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Interrobang?! Improv is seeking artists for future productions of “Script Tease”

Interrobang?! Improv is interested in working with playwrights, directors, and actors (whether those with more scripted or improvisational experience) for future productions of “Script Tease.”

“Script Tease” was originally created by Domeka Parker for production at Portland’s Brody Theater. More information about that production can be found at http://www.oregonlive.com/performance/index.ssf/2013/11/brody_theater_crew_is_out_to_p.html.

In “Script Tease,” the actors are given the first six pages of a new play on stage, and assigned their roles. The actors are given the opportunity to silently read those six pages, and then immediately perform a staged reading. At the end of the six pages, the actors set the scripts aside, and then, using improvisation, perform the rest of the play.

For the first Seattle production, the actors are the members of Interrobang (Britney Barber, Becky Bartlein, Dave Clapper, Derek Kavan, and Phoebe Richards); the playwright is Jennifer Jasper; and the script curator is Catherine Blake Smith.

For future productions, Interrobang would like to cast performers with more of a mix of scripted and improvisational backgrounds. The rehearsal process will consist of both a workshop to teach the format and two rehearsals to work directly with the playwright (using scripts other than the one that would be used for the performance).

Actors and directors interested in being part of future productions should email their resumes to Dave Clapper at dave@interrobangimprov.com.

Interested playwrights should email their resumes to Script Curator Catherine Blake Smith at catherineblakesmith@gmail.com.

Interested artists of all stripes ideally should attend the first performance on Thursday, November 13 at 8:00 PM at The Pocket Theater. Tickets available at http://bit.ly/INTBANG.

Future productions will depend on level of interest, both in terms of artists who wish to participate and in size of audience.

We’d love to play with you. Thanks for your interest.

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Don’t you hate it when you forget to Blink?

This is Bryan Sullivan, cast member of Interrobang Improv. It’s my turn to write about this week’s rehearsal! This week is especially awesome to write about because Interrobang was a trial audience for a new workshop by Dart London, esteemed cast member of Jet City Improv, and stellar guy. “Blink” is based partially on a book of the same name by Malcolm Gladwell. Gladwell proposes the idea of two types of thought. The first type is “slow thought”, categorized by rational decision making and the weighing of different options. When using “slow thought” we think about likely outcomes, and consider both the past and present. Specifically, in regards to performing improv, consideration of plot or relationship falls under slow thought. If I as a performer attempt to drive a scene towards a certain outcome then I am using slow thought to make those decisions.

The other type of thought proposed by Gladwell is “fast thought”, categorized by unconscious decision making. Preconceived ideas, and stereotypes fall under “Fast thought,” If someone asks the question “ How’s it going?” our response, either “fine” or “good” or whatever, is fast thought. We don’t usually take the time to consider how our day is going; we give our automatic response that we have given for years to such a common question. In regards to performing improv, emotions and characters can both fall under fast thought. If I was told in a scene, “Your father has passed away.” my emotional response would be almost automatic, either sadness or anger, or some other like emotion.

Enough technical stuff, Dart led us through several exercises that helped us to think about when we use slow or fast thought. One of my favorite was an exercise where two people were told to do a scene but a word or two had to be substituted, and if the audience or your scene partner heard you say the forbidden word they would make a game show buzz. I was in the first scene and I had to replace the word “The” with “Qua”. I stumbled through it, and all those times when I would have used fast thought and automatically used “The” I had to stop and use slow though when replacing it. My scene was sloppy and choppy. With each new round however, more and more words were replaced. By the time Jillian and Jim did their scene, not only was “The” replaced with “Qua”, but “This” was replaced with “Blart”, and several other words were replaced. I was astounded with how well they did, but again they had to stop and use that “slow thought” from time to time.

Another exercise stretched our fast thought muscles, we lined up in two lines and cycled through with one person starting a scene and the other person giving an over the top strong emotional response. The results were hilarious, with extreme fear, or happy reactions to lines like, “Will you open this can?” As the workshop continued on, I felt more and more in tune with my fellow cast members, our “fast thought” was more and more alike, we didn’t fight against what our minds told us. I thought less about what a scene was about or where it was going, and let it develop in front of me, trusting my fellow cast members and excited to find out what was going to happen next. Dart brought up a great quote from the author Ray Bradbury, “Plot is no more than the footprints left in the snow after your characters have run by on their way to incredible destinations.”

As a person and performer I am very drawn to plot, and giving meaning to each scene and each interaction, I want to tell stories. This workshop didn’t take that away change that for me, but I think it came at a crucial moment for Interrobang when we’re adding new faces and gaining trust in each other. We are learning to tell stories together and learning what stories each of us wants to tell. Each of us has so many exciting experiences and ideas, and personalities that can and will combine to create an incredible and original product.

Dart’s workshop stressed us out and, and made us laugh. It helped me to break apart my decision making and experiment with story and plot creation. What you have just read, of course isn’t the entirety of the workshop but just a taste. This workshop was creative yet simple, It doesn’t tell you what you can do better, but inspires you to think about how you improvise and how others in your company improvise. I want to say thanks to Dart for trying this out on us, and have fun introducing this to other groups, that I hope will benefit from it as much as we did.

Stay tuned for upcoming Interrobang performances, and seeing some of the new blood like me improvising for you. As always Interrobang fans, thanks for your support and I’ll see you on stage.

Cheers,

Bryan Sullivan

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Reflections on the auditions

There was a lot I loved about our auditions, particularly the fact that they resulted in us adding four amazing people to our group. There was a tiny bit I hated about the auditions, primarily that we had to pass on some folks whose work I respect a ton. Perhaps the thing that I loved the most about the auditions, though, was the commitment given to us by all the auditioners, the levels to which they all pushed themselves, often having to go far out of their comfort zones.

In large part, the auditions were designed with that in mind. Often, I think, auditions play to the auditioners’ strengths, especially when casting for a given show. And this makes sense: if there’s a very particular format (as there often is for a specific show), you want to cast the people whose strengths best suit that format. When casting for an ensemble that may switch up format fairly frequently, however, it behooves both the company and the auditioners to find the areas that could use work.

Since that’s also the way we approach the work itself during our rehearsals (and performances), this made even more sense to us. A big part of the process with Interrobang is issuing challenges to one another, based on what we’ve seen in recent rehearsals and performances. For example, I’m fairly often challenged to play low-status characters and/or very empathetic characters, as my comfort zone tends to lie in playing alphas. And I love that the company keeps pushing me there, and will keep pushing me there until they see low-status characters as one of my strengths and hone in on a different area that needs work.

With that in mind, we structured auditions quite a bit like the way our rehearsals are structured: a couple quick warm-up games to shake off the angst of the day, followed by exercises that target physicality and emotional stakes, followed by a half-hour open form improv in which we mixed in members of the company with auditioners (after a brief meeting among the cast to narrow down the group to just a few people we needed to see more). Throughout the process, based on what we’d seen, we’d offer individual feedback on what we wanted to see at each phase.

I’ll skip over the specific warm-up games, because they serve the purpose of shaking off the day’s angst and awaking people’s brains and bodies, but aren’t (to me, at least) the real work of improv (I’m eagerly awaiting a coming post about warm-ups on Ian Schempp’s blog, a blog every improviser should read). I feel strongly about the exercises we gave the auditioners, though, and will delve into those a little bit.

Abbott & Costello: This was brought to us by Chris Allen (who, in turn, got it from Ian Schempp in rehearsals for “Unspeakable Horrors”) when he joined us for a rehearsal a while back (this is something else we periodically like to do: bring in other improv friends to play with us in rehearsals, although we’ll probably hold off doing this for a while, until we’ve found how the company of ten plays together). In A&C, one person is the straight man, the Abbott. This is the person who initiates the scene. The other person is something crazy, the Costello. Some character traits are given to them by the next person who will do the exercise. Ideally, the traits they’re given should be less about character motivation, and more about physicality, emotion, etc. A favorite example was in a rehearsal where Randy was assigned to be a half-octopus half-vampire woman with a sexually transmitted disease—the voice and body that he took on were completely unlike anything I’d ever seen him do before. The two characters in the scene should know each other well. In other words, while the straight man shouldn’t treat the weirdness as completely normal, (s)he should also not be surprised by it—(s)he’s seen it for a long time. After they’ve done their scene, the Costello moves into the Abbott role, the Abbott moves to the back of the line, and the next person in line moves into the Costello role. Everyone did one Abbott and one Costello. We use this primarily to move us away from stock character choices.

I thought this worked really well. A lot of improvisers are incredibly clever and quick, but don’t embody characters very different from their daily selves. This gave us a good sense of who could (and would) move out of their character comfort zones. I do think would have worked better if we’d assigned the character choices, instead of having auditioners assign them. In a few cases, there were assignments given that were more about motivation (you’re a shoe salesman who has only left shoes in stock and desperately needs to sell them all) than about physicality (you’re a leprechaun bullfighter). I don’t blame this on the auditioners at all—many of them were new to the game, and the energy that comes with auditioning is better directed to the scene work.

Juicy Stakes: For a long time, we called this the “Carskee Game,” as they taught it to us in another rehearsal, and we never remembered the name of it. (If ever you have an opportunity to go see Carskee, go, go, go.) So we finally gave it a name of our own. There are two phases to this exercise.

In the first, two improvisers are given a relationship and situation with high emotional stakes. The improvisers are supposed to play this as realistically as possible, as they themselves might act in a similar situation. Example: the husband of two newlyweds has just found out that he won’t have to ship out to Iraq again, and has been assigned stateside. (This is at the happier end of the spectrum. Most of the scenes, for some reason, tend to be more in the realm of “sad-prov.”) They are asked to remember their emotions in the scene, the levels of those emotions, and their arc. They are specifically told that the details of the plot of the scene are unimportant, i.e., they don’t need to try to remember the way they phrased things. It’s the emotions that are important. Next pair does another scene with a different situation/relationship assigned, same instructions. Go through all the pairs.

In the second, we cycle back through the same pairs. Using the same emotional arc—levels, intensity, changes, etc.—they are given a relatively unimportant situation: Example: the pair that did the newlywed scene is now a couple friends, one of whom (the husband from the first part) has just opened a bottle of Coke to find that the bottle cap is good for a free Coke. Play that scene at the same emotional levels, arcs, etc.

I love this exercise, a) because it can be funny as hell, b) because it illustrates really well that any situation can have high stakes, and c) because playing things as realistically as possible is often outside of improvisers’ comfort zones, and pushes them to develop realism as more of a tool. I actually prefer the first portion of this exercise for that final reason.

Those were the core exercises for each of the three nights of initial auditions. They gave us great foundations upon which to issue challenges to the improvisers who stayed for the open format play time at the end of each audition. For example, one improviser used his size exceptionally well, and was particularly good at playing seething anger. For the open format, we asked him to, at least once, play a physically smaller character, and we’d like to see happy and/or sad.

The callbacks featured similar exercises with similar kinds of stakes, but I feel like I’ve already written too much. Also, I feel like the initial audition formats were where our strengths as a group were most clear. There are definitely lessons to be learned for us from the callbacks as well—we really need to book three hours instead of two to ensure we can see everything we need; MAD/GLAD/SAD/AFRAD probably needs to run longer to see how people use their initial emotional outbursts (another point Ian makes in his blog); going outdoors for any part of an audition is really tough (and this is part of the comment about booking more time); as much as possible, it’s best to know our full format before auditions are underway (we met between auditions and callbacks to discuss format for callbacks, based on what we’d seen); etc. I don’t know how long it will be before we’re likely to have auditions again, though, so… time to start wrapping this post up.

What blew me away throughout the process was the generosity and commitment of the improvisers. Because the auditioners gave so much of themselves, the amount of time given to making decisions almost equaled the amount of time spent in the auditions themselves. More than once, I found myself crawling into bed at about 2:00 in the morning after intense discussions about what we’d seen on a given night. For every auditioner, every member of the company was given time to speak about what they’d seen, what they’d like to see, etc. At times, it got very emotional. Yes, there were actual tears shed.

I’ve often heard from directors at auditions how exciting the process is for them, how grateful they are to the auditioners. Having not sat in the director’s chair for over twenty years now, I’d forgotten how true this is. Having never, until now, sat in the director’s chair for an improv group, I can see that the feeling is exponentially greater. Because there is so much risk in improv, because improvisers are asked to work without a net, and perhaps most because of the knowledge of how closely we’ll be working with the improvisers cast, the process emotionally (for me, anyway) falls somewhere between auditioning for a show and having a child. Maybe that sounds completely over the top, but the sense of exhilaration and anticipation (and heartache, too, when thinking of people we didn’t cast who had given of themselves just as much) once we’d made our decisions was, and continues to be, enormous.

Some amazing people who have joined our group: Becky Bartlein, Jillian Boshart, Phoebe Richards (please also read her excellent post on the auditions), and Bryan Sullivan. The level of commitment I saw from everyone already in the group—both during the auditions themselves, and especially in the discussions afterward—was everything I’d hoped for when starting an improv group. And the gifts that every auditioner gave us, whether cast this time or not… thank you all so much… you humbled us. Because of those three things, I am more excited about Interrobang going forward than I’ve ever been. Rehearsals with this group make Tuesday a night I look forward to every week.

Audition Process: emotional and physical

The anxiety of auditions is personal to all I am sure. As an actress I have come to terms with the reason for my anxiety: the need for approval. While I certainly have learned how to bounce back from rejection, I still cannot keep myself from fearing it all the way through an audition. It can be very difficult to truly lose myself while feeling I am trying to prove myself. For the most part auditions are best when they are over!
I spent my first three years of improv in a group called Improv Robot in Olympia, Washington. The joy of working with a group of people you understand and trust and who crack you up is immense. When I began the audition for Interrobang? I felt a mix of emotions. The usual nerves were present, but knowing I was auditioning with a group of my peers to be a member of a troupe excited me; it had an element of courtship.

Part One of the auditions were held at the very warm Stone Soup Theater. The group introduced themselves and had a good banter about their groups goals and process. They mentioned physicality and emotional range as two of the important elements they were looking for.
After some standard warm-ups, they tested how far we would go physically with crazy suggestions. The scenes involved one “straight man” and one “wacky character”. The wacky character was whispered a suggestion by a fellow auditioner, like “Narcoleptic Game Show Host”, and the two started a scene. What I loved about the set-up was that the “straight man” could not react to the “wacko” in surprise, but instead like they were used to each other, forcing the scene to have a real relationship. Meaning, no one wants to watch a scene of one person running around acting crazy while their scene partner stands there going “You are weird.” No shit they are weird, the audience can see that. What is much more entertaining to watch is how this seeming normal person relates to this wacky person. Are they dating? Co-workers? Once you create stakes and an emotional connection the scene gets to levels, the one being the humor of watching an improvisor trying to play absurdity while also relating to another person with character.
The second scene we did was a serious scene. In pairs we were given a heavy scenario to play out and told to remember our emotional beats. I was given that I had lied to my boyfriend that I was pregnant in order to keep us together, but he was starting to figure it out. Interrobang?! explained they were looking for improvisors who could commit to real emotions. After we did the scene, with some high emotions, we were told to do another scene together following the same emotional pattern. If our scene had started out sad and become angry we were to do that again. My second scenario was that I had lied to my boyfriend about taking showers to keep him from dumping me, but in fact I never took them. Two important elements to this second scene were that we play with the same honesty as before. Because the scene would be funnier for the audience did not mean our characters were any less committed to this problem then they were the first time around.
So there is the theme that Interrobang?! kept going throughout the audition process, blending big physicalities with high emotional stakes.

Callbacks were announced the next day and I had a week to wait. The Saturday between auditions,Interrobang?! performed at Last Call. I went to see them, of course, and the show was excellent. It had strong silent scenes, heartfelt monologues, and men breast feeding each other. Golden.

Part Two of the auditions were held at the slightly cooler TPS. Suddenly I had a stronger desire to be accepted. Having seen such an amazing show I wanted to join and play and have fun with these performers.
A great aspect to these auditions were the feedback we got. The group would come up with challenges for us, as they do for each other in rehearsal. It really helped me to push past my safety net. I was asked to be broader in my physicality and to play some low status characters. I always as for feedback after auditions, if I don’t get cast, to see what they wanted ton see from me. It was awesome to essentially get notes while still auditioning and allow us to use them.
That night we did silent scenes in groups of three. We were to use only one word each, one time only. This exercise was great because it put focus on movement and blocked the habit to over talk a scene. Touch becomes much more a focus in silent scenes, the physical connection, which is a backbone to the work Interrobang?! does. They are a very intimate group in the sense that they touch each other, grope each other, squeeze each other, a lot. Which brings me back to the beauty of working with people who are familiar. Despite knowing most of the people I was auditioning with, I had never worked on stage with any of them, and pushing myself to be comfortable touching them, even just their arm, was more of a challenge then I wanted it to be. The silent scenes, however, laid a better foundation for this. I realized, while doing my silent scene, how often I hide behind talking in a scene. I can talk and talk about what my character is thinking, but when that is taken away from me I am forced to process everything with my body, which leads to connection. be it connection to the props around me, or to my scene partners.
The callbacks were then moved outdoors, where we performed open scenes as the sun went down. There we did an open 15 minute set. This was, personally, my least favorite part of the audition. Despite Interrobang?! telling us we shouldn’t feel the need to run into every scene happening, it seemed like people were. I ended up standing off stage for the majority of the set feeling awkward. This is very much my own insecurities coming out, but I hate the feeling of chaos onstage and so, because I didn’t want to add to it, I was left with very little stage time.That is not a great feeling in an audition, because it causes worry that they are seeing nothing to impress them.

Now the auditions are over and I have been cast in Interrobang?! We have started rehearsals, and with the pressure to impress gone, I am able to take my time, make connections and learn to trust. The best magic comes from the moments on stage when you look into your scene partners eyes and know that both of you are fully committed to that moment.