – Handles all money to pay for space, coach and handles dues. 3. Marketing – Handles all social media posts, invites and team events. And switch roles every few months so you’re not always doing the same job, unless you guys are happy with your jobs then you can keep them as long as you want. But figure out how you’ll handle that.

2.  Set the Rules of Your Troupe:

If you miss rehearsal are you allowed in the next show? How many rehearsals can you miss before you are unable to be a member of the team? How does the team vote ? Meaning how will people deal with who is on or off the team or what new rules will be added or taken away? Does the coach/director vote? Does the coach/director make those decisions? Or is it a team matter only? Have this written in stone so there is no confusion and have everyone understand it and have it be accepted unanimously. If all else fails ask your coach for advice.

3. Get Serious! Get a coach!

PLEASE!!! Get a coach or a director. If you are serious about improv and growing as an artist you need an outside eye. Do not have another teammate give notes or step out and coach you. You need to grow as a team and you can’t do that with one member hopping out and coaching too. It’s a weird dynamic that doesn’t work. If you don’t have enough coaches in your community then someone has to decide not to be on the team and just take the role as a coach. But the best thing about a coach, is as a veteran, they can give you advice on what to do if you’re having issues with an ensemble member. They can be a great mediator. Trust me they’ve been through it all before.

4. Troupe Boundaries 

You have to talk about what is okay and not okay to do. Is it okay if we have physical contact? How far can that go? What are we as a group comfortable with? Some people don’t like to be touched and that’s okay. Know that now so you can figure it out and move ahead as a troupe. You don’t want to find out a month down the road when you kiss someone onstage that they were uncomfortable with that now and are quitting the team.

5. Team Vision

What kind of team do you want to be? Again, set expectations – Do you want to be a traveling troupe that goes to festivals or just a local troupe. If most of you want to travel but there are a few that don’t then you really need to figure out if this troupe goes forward. Agree on what you want out of the troupe. How many shows or rehearsals do you want a month? Where? I know it sounds like a lot but figure it out.

PHEW! That’s a lot. Hey guys and gals, remember improv is fun! YAY! Sure  this looks all serious but  it’s necessary. You will save yourself a lot of time and heartbreak by putting these things in place. It holds you all accountable and there is no questioning what is right or wrong if rules are in place from the get go. Hopefully with these 5 items in place communication will be a breeze.

If you have any questions or you think I’ve left something out please feel free to comment. Go Improv!

Nick Armstrong

Nick is Camp Director and Founder of Improv Utopia an improv retreat for grown ups in California and Pennsylvania. He is also one of the founding members of the National Improv Network as well as performer in The Sunday Company at The Groundlings and a member of the critically acclaimed Harold Team King Ten at iO West. Feel free to follow me @nickarmstrong on Twitter or on Facebook. We are always looking for better ways to serve the community. Drop us a line and let us know what’s up. 

To e-mail nick e-mail at nick@nationalimprovnetwork.com and for workshop information visit www.nickarmstrong.com.

 

Your Chance to Spread Our Artform to Those Who Need it Most

National Improv Network is proud to partner with The Detroit Creativity Project. Their mission is simple: To empower and inspire young people through improvisation, an art form that helps students build confidence and develop a creative and collaborative approach to their lives. 

As improvisors we have a chance to do something special here. Sure we’ve donated to help theaters, to help festivals, but now it’s time to give the ultimate gift. The gift of improv to kids who don’t have access to it.  Help DCP expand their program. Any little bit helps. And please share this with your communities.

FROM DCP:

Mission Throttle: Help us take the lead in the RiseDetroit Challenge!

The RiseDetroit Challenge is being sponsored by the Marjorie S. Fisher Fund on Crowdrise. The fund is giving away $100,000 to Detroit charities like us: The Detroit Creativity Project.

The Detroit Creativity Project offers a free 10-week class in improvisational theater to Detroit middle and high school students. Our mission is to empower and inspire young people through improvisation — an art form that helps students build confidence and develop a creative and collaborative approach to their lives. Our flagship program The Improv Project has trained over 600 students to improvise since 2012. Your support will allow us to expand the program next year. Our goal: to teach over 500 students to improvise in 2015.

Here’s how you can help: The charity with the greatest number of donations (not dollars) between October 21 and October 28 wins a bonus of $2500! That would allow us to add one new school to the program and pay for half of the program in another school.

And your donations will help us compete for the grand prize of $30,000, going to the charity that raises the most dollars by October 30.

Like you, we believe that learning to improvise can be life changing. We are seeing how The Improv Project is changing our students’ lives in large and small ways. Please join us by supporting our campaign in the Rise Detroit Challenge. https://www.crowdrise.com/TDCP-RiseDetroit.

Nick Armstrong

Nick is Camp Director and Founder of Improv Utopia an improv retreat for adults in California and Pennsylvania. He is also one of the founding members of the National Improv Network and performer at iO West’s critically acclaimed Harold Team King Ten as well as member of The Sunday Company at The Groundlings. He has also taught improv workshops around the country.

The Improv Movement is Upon Us!

On my way back to California from Camp Improv Utopia East over Labor Day weekend it all finally came together for me: The improv movement is here and is not going to stop. Recently, the bigger improv theaters, iO, Second City, The Annoyance and UCB have all embarked on getting bigger and better spaces. That tells you something about the state of improv when the big theaters are looking to grow. There are tons more improvisors than ever before. But guess what? It’s not just in the big cities.

Mostly overlooked is the improv movement that’s happening in our country and beyond. Pretty much every state has an improv theater or festival now. On our site alone we have 74 theaters listed, 80 festivals, over 700 improv troupes and over 1,300 members. Sure we have tons more work ahead of us, but we accept the challenge.

During camp I met, for the first time, many theaters and festivals I’ve never come in contact with like The Baltimore Improv Group, The Providence Improv Festival, District Improv Festival, Arcade Comedy Theater, Figment Theater, Philly Improv Theater (PHIT) and so many more. What makes me smile the most is that these improvisors, who work their 9 to 5 jobs accounting, administrating and waiting tables, have this inner passion that is screaming inside of them to go forth and make improv. Getting a space, in a pizza parlor, a bar, on the street…Wherever they can! They don’t see this as a financial endeavor but an improv endeavor. You see it radiating in their eyes when they talk to you about what they’re doing in their towns and how important it is, not to them, but to their cities and communities. They’ve discovered this great thing that makes them happy and they want to give it back.

That’s what it’s all about. That’s what the National Improv Network was founded on. That’s why we do all this. It isn’t for fame or money. It’s for us as a community. We want to be heard, we want everyone to know about this art-form and we will scream it to anyone that will listen. NIN is happy to do our small part in all of this, but we are here and improv is here throughout the country because of you! YES YOU! reading this right now! It’s for real now and it can’t be denied. And we want to get better at it, we want to do more with it and we want to connect like never before. The pieces of the improv puzzle are coming together. We still have work to do, there are still some bumps in the road but we have the passion, the numbers and the strength!

I’ll leave you with this. And this is what I say to my campers at the end of camp. Take what you’ve learned and go back to your communities. Help them grow. Share with everyone you can, help anyone you can and work together.

Nick Armstrong

Nick is Camp Director and Founder of Improv Utopia an improv retreat for adults in California and Pennsylvania. He is also one of the founding members of the National Improv Network and performer at iO West as well as member of The Sunday Company at The Groundlings. He has also taught improv workshops around the country.

Pioneer of the Chicago Improv and Theater Scene Sheldon Patinkin Leaves Us.

Legendary teacher, writer and performer Sheldon Patinkin passed away yesterday at the age of 79. Among is accolades, he inspired the creation of The Second City where he was involved for over 50 years as an artistic consultant, while also being involved with theaters in Chicago such as the Steppenwolf Theater Company and original member of the Playwrights Theater Club. He also was the chair of the Theater Department of Columbia College.

He influenced many lives of many actors and improvisors over his career. Thank you Sheldon for your commitment and contribution to theater and improv. You will be missed.

That Was A Great Game

I think if you asked every improvisor who has ever stood on a stage and made people laugh when they first believed such a thing was possible, the name Robin Williams would show up in their story somewhere.

Robin Williams showed the world how to laugh and showed us that we could share laughter with each other. How many of us were struck by that powerful yet simple notion as children? How many of us learned that we could give our parents and our friends the gift of laughter when they were sad? That’s powerful magic. He taught us that. He shaped our lives in a wonderful way and the lives of those we love in wonderful ways.

When we lose the people who were powerful impacts on our lives, we are sad for the loss, for the absence of that wonderful thing. But the beautifully unique thing about Robin Williams is that the good thing he brought into our lives was to face sadness with joy and laughter. It’s not surprising that Mork and Peter Pan are the two characters I’ve heard mentioned the most today, because every time we see him perform, we feel younger and more filled with childlike wonder.

We will all be sad tonight, and tomorrow we will return to bringing smiles and laughter to those who came to escape their own bad days. We will carry forward that laughter and keep his memory strong. And I hope somewhere he is laughing with us.

I know Facebook is already filled with tales, but feel free to share your own personal stories of Robin Williams and how he made a special place in your life.

Goodnight, Neverland. Thank you for believing.

Competition Or Collaboration?

You’ve started and improv group, your improv group has grown. You’re getting an audience, selling out the pizza parlor you’ve been performing at. It’s time to grow, so you get your own space and your own improv company. But what’s this, another group has done the same thing as you and have opened an improv theater in the same City…”NOOOOOOO! But there going to take my business!” “All the improvisors will perform and train there not here, all the audience will go see them, not us.”

As an owner and/or performer you’ve probably witnessed or have been a part of the above scenario. It happens in most cities. The new kid on the block comes in with their new theater and improv philosophy and you see it as a threat or don’t agree with their style.

It is my philosophy that improv cannot work in competition it has to work together…

How Corporations Work:

Corporate America is a results based system. Meaning they will do anything they can to get a bottom line and make more money for their investors and their executives. It’s a shitty system. We all have seen it single handily destroy the America we once knew. Causing a huge rift between the class system. Corporations hand out pink slips and buy the competition or try and put them out of business. They most likely never work together. It’s a cut throat world and everything needs to be cheaper and make sure their labor costs are down. I’ve been in this world. I’ve seen in first hand.

How Improv Works:

Improv is an ensemble based system. Where a group of friends or strangers get together and collaborate and try to achieve a group mind. They encourage a yes and philosophy and bounce off the last thing said. Add information and heighten their fellow ensemble members idea. The growth is collaborative.

Now…How Improv Cannot be a Corporation.

Improv is not a corporation and it shouldn’t be treated as one. Improv business should be treated the same way as the philosophies of improv. You can’t have one or the other. Improv is a community that wants a home or many homes. Improvisors want to seek many philosophies and want to expand their artistic repertoire. Embrace this. Run your business like an improv ensemble. Accept the new improv theater that just opened down the street. Welcome them with open arms and give them advice if they ask for it. Remember the old days when someone moved into your neighborhood you brought them a pie. You don’t have to go that far, but brownies might be nice. 😉 Share information. Let them know the permit process might be hard and here’s an easier way to do it etc.  Don’t isolate them, you don’t have to believe in their philosophy over yours but you do have to accept them. Work together. Use your powers to raise awareness to the masses of improv.

Here’s an exercise: Count how many improv theater seats in your town, let’s say 500 and now see how many people you have in your city, say 200,000. There is no competition. You can easily work together to tap the potential audience market by raising awareness. All 500 seats will be filled every weekend.

Internally, run your business like an improv ensemble. Get feedback from your audience, your performers and your partners. This will only help you grow and become better. Bounce ideas off each other, add information and heighten. Listen, listen, listen. Throw your ego out the door.

The Improv Community:

I’ve traveled the country and have seen many different improv communities and have heard their stories of competition and not getting along, and I have had many improvisors and improv businesses come through Camp Improv Utopia and I have heard these stories too. I know this community. We are a community that wants to grow. Improvisors aren’t going to just train at one theater, they want to try as many as they can. And they should. You should embrace that. Not embracing that will ultimately scare them away from your community or close your theater off and put you on an island. Trust your community, listen, share  and grow together. That’s what an improvisor wants, that’s an improv community. That’s what makes us different then every group in the world.

Don’t let your business be guided by competition, let your business be guided by collaboration.


Nick is Camp Director and Founder of Improv Utopia an improv retreat for adults in California and Pennsylvania. He is also one of the founding members of the National Improv Network and performer and teacher at iO West as well as member of The Sunday Company at The Groundlings. He has also taught many workshops around the country.

Jimmy Carrane’s New Book: Improv Therapy

Jimmy CarraneIf there is anything about Jimmy it’s that he is probably one of the most honest improvisors there is. Just listen to any Improv Nerd podcast and you’ll see what I mean. I had a chance to interview improvisor, master teacher, blogger and Improv Nerd Jimmy Carrane about his newest book Improv Therapy.

What inspired you to write Improv Therapy?

I think with everything I do — my blog, the Improv Nerd podcast, my teaching and this book — I am trying to offer emotional support to improvisers that I did not get when I was starting out in improv as a needy, fat kid in the ’80s.

As you know, the culture of improv is supportive — the whole “yes and…” and “making your partner look good” thing. But that is different than how you feel about yourself or how you react to a bad show or the jealousy you feel about other people’s success. These are the things that get in the way of your career, and they are the things most improvisers don’t want to talk about. But not talking about it does not make it go away. In fact, it actually gets worse, and by talking about it, it gets better and you become a better improviser. I feel like a broken record, but improv is a personal art form, and what affects us off stage in our lives has a direct effect on our improvising.

What do you want improvisers to get out of this book?

To know it’s ok to feel and think certain things like jealousy or shame or wanting to kill yourself after a bad show and there is nothing wrong with it. Actually, it’s healthy if you do think those thoughts. And by doing admitting it, you will become a better improviser. Also, if you need outside help, get it, because improv is not going to solve all of your problems.

Tell us about your process in writing this book…

Just as when I wrote Improvising Better with Liz Allen, we did not start out to write an improv book. Other people suggested it.  Same thing with Improv Therapy. As I was writing my blogs every week, people kept saying “There is a book here.” Of course, I didn’t believe them. As with most of my creative endeavors, a lot of procrastination was involved.

Maybe it’s my improv training, but I could not write this book alone. So, my wife, Lauren, who loves to make lists and also edits my blogs, gathered all of my blogs together and found a theme to them, which was emotions. Then I needed to do some additional writing around the chapters, and she kept me on a schedule, and towards the end she confronted me on my perfectionism and said, “The book is done. ”

What is the difference between your first book, Improvising Better, and your newest book?<

Improvising Better is great how-to book. You have this problem in improv and this how you can fix it. I think it’s inspirational and a very easy read. I can’t believe it’s in its fifth printing. I am really proud of the collaboration between Liz Allen and me on that book. Improv Therapy is more emotional. It talks about bigger concepts of anger, shame, jealousy and joy.

Improvising Better is about the outer game while Improv Therapy is more about the inner game. I think it reflects my work in therapy and recovery from numerous addictions and it’s more from a student’s point of view

The second book also reflects my relationship with improv today. When I wrote the first book, I was primarily a teacher. At that point, I had given up on performing. I was more rigid in my thinking that there was a certain way to improvise. Doing Improv Nerd has opened my mind. It’s been like doing acid — you see how all these different approaches work.

About Improv Therapy:

Improv Therapy is an honest and insightful book about the things improvisers don’t want to discuss: their feelings. Written by Jimmy Carrane, host of the Improv Nerd podcast, Improv Therapytakes a look at the improviser’s mind and what blocks improvisers on stage, and gives them practical advice to overcome their issues so they can become the improviser they always dreamed of being.

To purchase Jimmy’s book Improv Therapy you can get it for $3.99 (What a steal!) as a PDF or on Kindle.

About Jimmy Carrane:

Jimmy Carrane is the host of Improv Nerd and co-author ofImprovising Better: A Guide to the Working Improviser  and Improv Therapy: How to Get Out of Your Own Way to Become a Better Improviser. His Art of Slow Comedy class won the 2012 INNY Award for Best Comedy Class/Workshop. A well-known improv teacher, Jimmy has taught at The Second City, IO-Chicago, and The Annoyance and he currently teaches classes at Green Shirt Studio and Stage 773 in Chicago. He was also an original member of The Annoyance Theater and Armando at iO Chicago, and has performed in some of Chicago most innovative and ground-breaking long-form improv shows, such as Jazz Freddy and Naked< (a two-person one-hour improvised scene with MAD TV’s Stephanie Weir.) His other theater & improv credits include: I’m 27, I Still Live at Home and Sell Office Supplies,Godshow,Every Old Man,Living in Dwarf’s House and Summer Rental at The Second City, e.t.c. For more information on Jimmy, please visit www.jimmycarrane.com.

improv-therapy-book-cover


Nick is Camp Director and Founder of Improv Utopia an improv retreat for adults in California and Pennsylvania. He is also one of the founding members of the National Improv Network and performer and teacher at iO West as well as member of The Sunday Company at The Groundlings.  He has also taught many workshops around the country. We are always looking for better ways to serve the community. Drop us a line and let us know what you want.

To e-mail nick e-mail nick@nationalimprovnetwork.com. For more information visit: http://www.nickarmstrong.com or http://www.improvutopia.com

 

1,000 and Growing

4923997_300[1]We’re honored that far more than 185 improvisors walked into a website.We know that numbers don’t mean a thing without an active community, but since our launch just under a year ago, we’ve reached 1,000 members talking and sharing here on the site. We’re humbled by both the support and patience folks have had with us this first year of this idea. And in that year, that idea has changed as grown as so many members have been brilliant in suggesting new ideas that have become part of the page.

This is truly a network now, not a series of passive readers, but a community building festivals, troupes and theatres. Sharing ideas, helping each other grow. We are one awesome community and I know we’ll continue to grow as we pass along our knowledge to our students and watch them build greater things that we believed possible. We all share a love of an art form that let’s us express ourselves and relate to the world around us in a startling honest and beautifully fleeting way.

I have met so many people, both online and at festivals this year. I can’t wait to meet more and continue to learn from everyone. We are truly humbled and grateful  for your  being here. Improv is the winner.


Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America.

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