I’ve been watching a lot of improv lately (sue me), and especially been enjoying newer, greener performers. From my experience, getting started with improv classes usually goes like this:

Level 1: Holy crap, everyone is so funny! I’m so funny! I love this!

Level 2: Okay, I’m getting better at this and I understand the rules. I love this!

Level 3: Hm, maybe I was wrong and I’m a boring and bad performer. This didn’t used to feel so hard, did it? Should I quit?

Level 4 and above: Cycle around levels 1, 2, and 3 for the rest of your life.

There’s that thing where the more you know about a topic, the more you realise you actually don’t know anything. If you know a little about something, you probably foolishly think you know everything. (There’s an actual word or phrase for this, but I am currently on a train to Edinburgh and I refuse to look it up).

I have noticed, particularly among performers that are a couple years into their improv journey, that they are doing technically ‘correct’ improv, but it leaves me wanting as an audience member. They listen and respond to their scene partners, there is a give and take, premises are sharply delivered. There is nothing ‘wrong’ with their performance, but I’m unfortunately a bit bored.

I think what happens to a lot of people is that once they go through several levels of classes through whatever theater they choose, they drop the weird and unique eccentricities that make them a compelling force on stage. Everyone starts blending into the same, fine improviser and that makes for average, fine shows. This is ‘correct,’ not necessarily ‘good’ improv.

Student Shows & Jams

I recently attended the Free Association’s student jam Everybody Get In Here because my friend Jen Littlewood nicely asked me to perform in the ‘headline’ set at the end of the night (thank you Jen :)). I watched three sets of students, all at different levels in their improv education, do short organic sets. Were all the scenes bangers? No. But what I did appreciate is that the guys were making weird, sometimes insane moves. Were all of these moves funny? Not especially, half of them elicited a laugh from me if not for their humour, but for their sheer audacity.

I think improvisers lose what makes them especially compelling to watch the more ‘foundational’ classes they take. This is not to say that people shouldn’t take classes; you kind of have to if you want to get better at improv. Once game and performance become muscle memory, more of your essence and personality will be imbued in your improv (hopefully).

This is just to say, if you are newer to improv, don’t forget what makes you funny and interesting. Sure, play premise, learn game, be a good listener. But don’t dull your shine for the sake of doing ‘correct’ improv. I want to see weirdos on stage.

If you are a veteran improviser, do yourself a favor and get to an indie show with new teams or watch a jam. We actually need to be watching shows that we aren’t in (this is an especially good reminder to myself). I was quite inspired this past weekend when I saw one; I almost forgot that I’m a jaded improv elder.

Plugs

Fabled: The Improvised Fantasy Adventure is at Edinburgh Fringe NOW! I start performing Tuesday 25th!

I also have a fun new podcast called Amusement Guaranteed with my friend Chris East. Check it out wherever you listen to podcasts

To be very very honest, my attention span has been really crap lately and I’m distressingly close to buying a lockbox for my phone. I also have come around to accepting that I grind my teeth when I’m feeling stressed, or asleep, and that realization is taking up a lot of mental space. Whew, I feel a modicum of relief writing that down.

Anyway, improv. I won’t include my book ratings here (that’s for Goodreads) but if you do see me in the wild and want to talk about any of these with me, please do.

A Parade of Horribles by Matt Dinniman (Dungeon Crawler Carl 8)

If you have ever bumped into me IRL you have likely suffered through me evangelizing about this book series. Start Dungeon Crawler Carl so I have something to talk about with you if you bump into me at Edinburgh Fringe.

Improv takeaway: There are more options vehicles you can drive in your scenes than just ‘Honda civic.’

Kitchen Confidential by Anthony Bourdain

If I were to consider anyone my ‘hero’ it would be Anthony Bourdain. I grew up as an HGTV/Food Network/Travel Channel kid. If I were a coin, heads would be Andrew Zimmern (goofy, verbose, with an entire wardrobe of Hawaiian shirts) and tails would be Tony (abrasive, depressed, with impeccable taste). Bourdain was the first and only celebrity death I cried (and still cry) about.

Improv takeaway: Sometimes in comedy (as in life), people are assholes. The annoying this is that they might also be geniuses. Make friends with these people.

Bury Your Gays by Chuck Tingle

My first Tingle! A racing, gory romp through a screenwriter’s personal hell set in Los Angeles. Gonna give his erotica a try.

Improv takeaway: Your best ideas will be personal to you. Don’t invent— take your personal thoughts, feelings, and memories and inject them into your improv.

Cake Eater by Carl Radke

A startlingly raw and tragic Bravolebrity memoir. Love Carl. Love Summer House.

Improv takeaway: Keep pulling on threads; there’s almost always more to be discovered.

Wind and Truth by Brandon Sanderson (The Starlight Archive 5)

Honestly, kind of relieved to be free of this series so I can start Mistborn. Sweeping, epic fantasy in a well-imagined world.

Improv takeaway: You must not be afraid to edit!!

Improv takeaway 2: Journey before destination.

Artemis by Andy Weir

A heist! On the moon! Cool!

Improv takeaway: Puns are actually annoying. Don’t do puns.

A Short Stay in Hell by Steven L Peck

A Mormon guy dies and goes to hell. Turns out, Mormonism isn’t the one true religion. Whoops! Just a really horrifying read.

Improv takeaway: If you bomb, it literally doesn’t matter. In fact, I guess nothing really matters, huh?

Bossypants by Tina Fey

Are you even a woman in comedy if you haven’t read this?

Improv takeaway: Americans invented improv and it’s probably our best export.

That’s all I’ve read! I promise I’ll post a more improv-y article soon. If I can get my shit together, I’ll also do a Fringe diary.

xoxo

Plugs

Fabled: The Improvised Fantasy Adventure will be at Edinburgh Fringe 17-31 August!

I also have a fun new podcast called Amusement Guaranteed with my friend Chris East. Check it out wherever you listen to podcasts.

All this ‘success’ is great, but who am I if I don’t get into main shows at the theater? Am I even an improviser? Am I even an entertainer? Does anyone even like me? I mean, I’m there all the time doing smaller shows and seeing stuff. Why wasn’t I even considered?

^^ such is my internal monologue every time I am passed up for a bigger performance opportunity at one of any of the London improv theatres I am associated with. How do I not take it personally? How do I deal with the jealousy? How do I not act like an evil little goblin wallowing in their evil little thoughts?

In this article, I’m going to talk about not getting auditions/performance opportunities, not about getting turned down after an audition. Maybe I’ll write about that later, but really, improv auditions typically mean nothing and you can’t control the outcome. Please don’t take the rejection personally.

It’s usually not personal

Those who are producing and directing mainstage shows typically do not have you specifically top of mind. It could be that they didn’t even consider you when audition discussions were going around. Even if you hang out at the theatre and are a staple of the community’s improv scene, you never know what is going on in the heads of the powers that be. They could be looking for something specific that you can’t offer. Hey, maybe you CAN offer it, but they just don’t know that. Maybe they’re stupid! Who knows.

At the end of the day, you don’t know what you don’t know. Try not to drive yourself wild trying to figure out why you didn’t get that audition or performance opportunity.

Okay actually maybe it is personal

First of all, you might just not be right for the show. Acknowledge that. Accept that. There, now doesn’t that feel better?

But what if they didn’t ask me to perform or audition because they don’t f*ck with me? I’m going to talk about myself now.

I am outspoken. I wear my heart on my sleeve. I don’t hold my thoughts or opinions back, even from people in those decision making positions. I don’t think these features of my personality make me especially difficult to work with, but I do think that sometimes, people would rather just not bother.

When it comes down to it, there are other improvisers that are just as funny and competent as I am (sometimes, less so, sometimes, more so) who directors and producers would rather work with because they aren’t as opinionated and annoying as I am.

Do I have an idea for the show that I really believe in? I’m going to let you know.

Did I feel uncomfortable on stage with you? I’m going to let you know.

Do I disagree with how you’re speaking to me and my castmates? I’m going to let you know.

I’m not a nightmare, I can still discern when is and isn’t the best time to speak, but if something feels important enough to me that it’s weighing on my mind, I’m going to say it out loud. Some people don’t want to deal with that, and that’s OK.

Keep making stuff

Please don’t let lack of performance opportunities keep you from making stuff. The London improv scene seriously lacks a punk mentality. If you really want to do shows, do shows. At some point, you (I) have to stop whining about not getting cast and start doing it yourself (myself).

I’ve made podcasts. I’ve written blogs and poetry. I do standup. I make dumb TikTok videos. I produce my own shows. One time, Daniel Kvoras and I and a bunch of other freaks at Das Improv Fest in Berlin drank 2 litres of water on stage, watched improv for a couple hours (no peeing), and then did a set where we were full of urine. We called it Pissprov and I threw up afterwards.

Book out that basement venue and try a new show. Make stuff with people you actually like. I think we (I) tend to forget as improvisers, we (I) do it for the fun of it (certainly not for the money). As irritating as this next statement will be, it’s true. Others’ successes in the field will only push improv out to more civilians and get people to come to shows. Try to be happy for your friends and colleagues.

And if you can’t? At least fake it to their faces.

Plugs

Fabled: The Improvised Fantasy Adventure will be at Edinburgh Fringe 17-31 August!

Cold Cuts Presents: The Big American Improv Show is BACK at the Free Association on Friday August 7th at 8:30PM. All proceeds go to Planned Parenthood this month! If you’ve made it this far into the article, you can have a discount code for half price tickets. Use code SUMMERCRUISE at checkout!

I also have a fun new podcast called Amusement Guaranteed with my friend Chris East. Check it out wherever you listen to podcasts.

I’m in two genre teams currently. DICKS: an Improvised Noir and Fabled: The Improvised Fantasy Adventure (come see us at Edinburgh Fringe lol). For brevity’s sake, whenever I need to reference something from my own experience in performing in a genre show, I’m going to use Fabled (sorry DICKS, I like dragons more than detectives). Also, take whatever I say with a grain of dang salt. I am by no means an expert. I am an idiot with a blog.

Building a team

If you want to step your grubby little toes into the world of genre improv, it is important to select the right people for the job. I think that at least half of your team should be passionate about and well-versed in the genre you choose for your show.

For example, most of the people on Fabled are really into fantasy stuff. Their tastes run the gamut from Discworld to Middle Earth, but the tropes, archetypes, and motifs that are hallmarks of these stories are etched into our very being. Honestly, there are a couple people on the team who are less obsessive about, say, the Targaryen regency, but they are so good at improv and so willing to learn from the fantasy obsessives on the team that it doesn’t really matter.

At the very least, improvise with people you like. Even better: improvise with people you would hang out with outside of doing improv. Even BETTER?! Improvise with people who love the same shit you do.

Setting your show apart

Even more important than a show format is a common show language. What do I mean by this? If you are doing a genre show, I want it to feel different from any old improv show I could see seven days a week. I think what I am really trying to say is that I go into watching a genre show expecting a certain level of theatricality.

If you have had the absolute pleasure of seeing a Fabled show, you know we wear cloaks. I will admit— I was a bit skeptical at first when Gareth (Fabled Creator and Cloak Cutter Extraordinaire) told the cast we were going to try out the cloak thing. I thought to myself with a huff “how will people take my fantasy improv seriously when I’m wrapped up in a damn cloak? They’ll laugh at me!”

Guess what? I can admit when I’m wrong. Gareth was so right about the cloaks. They add a level of ambiance and drama to the show that I’m not sure would be embedded into the foundation of each performance otherwise. I wear the cloak differently if I’m playing a noble or a peasant. I’ve acted as a ghost with the cloak over my head. I’ve shrugged it off my shoulders in an attempt to sexily woo a potential lover. Bottom line: Gareth, your cloaks are good and I’m glad we have them.

Fabled has its own theme song which is so f*cking cool. Will, our insanely talented musician, wrote it for us of his own accord. Does any other improv show in London have that? Don’t care. If they do, it’s not as good as Will’s song (you can hear the theme song at Fringe. Have I mentioned Fabled will be at Fringe?).

Little things like this can give your genre show its own distinct flavour. Some of these will come up organically as you begin to perform more regularly, but some with require an intrepid adventurer to take a chance on a bolt of fabric and a dream. Make your show something an audience has never seen before.

Creating a show language

Everyone on stage at all times should know what everyone else is talking about. Clarity and intentionality is crucial in a genre production, and a great way to establish a baseline for the show is for everyone to understand its language.

As an improviser, there are parts to a performance that we take for granted that someone new may not be privy to. We know what a sweep or a tag looks like. We know where to stand if not in the scene (Backline? Wings? Maybe in another article). Do you remember the first time you saw an improv show? Maybe you didn’t understand the first time why a guy just ran across the entire stage in front of everyone. When it happens again, as an audience member, you realize “oh, when they run in front of everyone, it ends the scene.”

Aspects of your genre show like these can become a part of your show language. Having a lexicon that everyone on stage is fluent in only strengthens your performance.

I hope this helps! I may do a part 2 because I have more thoughts but also I am growing weary of writing. Such is my plight.

Plugs

Fabled: The Improvised Fantasy Adventure will be at Edinburgh Fringe 17-31 August!

Cold Cuts Presents: The Big American Improv Show is BACK at the Free Association on Friday August 7th at 8:30PM. All proceeds go to Planned Parenthood this month! If you’ve made it this far into the article, you can have a discount code for half price tickets. Use code SUMMERCRUISE at checkout!

I also have a fun new podcast called Amusement Guaranteed with my friend Chris East. Check it out wherever you listen to podcasts.

Remember where you came from! Eat your vegetables! Bring backline moves back.

Note: I am not including tag outs in this article. I see a lot of tag outs. Whatever— my blog, my rules.

Sound Effects

Perhaps the easiest backline move to deploy is the humble sound effect. If someone in the scene invents an aspect of the scene that makes noise… make that noise. Easy. Double down on commitment and add another dimension to the performance.

Scene Painting

I’ve seen a handful of teams in London use scene painting as an opening (each member paints an aspect of the opening scene, and then two performers step forward and live in that space). Why stop at the top of the show? I like to deploy scene painting as a way to f*ck with my fellow improvisers.

For example:

Person A: Man, I think this house is haunted.

Person B: I’m so scared of ghosts!

Backline Performer (gesturing to person B): Person B starts to wet themselves.

OK, this example kind of sucks, but you get the point, right? Scene painting allows you to heighten stakes or add character elements even when you’re not directly participating in the scene.

Split Scenes

Split scenes are so fun if done properly! Instead of tagging in and out of scenes and going back and forth, why not try a split scene. If you want to initiate a split scene, make sure you are very clear with the people who are already on stage. Make sure you start your split scene downstage so that those already in the scene can see you. Also, be careful not to talk over the guys already on stage. If someone initiates a split scene while you are already on stage, make sure you pay attention and ensure there is adequate give and take between the two simultaneous scenes.

Walk-ons

I’d just like to alert the general improv public to this fact: you are allowed to walk into an improv scene as someone other than a waiter.

Et voila! Maybe if you read this article, these moves will incept their way into your subconscious. Sometimes it’s ok to go back to the fundamentals.

Plugs

Fabled: The Improvised Fantasy Adventure will be at Edinburgh Fringe 17-31 August!

I have a fun new podcast called Amusement Guaranteed with my friend Chris East. Check it out wherever you listen to podcasts.

Hosting requires a different skillset than improvising does. Some of the best improvisers I know refuse to host shows. On indie nights or theater house shows with no set host, when the dreaded question is asked, loads of improvers will stand there with their mouths agape waiting for someone else to step up. This is the dumbest, lowest stakes game of chicken that has ever been played.

Spoiler alert: I will always break that seal. I will always host a show. More stage time for me.

I’m going to throw some do’s and don’t’s out for hosting in the remainder of this article. Take or leave whatever you want.

Be yourself, but like, better

The best improv hosts are comfortable with themselves and automatically set the audience at ease. Confidence is key, cockiness is not. You do not need to be polite. I think it’s best to come on stage with an unwavering ‘firmness’ that signals to the audience ‘hey, I know what I’m doing, you’re in good hands.’

I am an amped up version of myself when I host. I’m loud(er than usual), energetic, and even a little annoying (in an endearing way I hope). I like to high five audience members. I throw in an occasional Rick Flair WOO! to get the crowd pumped. When there’s a mic available, I use it (even though I don’t need it). I dab. A lot.

Basically, I make a fool of myself. By making myself the butt of the joke, the audience already has something to laugh at.

Note: I am not necessarily trying to be funny when I host. That’s for the improvisers to do. I am there to warm the audience up and establish the rules for the night. I’m there to help the performers and make them look even better than they would if I wasn’t there.

I’ve been told my persona is ‘overly enthusiastic camp counsellor.’ Now, let’s go play capture the flag!

Know yourself. Know how other’s perceive you. Take those core traits of your personality and turn them up to 11. Do not try to be someone you aren’t. Be yourself, and do it with confidence. YOU are in charge! (Ugh, I love being in charge).

Have a loose script

There are several points you must hit throughout your intro before a show.

• Thank the audience for being there

• Brief explanation of improv

• Let’s get the show on the road

Note: Even if you are hosting a night at an improv theatre, you should explain to the audience what they are going to see. I usually do the old “give me a cheer if you’ve seen improv, give me a cheer if you have not” trick. It is lazy and unprofessional to expect everyone to know what is going to happen when the improvisers come out on stage. Set them up for success so that every audience member knows that they are in safe hands.

If you know that you have more of a mixed audience (maybe people are expecting more of a stand up vibe) explain that the performers might ask you for a suggestion. The bones of the show the audience is about to see should be visible. Get that skeleton out.

Please for the love of god do not sh*t on improv

None of this tongue in cheek, sarcastic hosting bullish*t. I hate hate HATE when hosts downplay the art form. If you act like you think improv is silly, why should your audience even be there? If an audience member leaves the show thinking it wasn’t funny and that you’re an idiot for loving improv, who cares? Of course you love improv. You’re hosting an improv show. Park your f*cking ego and create an environment where the improvisers can thrive.

Keep up the momentum

If you are hosting a night with multiple acts, you will find yourself on stage multiple times throughout the show. Keep the show chugging along and don’t indulge in pleasuring yourself with too many bits in between acts. The audience isn’t here to see you, they’re here to see improv.

Note: If you sit in the audience between acts, please engage with the show. Laugh, clap, and demonstrate to the civilians who brought tickets what being a good audience member looks like. And- I can’t even believe I have to say this- don’t look at your phone (f*cking DUH).

When bringing up the next act, wait for the previous improvisers to bow. Come on as they’re clearing the stage (avoid leaving an awkward gap). A cheeky SHORT callback to a joke from the previous set is OK if you promise to be quick about it. Bring on every team with the same amount of energy and gusto.

Closing the show

Close the show with the same energy you started it with. Thank the audience for coming.

Here’s something that people forget: THANK THE THEATRE STAFF. Thank your tech. Thank FOH. Thank the bar. They keep the place running.

Thanks for reading! Sorry I got so aggro. I’ve had a long weekend.

Plugs

Fabled: The Improvised Fantasy Adventure will be at Edinburgh Fringe 17-31 August!

I have a fun new podcast called Amusement Guaranteed with my friend Chris East. Check it out wherever you listen to podcasts. The latest episode features Ryan Gaul and Jeremy Brothers and I think it is very good.

THIS IS THE REALITY OF COMEDIANS EVERYWHERE!!

If you produce a show, you know this pain.

If you wait to purchase tickets to a show you know you’re going to attend THE DAY OF SAID SHOW, you cause this pain.

Help an improviser out. Purchase your tickets well in advance.

Speaking of which…

Plugs

Cold Cuts Presents: The Big American Improv Show is doing a special 4th of July two hour show at the Free Association in London. Please come! We will have live singers, prizes, a half time show, and of course, improv. All proceeds go to the National Immigration Law Center!

My favorite improv teams are those who you can tell are friends IRL because they have undeniable chemistry. You can just tell they hang out and do other stuff instead of improv (that’s an option, you know). An issue I see in groups like this (and teams in general too) is stepping on each other’s lines.

I am super guilty of this. Because I tend to play with people I genuinely like and have a rapport with, so sometimes scenes devolve into friendly banter full of overlapping crosstalk. We stop doing improv and start doing BITS. I feel this is something to avoid, although 10% of the time, I do like to see it. I guess a balance must be struck, huh?

Ever sit around a table at a pub with a bunch of other improvisers? It’s exhausting. We may as well be screaming at each other “HEY LOOK OVER HERE AT MY THING” and “OH SHIT YOUR THING REMINDS ME OF THIS OTHER THING” and “OMG YOUR THING REMINDS ME OF THAT TOM HANKS MOVIE. I’M GOING TO TALK ABOUT SULLY NOW.” Okay maybe that last one is just restricted to me, but you get what I’m saying. We all have ideas and we all want to get them out and we all want to have fun.

At the end of the day, improv is a performance, so I think there is value in treating it a bit more theatrically. Let your scene partner’s line land. React to what they just said; do a little bit of acting, eh? As a non-actor, this is where my acting advice ends.

Exercises for Practice

There are a couple of ways that you can bring intentionality in speaking and letting lines land into your improv practice. Here are a couple of exercises I have run with some of the guys I teach.

Percentage play

This can be for as many players in a scene as you want. Play around with the percentage of dialogue each person has access to. For example, in a three person scene, person A has 70% of the words in the scene, person B has 25%, and person C has 5%. Change it up and try it with different combinations percentages and number of players. Note how having access to more or less dialogue feels as a player and as an audience member.

Take a beat

Start a two person scene. After each line, both people have to wait ‘one Mississippi’ before speaking again. This allows you to really take in what your scene partner has said. (And YES, it has to be one-Mississippi. No one-Stratford-upon-Avons over here or however you British people keep time).

Note how differently you react after doing this exercise in contrast to how you would react if you didn’t have this constraint.

SHHHHHH

Try running scenes without talking at all. After the scene, ask both participants to discuss what they thought the scene was about and what the relationship between the characters were. Are they similar? Super different?

Hope this helps! xoxo

Plugs

I have a fun new podcast called Amusement Guaranteed with my friend Chris East. Check it out wherever you listen to podcasts. The latest episode features Ryan Gaul and Jeremy Brothers and I think it is very good.

Cold Cuts Presents: The Big American Improv Show is doing a special 4th of July two hour show at the Free Association in London. Please come! We will have live singers, prizes, a half time show, and of course, improv. All proceeds go to the National Immigration Law Center!

I’ve read lots of books this month (brag) so here they are. I wont include my ratings or spoilers here, but you can check out my Goodreads if you want. I’ll try and include an improv lesson in here somewhere (this is an improv blog after all). Okaaayyy lets go!

Drunk on All Your Strange New Words by Eddie Robson

A human translator for an alien species that has made peaceful contact with Earth finds herself embroiled in a murder case. Guess what— she’s a suspect! Very fun world this author has thought up; like if Agatha Christie wrote an episode of Doctor Who (I can only assume because I have never seen an episode of Doctor Who).

Improv takeaway: It would be fun to do a show where cast members speak different languages. Someone do this show.

The Bell Jar by Sylvia Plath

This one was a re-read. Obviously— I grew up as a depressed young woman on the east coast. Of course I have consumed everything Sylvia Plath has written.

It was interesting to read this while in a relatively good headspace. This writer meant a lot to me at one time in my life and I don’t resonate with her stuff so much anymore. Huh, life is wild.

Improv takeaway: This one is for rehearsal. Revisiting a scene with a different emotional state could be interesting (or it might not be, who cares).

The Eyes are the Best Part by Monika Kim

A freshman in college becomes obsessed with wanting to eat her mom’s boyfriend’s eyeballs. Really gross, really refreshing, really visceral. Do not read on an empty stomach.

Improv takeaway: A nice ‘hack’ I like to give to students is to pick a character in the scene with you and decide to have a big emotional feeling about them (hate, love, jealousy, etc) and let that drive your actions.

Exalted by Anna Dorn

An astrology influencer becomes obsessed with one of her clients and his chart. Every character in this book sucks (complimentary).

Improv takeaway: Sometimes, a scene just needs an asshole.

Ghosts by Dolly Alderton

Dating sucks, but dating is the least interesting thing about a person.

Improv takeaway: Get comfortable leaving scenes and coming back in later (or not, who cares).

Lost Lambs by Madeline Cash

Like if Greta Gerwig’s Lady Bird and Little Women were smushed together. Royal Tenenbaums, eat your heart out.

Improv takeaway: You can always be more annoying.

Julie Chan is Dead by Liann Zhang

A loser steals her influencer twin’s identity after her untimely death. A bit like Marty Supreme for the girlypops.

Improv takeaway: If you don’t think you have an interesting perspective to offer the scene, steal someone else’s (someone from your life, not someone you’re on stage with, you monster).

James by Percival Everett

Huck Finn retold from the perspective of Jim. There’s much less Tom Sawyer in this one which is a huge plus.

Improv takeaway: Everyone is a bit weird. Inject your own weirdness into your improv characters.

Operation Bounce House by Matt Dinniman

Earth people terraform and seed other humans on another planet for agriculture. After a generation, the Earth people decide to be racist to these agriculture planet guys and kill them off in a big video-gamey, internet streamed event. Matt Dinniman absolutely fucks.

Improv takeaway: (This one is mainly for me) I could be cussing way more inventively on stage.

If you got to the end of this, you lost the game.

Love you bye.

Plugs

I have a fun new podcast called Amusement Guaranteed with my friend Chris East. Check it out wherever you listen to podcasts.

Cold Cuts Presents: The Big American Improv Show is doing a special 4th of July two hour show at the Free Association in London. Please come! We will have live singers, prizes, a half time show, and of course, improv. All proceeds go to the National Immigration Law Center!

The Dropout cast were great— they did two shows in one day, both over two hours long with an intermission. It really felt like an ‘event,’ complete with tech and live scoring by Scott Passarella on the keys. The entire show was short form, which was a bit disappointing for a long form geek such as myself, but I had a lot of fun regardless and the crowd was wild for it.

Long story short—I have found a lot of improvisers and fans of long form sh*t on short form as an art form. I have a feeling this attitude is not exclusive to the crowds I run in. This is a pervasive sentiment in the community that comes especially from those that exclusively do long form. In the same way that I think improv school allegiances are stupid, I think pitting long form against short form is an exercise in futility. They should be treated as two different performances that definitely can coexist on the same bill (NOT like standup and improv, which I DO NOT think can coexist on the same night. I have never seen an audience who has wanted to see improv after watching someone deliver a rehearsed, professional set. Stop splitting comedy nights into half standup, half improv I beg you).

(In Obama voice) Let me be clear: long form improv is what I prefer, but short form was my first love. I grew up on Who’s Line is it Anyway. Colin Mochrie and Ryan Stiles are my spiritual dads. I would tape episodes on VHS and memorize Wayne Brady’s improvised songs and sing them to no one in the shower (how embarrassing).

The immediate buy-in for audience members is the best perk of short form. The host explains the game, performers play the game, audiences laugh. Jokes are immediate, jokes are the point. Audience buy-in for long form is a bit more tenuous. After a host introduces the show, long form is usually never guaranteed to be LOL funny in the first 10 seconds. Trust from the audience is built more slowly. I think the payoff of a long form show is much more satisfying, but you have to depend on an audience that will stay with you until the end.

I think short form deserves a seat at the adult table in the London improv scene. Improv isn’t as popular over here yet as it is back home in America; in order to appeal to more civilians and build a wider audience, an accessible show that regular people will immediately ‘get’ would sell well.

Once we’ve hooked them with short form, then we can reel them in and club them over the heads with long form. It’s the perfect plan!

At the end of the day, aren’t we all just making stuff up and laughing with our friends? It’s really not that serious.

Plugs

Check out my new improv podcast Amusement Guaranteed that I cohost with my friend Chris East. Our latest episode is with Al Donohoe from The Atom Improv in Liverpool.

See Fabled: The Improvised Fantasy Adventure at the Free Association on 12 June!

Cold Cuts Presents: The Big American Improv Show is back at the Free Association on 19th June at 8:30PM. All proceeds go to the NAACP!

I’m a prolific over-booker. I fill my diary to the max— some weeks I’m busy every day after work and on the weekend. I don’t LIKE doing something every day, so I’m not sure why I do this to myself. I guess, sometimes I think if I have every hour planned, I don’t have to spend much time uncomfortable in my own company. Yikes!

I don’t have anything really profound or important to say in this article. I think resting is good. I think booking gigs is good. I think staying out late can be good. I think going to bed early can be good.

Sometimes, when I’m exhausted and loopy, I do really good improv. Other times, when I’m exhausted and loopy, I do incredibly bad improv. This is all to say, I don’t know what I’m doing and I don’t think anyone else does either.

Plugs

Amusement Guaranteed, my new improvised theme park podcast with Chris East, drops tomorrow 1 June!

Heck, I just had the pleasure of performing in a ‘headliner’ show tonight at the London Improv Festival with players from my team Sundae and Suzi Barrett, Ryan Gaul, Connor Ratliff, and Jeremy Brothers (yes I know I dropped all those names, I’m going to pick them up). It was so fun! The audience loved it! Was it the best show I’ve ever done? Absolutely not.

My favorite thing to watch on stage is CHEMISTRY between improvisers. With all-star lineups, it is difficult to establish that repertoire between performers when some of them may be meeting for the first time 15 minutes before showtime. It’s no one’s fault (especially not MINE omg) but there is that special spark missing between players that is so paramount to a really kick-ass improv show.

A plea to audience members

If you count yourself amongst the brave few who love to perform and watch improv, do yourself a favour and get to an indie night. I have seen the best and the worst improv ever at some of these nights. It may be the Baltimore in me, but I think the best place to watch shows, (music, comedy, or otherwise) is a basement. Basements are hard to find in London, but when I find one, oh boy I’m in heaven.

If you are a comedy fan who finds themselves drawn to shows with big names— reevaluate your life choices. Go see the little guys! They’re doing things that are weird, new, bad, and good. Variety is the spice of life.

xoxo bye

Plugs

Sunday 24 May 7PM- Slumber Party at the London Improv Festival

Friday 19 Jun 8:30PM- Cold Cuts Presents: The Big American Improv Show at the Free Association (all proceeds to the NAACP)

Which Theatre is the Best?

^^ LOL all of them and none of them.

I’m on a house team at the Free Association. I am a regular coach and performer at Blanche. I perform at Hoopla whenever they will have me. Because I am enmeshed in all of these scenes, I do get tangled up in conversations about ‘this improv theatre’ versus ‘that improv theatre.’ Listen, I do love to gossip and talk sh*t, but ultimately, I think these discussions are silly.

The attitude of ‘well I perform here, so I can’t perform there’ majorly sucks. Also, it’s not true. There are advantages and drawbacks to each improv theatre just like there are advantages and drawbacks to literally anything that has ever existed. I find a lot of performers ‘identifying’ with a particular London improv school, which I also think is strange. You can learn anywhere, you can get better at your craft anywhere. Some theatres do things better or worse than others. Duh.

We’re All Losers.

It is a normal part of human nature to form groups— in an evolutionary sense it would protect us from sabre tooth tiger attacks in caveman times. Now, forming cliques shields us from having to be the weird kid who eats lunch alone in the cafeteria.

Here’s the thing: as improvisers, we are all the weird kids eating alone in the cafeteria. We all do improv. We all found a niche community where we feel loved and accepted and we are applying dumb schoolyard hierarchy to it because at the end of the day, we’re just people. We all need to notice this, be conscious of it, and do our best to stop it.

I also have come across people thinking they are not cast in or put on stage at one improv theatre because they do a lot of stuff at another improv theatre. Whether this is true or not, I can’t say. What I can say is that if it is true, that is disappointing. What I believe is that none of this stuff is really that personal. The powers that be at any of these theatres are super busy and passionate about their jobs, and they aren’t thinking about the politics of our little improv groups. If I am wrong and they are, then that’s weird and they should feel bad.

A Tale of Two Improv Festivals

As performers and watchers of improv, we are spoiled in May 2026. There are two improv festivals taking place a week apart in our great city: The Free Association’s Big Scene Improv Festival is 13th- 17th May and Blanche’s London Improv Festival is 21st-24th May. In my humble (and often correct) opinion, it is VERY SILLY that the communities could not combine these into one giant festival but hey, we get two weeks of banger international improv. Now, which one am I performing in? Both :)

If you are worried about improv theatre rivalries, you shouldn’t be. My best advice is to keep learning about improv and for chrissakes, BE NICE. If you look down on a particular improv theatre, sort your priorities out, you weirdo. At the end of the day, we’re all just playing make believe with our friends.

Ok love you bye xoxo

Plugs

Saturday 16 May- Cold Cuts at The Big Scene Improv Festival

Thursday 21 May- Sundae with Festival Headliners at The London Improv Festival

Sunday 24 May- Slumber Party at The London Improv Festival

Different Housewives franchises can teach you about different facets of improv and performance. I’m only going to talk about Housewives franchises in this article. If you want to talk about the Amanda and West drama from Summer House, you’ll have to flag me down after one of my shows.

Take a walk with me— I promise it will be worth it.

Dramatic Storylines: The Real Housewives of New Jersey

RHONJ really has it all. This franchise is like if The Sopranos, Sex and the City, and Jersey Shore had a baby named Prost*tution Wh*re. Everyone in the cast seems to be related by blood or marriage, and the lore between the different families on the show runs DEEP. Come for the iconic table flip, and stay for the decades long family drama between Teresa and Melissa.

Adding just one specific juicy detail to your narrative show can really get it to the next level. Something like, oh I don’t know, your new husband wears your dead dad’s pajamas around the house to make your kids feel more at ease (Louie is a sick weirdo iykyk). Oh yeah, and Teresa was the first Housewife to go to jail then go back to being on the show. Iconic.

Play with Status: The Real Housewives of Beverly Hills

RHOBH is one of the longest running, most popular franchises in the Real Housewives pantheon. It offers a look into the MEGA rich celebrity and celebrity-adjacent lives of some of the wildest looking ladies (botox for breakfast, anyone?) I’ve ever had the pleasure of having on my TV. It is also the source of one of the most prolific memes on my personal mobile phone.

Lots of the RHOBH have butlers, assistants, etc for most of the run. Seeing these normal people interact with their uber wealthy employers is one of the great joys of the series. I have noticed lately that playing with status is an often overlooked aspect of many improv scenes in London. If you’re someone’s boss, you better act like it, dammit!

Be Quick: The Real Housewives of Atlanta

I LOVE RHOA. It may be one of my favorite vintage series of Housewives. Nene Leakes is and will always be that girl.

The cast of the RHOA are known and lauded for their rapid comebacks and pithy reads in literally any situation. Improvisers could learn a thing or two from this. You likely won’t be as adept at quick fire comebacks as Phaedra Parks, but you can incorporate some of her wit into your play. Say the first thing that comes to your mind! Stop thinking so hard. Out with it!

I’ll just leave this here (engrave it on my tombstone):

Mess with your Teammates: The Real Housewives of Potomac

The RHOP are near and dear to me because it is the franchise that is based where I grew up. Sometimes the ladies will go to a restaurant or bar in Bethesda or Baltimore and I get to point at the TV and scream ‘hey I’ve been there!’ Good fun.

Even if they are feuding, the cast of RHOP love to have a good time together. Sometimes they will put their beef to the side for an evening and then go back to being at each other’s throats the next day. Gizelle vs Karen, anyone?

These girls love playing with each other and I wish more teams, especially new teams, brought that to the stage. F*ck around with each other. The thing I love seeing on stage the most is real chemistry between real friends that I can tell love each other. Go get a drink together. Go bowling or something. Bond!

A Flair for the Dramatic: The Real Housewives of Salt Lake City

RHOSLC is the newest franchise in the Bravo universe but it is oh so good. I knew we had a banger on our hands when it was revealed to us in S1E1 that Mary Cosby was married to her very own step-grandfather. Consider my popcorn popped- I am ready to go.

Lisa Barlow is one of the most wild people I’ve seen television (complimentary); and I say that knowing she is on the same franchise as Jen Shah, who got arrested by federal police in the Beauty Lab and Lasers parking lot for defrauding elderly people. She overacts whenever possible and it makes the show better!

Overact in your improv scenes. I promise hamming it up can feel crazy to performers on stage but it doesn’t read as too insane from the audience. It can really help solidify a character choice or even to drive game forward.

Be a Good Drunk: The Real Housewives of New York City

I could wax poetic about RHONY for hours and hours, so I will keep this short. Please do keep in mind that the following tip applies ONLY to OG RHONY and not the bullsh*t new reboot. Andy Cohen, you have only made one mistake in your life and that was recasting RHONY.

Call it a personal ick, but I find it a bit cringey when people act high or drunk on stage. It almost never sits right with me and I would not recommend making a habit of it.

THAT BEING SAID…

If you MUST act drunk on stage, please model yourselves after one of the greats: Sonja Morgan, Ramona Singer, or Dorinda Medley. Really, I don’t want to give much away (please for the love of God, watch OG RHONY)- just know that all three of these deranged lunatics are my spiritual mothers.

There are more franchises that I could go on about, but I will stop it here. Maybe I’ll do a part 2 sometime? Would you little piggies like that? More improv Housewives slop for your trough?

Love you xoxo!

Plugs

Check out my friend Luke Healy’s podcast COOP! I’m on the first episode!

Cold Cuts is performing at The Big Scene Improv Festival in London on 16 May! Come see us with our wild friends from LA, Drunk Theater

I’m all for improv ‘hacks’— little moves or adjustments you can make that will make your scenes more compelling to watch.

One hack I like to deploy for myself and the teams I coach is to play with the distance between you and your scene partner. Need to establish a relationship? Standing closer or further away from your scene partner than is societally ‘normal’ is a great way to do this.

X_____X These are coworkers

X_____________X These are coworkers that are competing for the same promotion.

X_X These are coworkers that are best friends

XX These are coworkers that are making out.

Messing around with where you stand on stage relative to your scene partner is also fun way to move the scene forward when the reality is already established. Get specific about the ins and outs of the relationship being established.

Thanks for subscribing!

xoxo,

Improv Gorl

Plugs

Cold Cuts is performing at The Big Scene Improv Festival in London on 16 May! Come see us with our wild friends from LA, Drunk Theater

This type of behavior happens a lot in improv jams and ensemble shows. It is normal to feel defensive and more reserved when you are playing with performers you are not used to playing with.

The ‘Soft Block’

These moves, or rather, non-moves, come from a place of tension and fear most of the time. Say you come on stage with a premise, but your scene partner comes in with something ‘shinier.’ Ugh, now we have to do their ‘thing’ instead of mine. This is a soft block; in the London scene, it is ‘polite’ to let the person who first stepped on stage to be the ‘premise-giver’ in a premise-driven show. (In my opinion, this has turned into a hard rule in the London improv scene and I am not vibing with it. More on that in another article probably).

I’m a control-freak, so moves like these can feel really bizarre and bad. It’s really easy for me to make up a story in my head about how the person feels about me as a person and not a performer when it happens. Do they think I’m a bad improviser? Did they think I was taking too long with my initiation? As a person with an anxiety disorder, I’ve been therapized enough to challenge these thoughts. No one is ever thinking of you as much as you think of you. This is ESPECIALLY true in something as trivial (complimentary) as a improv show.

The ‘Hard Block’

The more sinister, creepier cousin of the ‘soft block’ is the ‘hard block.’ This happens when your scene partner straight up nos your offer.

Person A: I just love coming to this beach!

Person B: We aren’t on a beach.

Person A: glitches out

This obviously SUCKS and is BAD IMPROV. Don’t be person B!

HOWEVER…

You shouldn’t feel super defeated as person A! Your scene partner has just broken the cardinal rule of improv. You now have my permission, as a performer with a substack with 82 subscribers (hey, thanks for following, guys!) to fuck around.

Person A: I just love coming to this beach!

Person B: We aren’t on a beach.

Person A: Todd, you know I like to refer to ‘the office’ as ‘the beach’ because it helps me get through the winter. Now, I need those reports on my desk by 10.

See? Now person’s B offer isn’t a block, you as the magical person A have transmuted it into an incredible piece of story telling! We now have a setting, a relationship, and status established. You did it! Now we can do an improv scene!

Play every scene like the improvisers you are on stage with are the best in the biz. Any offer, even ones that are ‘blocks’ are still offers that should be played.

Got one annoying guy that won’t let you get a word in? Make it a character choice. Endow him by saying “man you talk so much!” You have strengthened the scene by making it all look like he is doing it on purpose.

Another tip for guys (and sorry guys, it usually IS a guy) who talk too much: do object work. This will almost always get the audience to pull focus from the chatty dude to focus on what you are doing. Letting it go on for longer than feels ‘good’ is nearly guaranteed to get laughs too.

Anyway, after reading this, you will only do perfect improv from now on. You’re welcome!

Plugs

Cold Cuts is performing at The Big Scene Improv Festival in London on 16 May! Come see us with our wild friends from LA, Drunk Theater

My male scene partner well-meaningly says ‘hey babe, how was work?’

Cool, I’m in another husband/wife scene. If I had been a more seasoned improviser at the time, perhaps I could have found a way to be a stoner, ollie-loving wife. I was still green, still not totally comfortable in myself as a human person let alone an improviser, so I dropped my thing and did the boring dinner with straight married people scene.

It was probably fine. I don’t remember. Which means it wasn’t bad enough to be seared into my frontal lobe but wasn’t good enough to maladaptive daydream about in the shower later that night.

Gasp! Does the same sexism and misogyny that poisons normal every day life for us all exist on the sacred improv stage? It does. And you should think about it every now and then.

Endow ladies as gentleman. Endow gentlemen as ladies. Husbands and wives are boring. Let’s do a different relationship sometimes.

I’ve run out of steam on this topic for the time being. MARK MY WORDS: it will be revisited.

Plugs:

Come to COLD CUT PRESENTS: THE BIG AMERICAN IMPROV SHOW at the Free Association TOMORROW (30 April) at 7PM. All proceeds will go to the ACLU!

bye ily

You can't (and shouldn’t) start running around turning people into toads. With great power comes great responsibility! New York needs Spiderman! Ugh, I’m mixing my metaphors. Anyway…

Improv should not be your only ‘thing’

When you get into improv, it comes with a whole community too. This is nice! Built-in friends! I have settled comfortably into the London improv community. There are loads of like-mind people, events to go to, classes and workshops to take. I know this comparison has likely been drawn before, but the improv community functions a bit like church. Regular events, fundraisers, and a congregation that believes in the same tenants you do. Amen!

I find it irritating when people make one of their interests their whole ‘thing’. When every conversation I have with you revolves around Jesus or church, I’m just not going to build a deeper connection with you. I don’t have a problem with religion in general— talk to me about it sometimes, sure. I just think you should diversify your interests.

The same goes with improv; we all know those people who eat, sleep, and breathe the stuff. I get it— I love it too, but it is not the only thing I’m engaged in. It may be hard to believe, but I am interested in people beyond their love of improv. What else do you like to do? Are your parents divorced? Where did you get dinner? These are all questions that I, an extremely normal person, will ask.

A diamond with one facet, well, sucks. Bevel your edges, bitch. Get sparkling.

Get a life!

Seriously, get a life. It will make your improv better. I promise. Go entire days without thinking about, consuming, or performing comedy. I swear, it will make you a more interesting person and a sharper performer. You might think “but Karlie, I can watch some Dropout when I get home, surely?” NO. Read a book. Watch a movie. Crochet. (This is not a condemnation of Dropout. I love Dropout. Dropout— hire me please!).

I consume content like Kirby consumes, well, anything. Books, TV, movies, music, podcasts. Find what you like and get started.

I like reading lit fic and fantasy. I watch as much prestige TV as possible. I try to go to as much live music as my wallet will allow. I play video games. I like to travel.

Okay, now this just sounds like a boring man’s dating profile. Maybe my love for consuming content comes from not being super depressed anymore. There’s so much good stuff out there, and I want to experience it all.

Living a richer, more experienced life WILL make you a better improviser. Stretch yourself. Try new things. Read a book you think you might find difficult or boring. Broaden your horizons, experience things from other peoples’ points of view. Be a Kirby in a world of Marios (huh?).

ok love you bye.

Plugs

I like to log what I’ve read/watched. Follow me on Goodreads and Letterboxd!

COLD CUTS PRESENTS: THE BIG AMERICAN IMPROV SHOW- Thursday 30 April 7PM @ The Free Association (Southwark)

We sold out our new American all-star improv show last month at The Glitch. Come join us for another hour of corn-fed improv at The Free Association. All proceeds go to the ACLU.

Maybe in the future, I’ll write an article about how grateful I am that the comedy community in London gave me a soft place to land in a new country. I met my best friends through the improv scene here and still spend my weekends and evenings toiling on stage and off with all you weird people. I love it!

If you didn’t already know (how could you not), I’m American. If you have seen me perform recently, you know that I can do flawless British regional accents, but can you believe there was a time where I couldn’t understand a word you people were saying? Eye contact is key in improv, but for the first few years, I was making eye-to-mouth contact just to ensure I could pick up everything that was being said.

When people first get into doing comedy, a lot of it is referential. You say what you know; you emulate comics that you like. It makes sense to do this before finding your own style. You know when we were in elementary school and we communicated through Jim Carey faces and screaming the Anchorman script back and forth at each other? It’s kind of like that.

My references did (and still do) fall upon British ears that are not steeped in Americana. In a recent Slumber Party show, I went on a diatribe about I Love Lucy and Rosie didn’t know what the hell I was talking about. The best way to play along in a show when someone goes deep into a topic you know nothing about IRL is to go DEEPER than they do. Feign confidence, make shit up. The more wrong you are, the funnier.

I do feel isolated still at times when I am the only immigrant on stage— EVEN THOUGH I AM BRITISH NOW (I’ve got the passport to prove it). Here is a non-exhaustive list of British-isms that have been mentioned to me on stage and I had no idea what they were:

• Mr. Blobby

• The Bayeux Tapestry

• Little Chef

• Prince Andrew (I know about this one now)

• The Knowledge

Being an immigrant is weird— even moving to the country that MY country stole all its stuff from is hard. I can’t imagine how my Oma and Opa did it in the 50s. I remember I was so afraid to tell them I was going to move to the UK to be with Dan. Once I did, my Oma told me “do what you need to do. We left Germany because of war, it’s nice you get to move to England for love.” She then told me I “wasted my talent” because I didn’t play piano anymore and that I looked “very pale”. My Oma was a complicated woman! I miss her!

I find British improv in general more timid and more apologetic than American improv. We can both learn from each other— maybe I don’t need to enter every scene screaming and kicking down a door, but maybe you don’t need to shyly walk onstage and ask for permission to speak. Maybe you don’t need to make a cup of tea whenever there’s dead air. Let it hang for a second. Maybe then I’ll run in and fire a gun.

Plugs

All that being said, this article is just a big advertisement for COLD CUTS PRESENTS: THE BIG AMERICAN IMPROV SHOW on April 30th at the Free Association. Our last show in March was INCREDIBLE and I felt so, dare I say, FREE on stage with my band of North Americans. Daniel Kvoras and I have worked so hard to put this show together and it’s such a joy to share a space with such incredible performers. Last month, we raised $1030 for the National Immigrant Justice Fund (through the NILC) and in April, we are donating all proceeds to the ACLU.

You can watch a Cold Cuts’ twoprov set here! Cold Cuts @ Free Association Cage Match 2025

I’ve noticed a disturbing trend in London improv over the past year or two. Now that the scene has been well established for more than a decade, I've feel like I’ve seen improvisers across the city do an impression of improv, rather than improv itself.

What do I mean? It’s a bit hard to explain, but I’ve seen loads of people doing a facsimile of improv they have seen before rather than their own thing. Premise, game 75% commitment. I’m getting bored (sorry if you think I’m sort of a bitch for this opinion. Obviously there’s loads of talented very good improvisers around that have their own style and swag. If you think this is about you, MAYBE IT IS).

I love going to a show and seeing improvisers you can automatically point to and say “oh, I get their whole deal.” I want to see players be the freakiest version of themselves on stage. My brain and eyes and ears have been so saturated with C+ improv shows that I yearn for something weird and shocking.

Maybe that thing is happening to my brain where people watch way too much porn, so then they have to watch weirder and weirder stuff to get their kicks. My tolerance for normal improv is too high. I need the improv version of hentai to get off (comedically).

All kidding aside, maybe performers don’t feel encouraged to be themselves on stage. Of course, in a show, we are putting on some sort of persona. Improv is both more and less vulnerable than, let’s say, standup. In standup, you are presenting the audience a written version of yourself; you can disclose as much or as little of the ‘real you’ as you like. With improv, we are rarely being our authentic selves on stage, but everything is made up— it’s high risk!

I want performers to bring more of themselves into the shows I see across London. I KNOW you guys are little freaks with weird point of views, because I hang out with you all. Get raw on stage! Do that weird voice I know you can do! Show me your version of hentai!

I feel most myself on stage with people I am comfortable with. My team Slumber Party is full of my best friends in London. We each have our own distinctive voice, and when we are together, it really doesn’t matter to us that an audience is there. We are hanging out, staying glamorous, and silencing the haters. It’s just a plus that there are people clapping and laughing at us while we do it.

I was recently at a House Night at the Free Association and I saw the incredible Alex Smith of the Harold team Sweethart come into a scene as a trouble-causing, precocious kid of the on-stage couple. In the FIRST BEAT, Alex became possessed and completely turned herself upside to reverse crab walk like a little demon sicko kid. It was so cool, so unexpected, and such a nasty little surprise.

I want to see more improv Id on display in London. Find out what you do best and keep doing it! I guess this goes hand in hand with really knowing yourself. I am turning 32 this weekend, and I finally feel like I know and also LIKE myself. As a life-long self hater, this is huge for me. Take yourself on a date! Write! Go to therapy! Look at yourself in the mirror! Hang out with yourself, and I promise the rest will follow.

Plugs

Fabled: The Improvised Fantasy Adventure Friday 17 April at the Free Association (also come see us at EDINBURGH FRINGE)

COLD CUTS PRESENTS: THE BIG AMERICAN IMPROV SHOW- Thursday 30 April 7PM @ The Free Association (Southwark)

We sold out our new American all-star improv show last month at The Glitch. Come join us for another hour of corn-fed improv at The Free Association. All proceeds go to the ACLU.

TY BYEE!