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Improv Etiquette 101: You Don’t Have to Wear a 3 Piece Suit!

Posted by Nick Armstrong on August 20, 2013

imagesIn this series of Blogs I will take you through why I believe Improv Etiquette is important and what it should be. I’ll try not to sound too much like an old man on a porch yelling at kids. I’m a reasonable guy, but do have some pet peeves that performers do. After all if you don’t care why should the audience. I think it’s important to take our art form seriously so hopefully this helps guide you. You can agree with me or not that’s okay these are just some guidelines that are pretty agreed upon by major improv theatres and veteran improvisers alike.

Are You Kidding?

Recently in an improv audition and more recently onstage I’ve seen more than one person wear shorts onstage…CARGO SHORTS TOO! Who needs that many pockets? We are doing theatre and people are paying to come see our shows, and even if they aren’t paying to see them, we still should have some respect for what we are doing. We need to take it seriously. Don’t wear shorts onstage. I’m not saying wear a 3 piece suit with a pocket watch, but I am saying at least wear nice pants and a button up shirt with no logos or your favorite band on them. Sure, I’m only covering guys on this but men are the biggest offenders of this rule in my experience.

Nick is an Actor, Improvisor and Writer living in Los Angeles, CA. On TV Nick is currently on AMC’s Story Notes and has been on the Emmy-Award winning shows The Office and Grey’s Anatomy. He has also made appearances on Jimmy Kimmel Live and Parks and Recreation. Recently, Nick received a development deal for a TV Show he created for A&E.

Onstage Nick has trained at The Groundlings and iO West. You can catch him performing regularly at the world-famous iO West in Hollywood, CA on the famed genre-based group Kind Strangers and LA’s Longest and Critically Acclaimed Harold Team King Ten. Nick is also the Camp Director and Founder of Improv Utopia. And if that wasn’t enough, he is also one of the founding members of the National Improv Network. We are always looking for better ways to serve the community. 

7 Delegation Tips for Festivals

Posted by Kate Anderson on August 16, 2013

 

This takes organization + trust

This takes organization + trust

I’ve been to quite a few festivals this summer guys – Chicago, Detroit, Phoenix….there are some amazing things happening in the improv world!  I’m struck by how big these events are, and the successes and challenges they have in executing a great festival.  It takes a village guys.  Even if it’s a small village, it takes a village, to get things done on a large scale.

Most festivals have a team of volunteers (and if you don’t have a team of volunteers – tweet @xoticdonkeymeat to talk) and the most effective tool in your belt to get massive amounts of things done is the D word – yup – Delegation – to these volunteers.  Lots of folks struggle with delegation, but practice makes perfect!  Here are 7 steps to effective delegation to your volunteers.

 

1.  Ask for volunteers before you’re ready, when you first meet to discuss your next festival/event

People who volunteer before you’ve even got things written down truly want to help and are happy to be directed to do work.  When you ask (in an email blast, or a sign up sheet), also include a space for them to note what they can help with – they may bring something up you didn’t even think of.  Keep this list.

2. Know what you have to get done – specifically – in writing 

Of course you know everything that has to get done!  But it’s all in your head.  Write it down in Google Apps/Evernote/Whatever Mac users use to share things.  You can’t effectively delegate if you don’t know the specific tasks that you need to share.  Write down all the things you need help with, the type of work you need and when it’s due.  For example:

  • Ticket sales – good attitude & chatty, best in 4 hour increments – Days of Festival
  • Clean up – doesn’t mind working late – 2 hours/day – days of festival
  • Hosting – should have prior host experience – days of festival
  • Marketing – Printing, tweeting, facebooking – 4 months before festival
  • PR – sponsorship packets, business solicitation

Writing them down will help you a) organize your thoughts and b) realize how much help you actually need.  Which brings me to…

3.  Pick people that are gonna help

I have a saying when it comes to project teams – you play cards with the hand you’re dealt.  Every person is very valuable when you pair them with the right task.  Look at your list of volunteers (which you totally have shared with the other people who are making your things happen, yes?) and your list of tasks.  Tap the people on the shoulder who are best suited for certain tasks and ask them personally – it will make them feel more excited and involved than if they enter their name in a slot on a spreadsheet.

4. Now that you know what you need to get done, ask for volunteers again

This time, be specific in the requests that you have for your volunteers.  Note the days and times of volunteer requirements, if applicable (like ticket and clean up) or the goals of what you’re trying to accomplish for larger tasks (looking for 2 businesses to sponsor festival).

5.  Set yourselves up for success – the do’s & dont’s

  • Don’t leave open-ended task assignments
  • Do make everything ‘accomplishable’ – ‘I’d like to have 400 copies of this delivered to HQ by Tuesday night’ or ‘Can we review the sponsor copy by noon on Wednesday?’ – set clear expectations and a deadline
  • Don’t assign a task and assume it’s taken care of
  • Do assign tasks to your team of volunteers and check in on them at least weekly, and as you move closer to your festival date, check on them bi-daily
  • Don’t assume people ‘don’t want to help’
  • Do assume everyone wants to help but might need more direction – sometimes, you just need to ask an un-assuming “was I not clear enough in my instructions?  Were they confusing?”  Everyone is learning, and the opportunity to be a better leader will make delegation even easier in the future

6.  Keep it fun and thank your volunteers

Keep the entire experience engaging and fun and full of honest thank yous for your volunteers.  They are there for free, and they’re happy to see your event successful, so thank them, with the full ‘Thank you’ as they help you out during the event.  And if they have a great time, they’ll ask others to join them in the future and you can grow your team of volunteers.

7. Be open to feedback

Your volunteers are helping because they want to see the festival successful.  Volunteers leave if they are overworked or if they are frustrated that their voice isn’t being heard.  Send feedback surveys specific to the volunteer work, and ask if there was anything that frustrating about the job they were assigned.  Everyone just wants the festival successful, and a fired up volunteer might be able to help with that.

BONUS TIP:

Don’t wait until big events to recruit volunteers.  Always be looking for ways to include new people and follow tip 4 to assure that your volunteers feel valuable, so they’ll be ready for bigger tasks like….volunteer coordination!

Pyramid // mrwynd

Kate is a contributing member of National Improv Network and works in product, customer and business development.   She blogs about getting things done at unicornwrangler.com and tweets @xoticdonkeymeat.  

Spotlight On: Denver Improv Festival

Posted by Bill Binder on

DIF_LogoThere are plenty of festivals going on this year. Sometimes it can be tough to decide on which festivals to submit to without knowing much about the city or its festival. This is the first of hopefully many interviews with festival producers around the country to provide a little peek into what visiting their festival might be like.

David Schultz is one of the many members of The GroupMind Foundation, the non-profit organization which produces the festival. I was fortunate to get in a little time with him between producing shows and planning the festival along with the other members of GroupMind.

The Denver Improv Festival kind of disappeared a few years ago and then re-emerged. What motivated the re-launch of the festival? What were the hopes for what the new festival would become?

Well, I guess there are two answers to that first question. First, the improv scene in Denver really began to mature 3-4 years ago, which brought a renewed interest in doing a festival. It seemed like a great time to bring it back. There were new theaters opening, new training centers picking up steam, and the scene was really taking off. Secondly, the Denver Improv Festival is organized by the GroupMind Foundation, which is a non-profit organization. Because of the lapse in doing a festival, we needed to bring it back to maintain our non-profit status. That may have been the last nudge we needed, but it was a nudge precisely when the scene was ready for it. Our hopes were pretty simple – bring the festival back and try to get better every year.

What are your goals for the 2013 festival?

Above all else, our goal is to bring the whole Denver improv community together to celebrate how far we’ve come, and enjoy each others company. Of course, there are some goals that we have every year – put on great shows, show the best of Denver improv, bring in talent from other cities to expose locals to other styles, and have as much fun as possible. GroupMind also has some boring goals this year like better utilizing corporate sponsorship, keeping our headliners as happy as possible, and filling all of our workshops. Everyone seemed to have such a blast last year – so my general goal this year is to not screw things up too much.

There are a lot of great theatres in Denver with very different philosophies. How does that variety shape the Denver Improv Scene?

A lot of the theaters and training centers are relatively new and their viewpoints are so different. Because of that, a lot of improvisers have gone through the curriculum of two or three different theaters. That exposes them to different points of view and let’s them find a style/technique/form that they really connect with, and they can take ideas from all of the programs. As a result, we’re seeing a lot of good teams that aren’t house teams tied to one theater. I’d like to see more of that. A new venture called “Red Rover” was organized by Justin Franzen at the Voodoo, and quarterly they put on a show where several of the training centers bring on a current class to perform and represent their style, and the night wraps up with instructors from all centers performing together. It’s neat to see, and shows the diversity between training centers.

Outside of a performance, what else can performers expect? Will you have any master workshops? Or unique workshops? Will there be any other organized activities?

We are finalizing our workshop lineup over the next couple weeks, so I don’t want to get ahead of myself in terms of content. One thing I will say is that we are doing fewer workshops this year, and limiting them to the headliners. In years past, we also included local workshops. In retrospect, that diluted the training pool a bit and made it hard to fill up classes. This year headliners get better numbers, and we can teach local workshops at a time when they aren’t competing with headliners. In terms of organized activities, we’ll be doing after parties – these were a TON of fun last year. Look for karaoke too. One of my favorite memories last year was walking into an 80 seat theater at 1am and seeing every seat full as karaoke was going on.

For those who haven’t been to Denver, what are some of the things people can check out in the city during the day? Where’s the best place to get breakfast near the festival?

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Pineapple pancakes

All the venues under consideration are located downtown, and downtown Denver is very walkable. If you are a fan of craft beer, you couldn’t be in a better spot. Also, one of the favorite destinations was a bar called the 1-Up. It’s great because it is jam packed with old school video games and pinball machines. It’s a blast, and for .25 it can be pretty cheap. I think Nick Armstrong got severe forearm cramps playing Track & Field last year. If you have transportation, Denver is only a quick drive to amazing outdoorsy stuff like Red Rocks, the turning of the Aspen, and Casa Bonita. As far as breakfast, the big hits last year were Hi Rise Bakery and Snooze – home of the delicious Pineapple Upside Down Pancakes. I pride myself on recommending places to go, so anyone who makes it out this year can hit me up and I’ll point them in the right direction.

You’ve been to many festivals and experience the good and bad. What are you bringing to DIF that you’ve discovered at other festivals? What are you hoping to provide at DIF that people haven’t experienced before?

I actually haven’t been to too many myself, but I did just return from the Detroit Improv Festival and boy do those folks know how to organize. I was taking lots of notes, although I don’t even dream to match their scale this year. What I would like to provide is a real sense of community, and allow troupes from other scenes to mingle and share ideas. We aren’t a huge festival, and I see that as a good thing and allows for more intimacy. Last year people really mingled at the after parties and it was an absolute blast. I want to bring everybody together, display great improv, and leave everyone with a smile on the face. Hopefully that word of mouth spreads, and more people want to come next year.

—

Submissions for The Denver Improv Festival are open now, but they’re closing soon. You can submit your troupe right now on the submission page. If you’d like more information on The Festival or The GroupMind Foundation, you can visit the festival website or drop a message to David directly here on the site.

The GroupMind Foundation is a nonprofit 501(c)(3)organization whose purpose is to enrich, educate and entertain our community in the art of improv. It will work toward this mission through educational outreach programs for local schools, the Denver Improv Festival, and various performance and skill workshops.

Detroit Rising

Posted by Bill Binder on August 15, 2013
DSC_0107

This sticker speaks truth

Of the dozens of festivals I’ve visited in the last few years, The Detroit Improv Festival was a special treat this year. Partially, because it was a return to my own native soil (Auburn Hills, MI represent). Partially because it was amazing to talk to the people of Detroit who – popular to what the news might tell you – are incredibly hopeful and united in very rough times. But mostly, it was special because DIF was the first festival to build their lineup from submissions here on the NIN page. As a result I not only got to check in with old friends, but was able to meet so many new friends in person who I’d first met here. I got to talk to many new faces I recognized from avatars here and see new shows from groups who hadn’t really made the festival circuit before.

Of course none of that would have been possible without the incredible work of all the people behind the festival. Chris, Keith, PJ and Michelle were hustling non-stop. James was keeping the fort down at Go and the volunteers were always around to help the visiting performers. DIF has undergone a huge growth in the last year, bringing in more troupes and more venues and certainly more headliners. Susan Messing, Jill Bernard, Craig Cackowski, Rich Talarico, TJ Jagadowski, Dave Pasquesi, Rob Belushi & Dave Razowsky at the same festival certainly exposed the people of Ferndale to some of the best improv in the country. A free family friendly show on Saturday afternoon also delighted crowds. I’m sure a lot of newcomers to improv this weekend had some preconceived notions shattered and hopefully they’ll continue to visit shows at Go Comedy and Planet Ant in the year to come.

 

The Rust Belt on Nine Mile

The Rust Belt on Nine Mile

The festival did a great job of showcasing improv to the people of Detroit, but it also did a great job of showcasing the city of Detroit to improvisors. They designed many parts of their festival with the performer in mind. Not all of the venues were traditional theatre spaces, but all were within walking distance of Nine Mile and Woodward Avenue. It was easy to get from venue to venue to see the shows and friends you wanted to see. A tour of Detroit and a weekend barbecue were also available in addition to donated food throughout the week from local restaurants.

A fairly unique addition to this year’s festival was Pam Victor’s Geeking Out Interview. Many festivals have featured live podcasts, but Pam offered a very in depth interview with experienced improvisors for an audience. This year she interviewed Razowsky and Clifford about their long and successful history and memories of their training. As a special treat, the show also featured our own Nick Armstrong talking about NIN and also a special announcement of Improv Utopia East coming to Pennsylvania. Pam is one of the most dedicated people out there on preserving some sort of heritage for our craft.

It was in many ways one of the first large opportunities we’ve had to sit and meet people from the network and learn what kind of things you’d like to see in the future. Some great ideas came from discussions – some that may show up down the road – and some that are great and simple ideas that might start showing up on the site in the next few weeks.

High applause for The 2013 Detroit Improv Festival. It’s in a beautiful city and the people do their best to showcase improv to the people there as a beautiful art form from people across the continent (big hello to all our Toronto friends). I look forward to seeing the festival grow for years to come.

—
Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America. He ate more coney dogs in Detroit that what would typically be considered “healthy”

 

Good Press Takes Work

Posted by Bill Binder on August 8, 2013
newspaper

Don’t let this go to print

You’ve been working hard on your troupe, your theatre, your festival. You’ve been waiting for that chance to get some good coverage in the local press. The moment finally comes. You go down to your nearest 7-11 to pick up a copy and it’s… terrible. It’s a tiny article that takes several minutes to find. It has all the wrong info. It totally misrepresents what you’re all about. How can this be? The simple truth is this. You talk to your friends about improv. You surround yourself with people who get it. But the press in many cities simply doesn’t have the context for what you’re doing (Microsot Word still doesn’t even recognize the word), and to expect a Pulitzer winning article on your show isn’t going to happen without some effort on your part.

Here are seven tips to prepare and enable good press coverage. I’ll speak in terms of newspapers, but the same things apply for radio, television and web coverage. And I’m sorry to say it, but doing everything in this post will still lead to a crummy article or two. But keep at it. Continue to educate your press and the public in your town about what improv is and the quality of your coverage will blossom.

Politely Decline

Sooner or later you’re going to get a phone call or an email out of the blue from the local news. You didn’t send out a press release. You don’t have any big shows coming up. The call kind of catches you off guard. It can be a great opportunity, but you need to be prepared to politely say no thank you. This sounds almost blasphemous and its very difficult to do. But it sometimes will lead to much larger long term results.

It’s easy to get an ego boost from the contact, but step back for context for a moment. Unless you have a pretty good reputation in your city already, this reporter knows nothing about you and probably has some not quite accurate ideas on what improvisation is. There’s no news story to be had. You’ve been assigned as (cue dramatic music) a filler piece. Improv has been prime filler piece material for years. Improv articles appear in regular rotation right between “Biff! Pow! Comic Books Not Just For Kids Anymore” and “Grandma’s on Facebook Now. ‘Like’ It Or Not”.

There’s nothing inherently wrong with a filler piece. They can potentially bring people to your show. Keep in mind that the filler piece doesn’t go to the star reporter, it goes to the cub reporter out on their first or second article. They’re looking to get something in by their deadline. They likely have a set of preconceived notions and they are basically looking to put a couple of dates and a soundbite into the Mad Libs they inherited from the last cub reporter before they even call you.

Don’t believe me? Let’s play newspaper Bingo with the last improv article you saw. How many of these can you spot?

 If you didn’t think Sarah Palin, a dinosaur and Gangnum Style were funny, you clearly haven’t been down to see the folks at ComedyHut.

If you’ve only seen Whose Line, you only seen the half of it.

You’re on a quest for buried treasure. Suddenly a robot pops up. Or a zombie. Think Fast! That’s exactly what the quick-witted folks down at Bucket-O-Yuks do every week.

We’re always ‘folks’ by the way. When you get asked. Thank the reporter very much for their interest and invite them to come see a show. Seeing a show and being in your space can illuminate what you’re about far better than two minutes on the phone can. Suggest that you don’t feel answering a few quick questions will accurately portray what you are.

If they agree. Great! Comp them. Come down and say hello.  Let them see what your all about. If they aren’t willing to come down to the theatre, respectfully decline the article and wish them good luck.

But… Isn’t all publicity good publicity? Who cares if the article’s a little stale if it gets people in the door right? Sadly no. No ill intent is in those lazy articles, but they paint a picture of improv that further builds up the stereotypes and misconceptions about the craft and reinforces the reasons people use as excuses “not” to see improv. Of course you will get a few people to come to your show. Those people are expecting to see what the article made you out to be, and they’re going to be disappointed and disillusioned. They won’t come back. They’ll leave bad Yelp reviews. They’ll encourage their friends not to return.

When you get the offer for an article. It’s tempting to jump at anything, but be prepared to say no.

Press Releases

Send them. Send them in a timely manner and send them properly.

In the age of the internet, press outlets received hundreds of press releases every day. Many of them get thrown out because they aren’t speaking the same language that people are prepared to read them. A press release is a specific type of document with its own formatting rules. They aren’t complicated, but they should be followed if you want traction. There are many guides out there on the simple formatting layout of a press release. Learn it.

Be specific. You have shows every week. Why should you get coverage today? Post specific stories, show openings, special guests, theatre milestones. Something to actually write about.

Give lead time. Don’t send a press release on Thursday for a Friday show. Three weeks notice is good for daily journals. Three months is good lead time for quarterly or monthly journals.

Be regular. Your first press releases will get overlooked, but if they’re formatted well and respectful, your name will start becoming familiar. There’s a difference between regular and annoying. Don’t send something every day. But post regularly. If you’re a festival, this is especially true. Post schedule announcements, venue, show times, all that jazz.

Reviews

Articles are great. Reviews are amazing. Press will always push back on this idea. “How can I review a show that won;’t be the same next week?” Well that’s poppycock. Do you know what you’re in for if you go see T.J & Dave or Baby Wants Candy? Of course you do. You know the level of quality you’re going to get. If you have ongoing shows or troupes, invite a review. More people are going to respond to a positive review than the vague promise of something good that may happen.

Quality Press Kit

If a quality article is underway, you’ll be asked for media. Typically photos and logos. Have these available rather than having to scrounge for them. Have them high resolution. If it’s a logo have it in vector format if possible (.AI or .EPS files are more press friendly). Just as importantly have a press kit that’s up to date and has what you want to say in it. Spend time writing out a short bio (one paragraph) and a longer bio (three to five paragraphs) that says exactly what you want it to say. Quotes might be pulled from this, so it’s wise to have it reflect what you actually believe.

An archetypal journalist

You’ll be surprised what I choose to quote.

Interviews

A common thing in many bad articles is bad quotes. Not inaccurate quotes, just bad ones. Remember that you think you’ve said something golden on the phone, but you said  a lot of other things as well. All of them are fair game. It’s completely fine to pause before answering a question.

Talk about what you are, not what you aren’t.  Sometimes you’re specifically asked about comparisons to other things. Whose Line is an especially common go-to. It’s fine to answer these questions and pointing out the differences, but don’t put your own ideas out in that way. It’s the same thing you learn on stage. Talk about the here and now, not what isn’t happening. Talk about who you are and what you believe. Talking about TV shows that aren’t you only spend valuable time talking about what you aren’t. And.. well.. people like Whose Line because it’s fun. People like stand up because it’s fun. Drawing distinctions paints you as not fun.

Talk about who you are.

Share the Love

Do some quick algebra with me. How many people live in your city? Let’s call that a. Now what is the total number of seats in every improv venue in town? Let’s call that b. Is a greater than b? If so, then why are you worried about “competition”. There are thousands of people out there who don’t know about improv yet. If they can’t make your show, but might be able to see the show down the street. GREAT! More people who can appreciate improv. Different theatres have different philosophies, but if the other venues in town are fighting the good fight, share the love. They aren’t the enemy. The enemy is ignorance. So don’t be afraid to raise awareness for all good improv in your town.

Be Part of Your Community

All of the above might lead to a single great article. But they won’t lead to anything beyond that. One thing I muttered at improv spaces across the country is that no one comes out and supports the arts in their local community. If you’ve ever said that, then I’m putting you on the spot right now. When was the last time you went out to a jazz show, or a stand up set, or an art exhibit? Be part of the solution. Does your city have First Fridays? TEDx? Ignite? Does your University have public lectures? Does your neighborhood have a small business council? Does your local government meet with local business? Go to these things. Support your local community. Tweet about them. Use your theatre to support them in any way you can.  “But I have shows every weekend” is not an excuse. There are ways to get out there.

Your theatre is not an island. You’re part of the fabric of your city and your culture. If you close off to that, it will close off to you. If you embrace that and participating then people will know about you and the press will know about you and be happy to celebrate your milestones with you because you are part of the city’s pride.

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

 

I’m an Improvisor Offstage Too!

Posted by Nick Armstrong on August 6, 2013

images

I guess it’s not new news. I guess I’ve always known it, but I started thinking about it today and I realized that my offstage life and my onstage life have collided like the Higgs Boson. Here’s how:

Damn! I’m Not Perfect?

As much as I want to be perfect, I know that this is unattainable. Such is improv. You can get great at it but you’ll never be perfect. Otherwise, why would you keep doing it? Wouldn’t it get boring? If we say we are perfect, then we have nothing to reach for anymore and we could end up becoming stale and actually worse. I’ve seen people become content with their improv, hell sometimes I find myself doing it, but when that happens I force myself to change and find a new challenge. I guess when I’m 104 and on my deathbed I could lie there and say, ”I did it, I’m perfect.” It won’t be right, but I still might say it anyway. I will also probably not know where the hell I am, what I’m doing or who I am at that point. Strive for greatness, but don’t worry about being perfect.

I’m Human I Make Mistakes:

Sometimes I make big ones, sometimes ones I regret. But just like in improv a mistake can turn into a golden opportunity. I’ve found that the mistakes I’ve made have turned into opportunities for me to learn and become a better person. So I say bring on the mistakes! They can only make you stronger.

Support:

The world does revolve, but not around you. Yeah sorry everyone. I’ve always lived by the motto “Give back more then you get” Okay, so I ripped this off from my time as a Boy Scout. But I live by it. In improv it’s never about you, it’s always about connecting and supporting the group and achieving that group mind. I believe this is a great attribute to take with you offstage, whether it’s at your work, helping someone across the street or supporting a cause, you will find that support only makes the world a better place and makes you a better human being.

So, be an improvisor offstage too! Don’t stop being one once you step off that stage. Be one everyday, every hour and every minute. Commit to life just like you commit onstage, you’ll find when you don’t commit life and improv are much harder. If you do, I can guarantee you that the reward will be amazing.

Wouldn’t the world be a better place if Improvisors ran it?

Nick Armstrong

Nick is an Actor, Improvisor and Writer living in Los Angeles, CA. On TV Nick is currently on AMC’s Story Notes and has been on the Emmy-Award winning shows The Office and Grey’s Anatomy. He has also made appearances on Jimmy Kimmel Live and Parks and Recreation. Recently, Nick received a development deal for a TV Show he created for A&E. 

Onstage Nick has trained at The Groundlings and iO West. You can catch him performing regularly at the world-famous iO West in Hollywood, CA on the famed genre-based group Kind Strangers and LA’s Longest and Critically Acclaimed Harold Team King Ten. Nick is also the Camp Director and Founder of Improv Utopia. And if that wasn’t enough, he is also one of the founding members of the National Improv Network.

Your Festival Is An Institution

Posted by Bill Binder on August 1, 2013

An improv festival in your home city is a magical thing. It’s a chance to dress up nice and welcome performers from around the country who made the pilgrimage to your home to celebrate improv with you. It’s a chance to expose a whole new audience in your town to something special. It’s all consuming and exhausting and in an instant, it’s gone again. But something happens around year four. The festival doesn’t go away. It stays on the lips of your students and performers and audience members. It’s something exciting to look forward to and wonder what surprises the next year will bring. That’s because the mindset switches. Your city doesn’t have a series of festivals that happen to share a name. Your city has something special with a unique voice and a unique set of expectations. It’s your own Super Bowl.

As a producing board for an improv festival, it’s a mindset you need to adopt from year one. If you want the festival to grow in the years to come; to have bigger audiences, better press coverage and more volunteers, you need to start promoting it as an ongoing institution. There are many ways beyond the scope of this post to start building that attitude. Many posts in the future will discuss them, but there’s one thing simple thing you can do right from the start that is easy to dismiss in the heat of planning, but which will have tremendous return. Create something visual that people can attach to the festival. Visually brand your festival.

For theatre owners, this idea comes much more naturally. A logo is one of the first things created. It’s a unifying symbol attached to everything the theatre does. This idea is too often not part of the festival process. A festival logo is discarded each year in favor of a new one. The sense of consistency is lost. So how do you create a festival logo that will adapt to your festival in years to come?

Simple and Print Friendly

I’ve seen beautiful and elaborate posters for festival weekends. They catch the eye and draw attention. That’s wonderful. But that is an advertisement. Not your brand. Your brand needs to bring instant recognition. Think of the brands in your day to day life; Apple, Nike, Pepsi. These brands are instantly recognizable for their simplicity. The simpler your logo, the easier it will be for designers to include it in any size on your promotional posters, television commercials and letterheads. Yes, letterheads. As your festival grows, you will reach out to sponsors, grants, media partners, media, community organizations, etc. A good letterhead for a single letter doesn’t make a huge difference, but as time goes on, it will help bring recognition to your festival. The phrase “Oh yeah. I went to this last year.” Will be heard with increasing frequency.

Out of Bounds from Austin, TX has a great simple logo for their festival. Let’s look at it.
oobThe logo is simple an aesthetically pleasing. If the logo was small enough, the text might not be legible, but the circles of OOB would still be recognizable. The logo in monotone and would look fine in black and white.  This logo has been the basis for their marketing for several years. Conversley, this was the marketing for the 2013 Del Close Marathon.

dcm15[1]

As a poster,  this is a stunning piece of artwork. It’s even more beautiful in person – as a poster. This entire image (minus the text) was included on all DCM materials, sometimes smaller than it appears on this page. At that size, it’s incomprehensible. More to the point, the poster is replete with imagery from Del Close, his albums, his life. But aside from the thematic inclusion of Del, there is nothing that connects this to any past artwork for the festival. Eagle eyed viewers may spot the UCB logo in this image. UCB is the producing theatre of the festival and ostensibly deserves some recognition. But the inclusion here isn’t branding, it’s an easter egg buried in the elaborate artwork. At best, this image reminds us of Del Close – the man, and of the UCB theatre, but not of the event itself.

Home Town Pride

Your logo will reach many different audiences. With the exception of submitting troupes, most people you want to see your logo often have two things in common; they live in the city the festival is happening and they may not know exactly what improv is. You can play to both of these. You logo can embody both of those ideas; improv and the city it’s housed in. This has the potential to catch attention through familiarity and then promise more with the unknown. You are a part of your city’s culture. Respect that. Try to find an image that honors the spirit of your city while also introducing the ideas of your festival. Let’s look at the logo for The Phoenix Improv Festival. (Disclaimer: I may be biased towards this logo as it is from my city. But I still believe it to be a good logo.)

phoenix

The Laughing Phoenix has been a part of the Phoenix Improv Festival since 2002. A visitor may or may not make the connection that the city was named after the mythical bird, but residents will recognize its similarity to the official imagery of the city.

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The mixture of Phoenix imagery with laughter is a simple connection to make with the logo.

Variations On A Theme

Once your ongoing logo is established. It makes marketing from year to year simple. A simple logo can be tweaked in small ways to match the individual marketing of a year’s event and promotion. OOB in 2012 decided on an apocalyptic theme and included a slightly battered version of their logo, but still clearly identifiable with the brand. Here are some logos from past years’ events for the festivals mentioned in this article as well as The Denver Improv Festival. Each one has a different relationship with the inclusion of their logo from year to year.

phoenix2011 Each festival has a slightly different way of incorporating their logo into marketing for individual events, but each clearly has an identifiable mark.

Pro Tip: Be An Improvisor

Any organization has to figure out how to brand themselves visually. Sometimes they hire outside companies to do it for them. You have a very distinct advantage over all of them. You’re an improvisor. There are many books and lectures out in the world on how improv makes you better equipped to run a business and it’s absolutely true. You have skills that many small business owners cannot possibly grasp. The issue is that there isn’t always a clear description on how to use those skills. So here’s one right here. The goal of using a logo is to express ideas through symbols. In fancy college words, you’re using semiotics and simulacra. You’re attaching meaning to symbols. This is what you do every weekend when you ask for a suggestion. Unless you’re one of that rare breed of performer who takes every suggestion literally, you take suggestions and discover their meaning with your audience. You put out a hand to the audience and discover together why their suggestion is pregnant with possibility. Every suggestions has connotations and undertones waiting to be discovered. What tools do you personally use to do this? Armando? Invocation? Do this. Your suggestion is your festival. You may be surprised to learn what your festival means to you. What it means to others. The things that are unique and wonderful about your festival will come to the surface and you’ll have a much better starting point for creating imagery.

Keep On Truckin’

Every year, your festival will grow and change. That’s wonderful. Each year should be unique and have it’s own voice. But remember that your festival is important to many people and you want it to become important to more people. A consistent iconography is a strong way to keep this happening. That sticker on someone’s laptop from the 2010 festival will be a reminder that the 2014 festival is coming. It will become part of your city’s pride.

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

POSTSCRIPT: As a pleasing coincidence, when looking for a link to invocation for this blog post, I found Kevin Mullaney’s blog post. As an example he included a video of an invocation of an improv festival. So you can see that this idea is not a new one.

Improv Warrior: Rick Andrews

Posted by Nick Armstrong on July 30, 2013

large_rickandrewsImprov Warrior (n.) Someone who goes above and beyond the call of duty. An improvisor, who is not just a performer, but lives and breaths improv, heightens the art, cares for the art and brings it to new levels.

Today’s Improv Warrior is Rick Andrews who is on the board and one of the organizers of DuoFest in Philadelphia. He is also a teacher and performer at The Magnet Theatre in New York. On the first night I was at DuoFest I saw Rick and asked him where he was staying in Philly while doing the festival he said, “I’m going back to NYC every night.”

So get this, Rick would do a show, Dwight D. Eisenhower which was one of my favorites at DuoFest, host some of the hours with crazy positive energy and then when the shows ended, around midnight, he’d hang out and go to the after parties, then he’d hop on a bus at 3 a.m. in the morning, get on a train to get home to teach by 10 a.m. at The Magnet Theatre.

I asked Rick why he had to get back to teach, why couldn’t he just get a sub. It turns out Rick was so concerned about his new level 1 class that he wanted to get back to them to make sure they were taken care of. Sure it would be easy to just get a sub for the weekend, but that’s not Rick.

I’ve always said that improvisors are a different class of people and when I met Rick in NYC about a year ago, before DuoFest, he solidified that thought even more.

Rick is the definition of an Improv Warrior. His dedication to DuoFest, his students and the art form are way above and beyond. Rick is definitely and inspiration to all improvisors. Rick travels to festivals around the country and is available for workshops.

Nick Armstrong

Nick is an Actor, Improvisor and Writer living in Los Angeles, CA. On TV Nick is currently on AMC’s Story Notes and has been on the Emmy-Award winning shows The Office and Grey’s Anatomy. He has also made appearances on Jimmy Kimmel Live and Parks and Recreation. Recently, Nick received a development deal for a TV Show he created for A&E. 

Onstage Nick has trained at The Groundlings and iO West. You can catch him performing regularly at the world-famous iO West in Hollywood, CA on the famed genre-based group Kind Strangers and LA’s Longest and Critically Acclaimed Harold Team King Ten. Nick is also the Camp Director and Founder of Improv Utopia. And if that wasn’t enough, he is also one of the founding members of the National Improv Network.

 

 

 

 

Top 6 Ways to Make a Successful Improv Team

Posted by Nick Armstrong on July 23, 2013

fear-of-successSo you’re out of class, in class or a vet looking to start a new team. It’s exciting! You have the opportunity to do something new, maybe a new form, the Harold or who knows. I’ve been on a ton of teams…a ton. And I think I can safely say what works in making a successful improv troupe. This blog is a guideline to help lead you to making a successful troupe.

1. Have a plan: That’s right have a plan. You don’t need to know what you’re going to do form-wise yet, but have an idea on who you want on the team, why you want to do this, where you’d like to perform and what your goals might be.

2.Make a team of people you like: You can hold auditions that’s fine, but I recommend putting people on your team that you like. People you respect and like to be around that know how to improvise. An improv team becomes a family unit whether you like it or not. If you deny that aspect of it, your team will fail. Also, have people you’d like to hang out with outside of improv. Hang out! Get to know each other. It’s more than just rehearsal it’s a bonding experience.

3. Get an experienced coach: I can’t express this enough. If you don’t get a coach your chances of failure are huge. I don’t care if you’re a student or a vet you need a coach. For Vets this might not mean every week, but at least a tune up here and there. Having your teammates coach each other is a slippery slope and not recommended. You need to grow as a team and you’re going to need that outside eye. “But we can’t afford a coach.” I hear this so much and it’s annoying. You can if you care about what you’re doing and want to get better. Coaching fees range from $40-$80 for two hours depending on the experience of the coach. I can understand for a two-person show that can be steep but for most teams it comes out to about $10 a rehearsal. That’s a STEAL!!! Get a coach or you won’t get better.

4. Get committed: Make sure you get people that are committed performers and artists. Don’t put flakes on your team, even if they are talented. “Eh but she/he is so funny we can let that slide.” NO! It will take your team down. Don’t bend over backwards for a vet or talented person that is not committed. A true professional is committed.

5. Choose a decent team name: Fart Brigade, Laughy Taffy…NO! Stop it. Look to the successful improv teams for help on this: Beer Shark Mice, Cook County Social Club, USS Rock N’ Roll. Simple, clear and it means something to them. Your name says a lot about you as a team. The last thing a theatre or festival wants to list on their site is Fart Brigade.  It’s the gateway to your team. Tacky or pun driven names are a recipe for disaster and makes your work look cheap and underappreciated from the get go. Treat your audience and yourself like poets and scholars.

6. Rehearse regularly: I’m not talking everyday. I always recommend to my teams that they rehearse at least three to four times a month and hang out one day a month together. I think the hanging out is just as important as rehearsal.

I’m sure there are a ton more, but these tips are essential in guiding you in the right direction to make a successful team. Now it’s not perfect, such is improv, but it will help you. You can have a team of the most talented people on it and it may not work. Why? Who the hell knows it’s improv. Improv is like a rose, it is beautiful when it wants to be but can sometimes prick you with its thorn. Remember to come from a place of fun and love. If you at least start with this attitude you’re already well on your way!

Nick Armstrong

Onstage Nick has trained at The Groundlings and iO West. You can catch him performing regularly at the world-famous iO West in Hollywood, CA on the famed genre-based group Kind Strangers and LA’s Longest and Critically Acclaimed Harold Team King Ten. Nick is also the Camp Director and Founder of Improv Utopia. And if that wasn’t enough, he is also one of the founding members of the National Improv Network.

Del Close Marathon Going Strong at 15

Posted by Bill Binder on July 18, 2013

DelClose15_small.jpg.300x360_q100What started as a 24 hour marathon in 1999 has grown every year in Manhattan. This year the festival featured over 400 groups from around the world on seven stages across the 56 hour span.

In some ways DCM hasn’t changed in years, but this year brought a few nice surprises. Old-timers will remember the street rituals of years gone by involving performers getting a suggestion miles from the UCB mainstage and performing a walking opening on their way, picking up more performers and confusing pedestrians as the blocks passed. The city of New York put a stop to the ritual a few years back, but word passed on hushed mouths that the ritual would take place this year to coincide with the documentary being filmed on the history of the marathon. The ritual is one of the purest forms of yes, and still floating out there and this year included a special treat when the 185 improvisors literally walked into a bar (McManus to be precise). But this time the bartender didn’t say he couldn’t serve 185 improvisors, he just kept pouring shots of some basement firewater as fast as he could.

The ritual did not end up on stage this year, but the press conference kicked off without a hitch. Amy, Matt and Ian greeted and bribed the press while sharing stories of Del and the 15 years of the marathon, including a nice history of one of the most notorious shows, Drunken Sonic Assualt). The conference ended with an unveiling of the UCB’s long promised Improv Manual.

The history of clumping theatres together has waned in the last couple of years since the opening of UCBeast. More east side venues were added this year making it easier for folks to stay on that side of town, even if the promotion for the east side shows was pretty non-existent.

A few scattered workshops popped up over the weekend, but one of the most unique events was the monthly UCB Diversity Program’s meetup. The diversity program – started by Caitlin Steitzer – is a fantastic program designed around building a better dialog around race, gender, age and sexual preference issues. More cities and festivals should strive to create programs like this.

If you’ve never been to DCM, keep in mind that this isn’t your traditional festival environment. You’re not going to have a lot of good conversations about the state of the craft or see a lot of shows from a comfortable seat. This is a party. This is a Las Vegas buffet of improv. Hundreds of groups doing 15-20 minutes and getting off stage. There are drunk shows and half-awake shows and phoned in shows to be found. But in the midst of that, there are also dozens of great shows you’ve never seen before trying new and exciting things. It can be a challenge to find them at Del Close each year, but each year they are there.

It was great to meet so many NIN members for the first time on the streets of Manhattan. We’ll be coming back again next year for sure. Look forward to a book review of the UCB Manual coming soon.

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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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