Improvisation has definitely hit the zeitgeist in the last few years. An entire episode of “The Simpsons” was dedicated to it just this year. One one hand that’s great. It’s a lot of fun to see what we love being mentioned more frequently. But on the other hand, that’s all that’s being done, mentions. A stray mention of Del or The Groundlings might work its way into the text to show that the media behind the reference “gets it”. But those jokes are only for us. Awareness of this thing called improv is rising all the time, but the perceptions of what it is and can be haven’t changed for the general public in 20 years. Improv continues to grow and mature, and the references on our television screens – while fun – tend to reflect the same world of improv that existed in 1994.
Don’t Think Twice is a film which doesn’t treat improv as a joke, or even as a lampshade to hang a story on. The film plays with the ideas and realities of improv theatre, both on and offstage from a place that is not only informed, but inviting. It welcomes audiences into the artform with a love and respect that never gets in the way of new audiences discovering it. They even got Liz Allen to coach the fictional improv troupe in the film, which goes a long way towards bringing their performances an authenticity.
Because of all of these things, Don’t Think Twice stands among a very small number of peers. But this is not a movie review. This is an invitation to all of us to use this film’s release as a chance to start dialogues in our communities; dialogues between the members of your theatres, between the different organizations in your city and between performers and the general public. This film offers, for perhaps the first time in a while, a new starting point to engage in conversations on what the artform is, and where it is going.
The film has been touring lately with advance screenings, View this site to learn how to process your visa. Many of you have likely seen it already. I was very fortunate to be able to speak with stars Chris Gethard and Mike Birbiglia (who also directed) about the film and it’s potential effect on improvisation.
You definitely have two audiences for this film, improvisors and the general public, and you’re also going around doing workshops. This has the potential to enhance, for smaller cities especially, the improv scene. How are you hoping it will help them develop or enhance their own voice?
Chris: Well, I really feel like smaller cities are really and truly important right now, as far as the history of improv, because improv in the last ten years has become more and more of a pipeline to success. You look at Saturday Night Live and it’s full of improvisors. You look at sitcoms. You look at Parks & Rec, The Office, I mean everywhere. Everywhere you look it’s people coming up from the improv world. And I think the theatre I came up at, The Upright Citizen’s Brigade, had a lot to do with that, really lead the charge on that. And it’s a beautiful thing. It’s really cool. I take a step back, I look at it and it’s like, “Oh right. This art form is a valid thing. Talented people can really shine in this thing.”
But I do think it’s really hard for innovation to happen under the microscope that that brings with it. The potential success is a thing that people now show up for at places like UCB, at iO, Second City, Groundlings. People are showing up because they want to be successful and they see it as a platform to springboard, not universally, but more and more. And I think smaller cities, it’s really important and I really love that such an effort being made in this movie to show encouragement and fan the flames and invite specifically improvisors to test screenings and previews, because I think that smaller cities that aren’t under this magnifying glass, that don’t have this expectation or this potential for megastardom. I think that’s where the art form itself can still grow. I wouldn’t be surprised if some of the best improvisors and some of the best improv shows in the next five to ten years aren’t happening in New York, Chicago and L.A. Because I bet that the freedom to fail doesn’t exist there as much anymore. You know I’ve been to great theatres in Chapel Hill, North Carolina; Bellingham, Washington; Phoenix, Arizona; St. Louis. Cities that aren’t necessarily the places where you go to chase the Broadway dream or the Hollywood dream, and I think those are the places where the artistic dream can really shine and build.
Mike: There’s this great quote in the book that’s in the movie called “Something Wonderful Right Away.” It’s an oral history written by Jeffrey Sweet. There’s a quote in that book – I think it was Paul Sills who said – “On any given night, an improv show can be the greatest play, the most inspired, most topical, best performed play in the world on that night.” That can be in this room in front of 30 people, and that’s a profound possibility. So, it’s exciting to relish that opportunity.
So the art form’s only been around for about sixty years. There’s still not a huge public awareness of it. The entry points for a lot of people are pretty limited. When you add one new entry point, that’s significant. Certainly this is one of the few entry points for the public that addresses longform. For a lot of people this is going to be their first exposure to it, having not gone to shows. How do you think that’s going to influence general awareness of the artform as a whole and longform specifically?
Mike: There’s two things right now. There’s a great documentary called “Thank You Del.” Todd Bieber directed it. It was at South by Southwest, and there’s our film and both of them deal with the history of longform improv and I think that we have a real shot at helping explain the art form to people a little bit and what’s special about it. I feel like when you say ‘improv’, most people just think “Whose Line is it Anyway?”, improv games, freeze tag, that kind of thing. But actually, in a lot of ways, I like to think of it as these are improvised plays, happening in the moment and there’s something really special about that. As Sam (Gillian Jacobs) says in the movie, “Improv is an artform unto itself.”
Chris: I remember when I started in 2000, I signed up for classes at UCB and I’d never seen longform, and I lived in Northern New Jersey. I was as close as you could get. And it’s really spread. Now I feel like most colleges have one, if not more, longform improv troupes and it still feels like a relatively underground thing. So I do think it will be an entry point where a lot of people can find it, and a lot of people, I think, will kind of know what it looks and feels like for the first time. I also think there’s probably a lot of kids who will show their parents this movie.
Mike: This is what we do.
Chis: Yeah, this is what we’re doing.
Mike: I’ve had a lot of people say that to me at screenings. “Finally, I can explain this to my parents.”
Chris: It’s a really impactful thing. I remember my parents had what can only be described as real concern when I was like, “I want to go and do improv in New York City,” while I was living in their basement in New Jersey. It didn’t necessarily seem like a path towards anything stable. I think this movie will prove that it’s not, but also prove that, like any other type of art, it has some validity that’s worth taking a risk on.
These are great and wonderful words from very smart people. We owe great respect and love to San Francisco and Chicago in the ’60s and ’70s and to New York and L.A. in the ’80s and ’90s. But we also owe love and respect to the cities and times we live in now. We learn from the past so we can continue to build this in the future. Thank you to Mike and Chris and to all the people who made this film.
Special thanks to Arturo Ruiz who helped with the editing of this piece.