CHARACTER-INSPIRED IMPROV

Character-based improv is a distinctive style of improvisation that centers on the creation and exploration of rich, multidimensional characters. Unlike other forms of improv that might focus on quick wit or clever dialogue, this approach dives deep into the identities, backstories, and motivations of the characters you portray. It's about fully embodying someone else, with all their quirks, flaws, and strengths, and letting those traits drive the scenes. This style encourages improvisers to develop a strong connection with their characters, allowing for more authentic, nuanced performances that feel real and grounded.

What sets character-based improv apart is its emphasis on storytelling through the eyes of these fully realized characters. By focusing on who the character is at their core, the scenes naturally become more engaging and dynamic, often leading to unexpected and compelling narratives. This method invites improvisers to go beyond surface-level humor, creating a deeper, more resonant experience for both the performer and the audience. It's a unique blend of theatrical technique and spontaneous creativity, making it a standout approach in the world of improv.

I learned improv at THE GROUNDLINGS in Los Angeles, which is Mecca for all character based improv anywhere on the planet. after being a student and then performing it for over six years, I became a teacher and director at the theater.

One of my favorite tools is something I developed called CHARACTER SPINELINES. I found most students who didn't spend six years like me in a character improv school (aka MOST people) letting go into a character was almost counter-intuitive. So, I wanted to find a method that was both easy to access and gave everyone a real felt sense of what a ‘character’ really means in improv — beyond a silly voice or weird face. If you’re not new to improv but new to CHARACTER improv, this will be the “a-ha” you’ve been looking for.

I love all forms of improv as improv can't be reduced to anyone thing however, my preference is character improv because it is infinite and its possibilities and accessibility!

EMERGENT IMPROV

"Emergent Improv" is a style of improvisation that I first started playing with in Los Angeles in my Drop-In Improv classes. I was looking for a tool that would help get eager and brainy improvisers to look elsewhere for inspiration beyond a quick joke or outrageous pre-planned plot twist.

I called it ‘Emergent’ because that was what was needed for the students to understand — if they left space and were fully committed to the truth of the scene they were in AS the character they were embodying, something would EMERGE to guide them. The magic was that whatever seemed to emerge was experienced as TRUE by both the audience and other players. It was like giving improvisers a new GPS system — one connected to a deep current of emotional honesty, ease, presence, and trust. What became incredible to watch was how captivating the scenes became! Long silences, 3-word responses, fascinating revelations, simple body gestures that would evoke huge laughs or gasps.

What started to happen was the improviser began to expand their capacity to be present, listen, and connect with the other players in a way they hadn't before. Instead of rushing to get their line out, or think of a funny button, they were focused on listening and letting honesty guide them.

‘Emergent improv’ does so many amazing things. It focuses on the spontaneous and organic development of scenes, stories, and characters, rather than relying on pre-set structures or formulas. It allows students to let go of worrying about plot and submerge themselves into the reality of the scene. It gives them permission to fully become the character they are playing.

The key idea behind Emergent Improv is that the best moments in improv arise naturally from the interactions between the performers, the environment, and the audience, rather than being forced or planned. The result is often a more fluid, authentic, and surprising performance that feels fresh and alive because it truly emerges from each and every moment!

LONGFORM: CLAP-IN STYLE

Longform improv is like embarking on an unscripted journey where anything can happen. Unlike shortform improv, which relies on quick games and fast-paced scenes, longform is all about exploring deeper narratives, richly developed characters, and the intricate relationships that unfold over time. It’s a style of improvisation where the performers work together to create a cohesive story or series of interconnected scenes, often building entire worlds from a single suggestion. The beauty of longform lies in its ability to surprise both the performers and the audience, as the scenes evolve naturally, with each moment informing the next.

In Longform Improv, there’s room to breathe, explore, and dive into the details. Performers have the freedom to linger in a moment, revisit characters, and uncover layers of humor and emotion that might not surface in shorter formats. It’s an improvisational art form that demands patience, trust, and a willingness to let the story emerge organically. Whether you’re watching or participating, longform improv offers a unique and exhilarating experience that’s as unpredictable as it is satisfying.

I created The Crazy Uncle Joe Show at The Groundlings because I fell in love with the format that was used as a class exercise. It is an improv experience like no other. It’s a longform improv where the performers dive headfirst into a single, continuous narrative that weaves together unexpected characters, absurd situations, and hilarious twists. Unlike traditional shortform improv, where scenes are often disconnected, longform clap-ins (like Crazy Uncle Joe format) allows the story to flow organically, with scenes morphing seamlessly into one another, creating a cohesive and unpredictable journey for both the players and the audience.

GOOD GIRLS AREN’T FUNNY

While teaching at The Groundlings, I began to notice a weird trend. Perhaps because I was female I noticed it first, or it might have just been my preoccupation/obsession with culture and norms and consciousness. Who can say! But I began to notice that the women in my classes got less and less confident the higher they moved up. And the women that seemed to excel (which I have to be hones about) they weren't necessarily the most skilled but were the women who learned how to "do it like the boys” — they played aggressively, over-sexualized themselves, and did NOT have other women’s backs. The women who tended to be very strong in Level 1 and 2 almost began to backslide.

It was like they started to trust themselves less and less as the stakes got higher. Weirdly, I could understand what was going on without being able to put words to it. All of this is to say that it inspired me to investigate! and led to the creation of a talk and improv workshop series to address it and hopefully reverse it. That’s where GOOD GIRLS AREN’T FUNNY came from.

I have given the talk now all over the world, not only in classrooms, but also in boardrooms. It seems that the dynamics are heightened in improv, but the underpinnings are still the same for all women. Which means the antidote is ALSO in improv (that’s the great and exciting news!)

These workshops are designed to help women see the Good Girl in them so they can override their impulses and strategies, allowing them to be free to create from a place of true confidence, authenticity, and a large dose of fuck it! Our girls want to do it, be liked by everyone, please our teachers, please, our classmates, not stand out too much, and be the most supportive assistant player you could ever be. luckily improv requires none of that and so is the greatest teacher in finding your authentic self, beyond gendered norms and shoulds.

SKETCH

There are lots of approaches to sketch and a lot of theories and formats. Again, my training was at The Groundlings, and so all of my sketch experience began with a strong character focus. If you think of Saturday Night Live, that is a blend of two distinct styles. Most of the writing staff and even cast members come from one of two approaches for the most part: premise/idea based writing and character/situational based writing. The easiest way to tell is when you think of the sketch do you remember the big weird, hilarious character or do you remember the funny idea?

My background and preference is the big weird, hilarious characters living their bizarre, off-center lives doing their mundane things and making us laugh as we watch and relate. I taught the upper sketch levels at The Groundlings for almost a decade and currently teach it at PACE University and their Performing Arts school. I’ve coached sketch teams and led Sketch-writing workshops for newbies as well as seasoned writers.