Denver Improv Spotlight

Spotlight on Kerstin Caldwell

2011-09-10T18:24:00.000-07:00

Kerstin has been performing and studying the art of improvisation since she was first introduced to it in high school. She received much of her education in Chicago at The Second City and iO, where she studied the theories and teachings of the late Del Close while performing with various Harold teams. She has also performed in Denver with the Bovine Metropolis, Rattlebrain, The Second City Denver and in 2005 Kerstin was a founding member of the Denver Improv Festival and The GroupMind Foundation. Since 2003, Kerstin has taught packed workshops at the Colorado Thespian Conference and created the Conference's first improv showcase called Improv Frenzy. Most recently, she has had the pleasure of experiencing the work of Viola Spolin and Paul Sills through The Wisconsin Theater Games Center and is deeply honored to have also been a student of Mr. Alan Arkin.

How were you first introduced to improvisation?

When I was in high school, I wanted to be Gilda Radner when I grew up. I would tease my theater teacher, telling her to bag the Shakespeare and teach us how to write sketch comedy or stand-up. I must have had some kind of influence, because she brought in one of her former students who played in ComedySportz to teach us improv. At that time, the heavens opened, and I knew what I was supposed to be doing.

What were the highlights of your Chicago Improv experience?

1. Realizing that for the first time in my life I belonged somewhere. I was always the smart ass friend in most every situation. I was kind of like Natalie from The Facts Of Life. To have found the Chicago scene and to be in a place where we were all used to being Natalie, I felt like there was finally a place I belonged, learning to use my smart ass skills for good instead of evil.

2. When I first moved to Chicago, I was interning for The Chicago Improv Festival. One of my duties was to coordinate a photo shoot in LA via the phone for four headliners; Avery Schreiber, Mina Kolb, Tina Fey & Scott Adsit. They were going to be doing a set at the festival which celebrated two generations of Second City. I had no idea who Avery Schreiber or Mina Kolb were at the time, and then I saw Avery Schreiber. He was the guy in those Doritos commercials from my childhood who scared me, intrigued me and stopped me dead in my tracks whenever one of those commercials came on. I had a feeling then, and still do to this day, that I have always been drawn to improvisers even before I knew what improv was. Perhaps my path was set long ago and I simply had to follow the clues to find it.

3. Being told I had a voice by learning how to write and produce shows based on my experiences growing up in a funeral home. I was scared out of my mind when I wrote the first one. As a challenge to myself, I signed up for a slot in a show at iO called Slugfest. You signed up for a half hour slot and would do a piece you wrote based on anything you wanted. I booked mine as far out as possible so that I would have time to prepare and was using every waking moment to configure what I wanted it to be. The night I did Slugfest was right after everyone was back from their holiday trips home and iO was packed. Everyone I admired and wanted to be like was there. Although I was extremely nervous, I don't remember another time on stage and feeling more love from an audience ever in my life. Hearing certain laughs in the audience and knowing who they were from made me feel like I belonged even more. Going from an insecure chick who felt invisible to someone people knew based on that one show really helped boost my confidence enough to rewrite the show and have my mentor, Susan Messing, direct it for an extended run about a year later. (Amazing how we allow others to dictate our value sometimes, isn't it?)

4. Singing an inspired rendition of Aretha Franklin's Respect at iO during Karaoke after CIF one night. Tina Fey and Scott Adsit were in the front row of the theater while I was singing and they watched me and nodded while conversing back and forth. In my mind, their conversation was that of being impressed by my ability as a white girl singing Aretha. Their actual conversation, a 30 Rockesque comment as to how delusional this white girl singing Aretha actually was.

5. Being completely submerged in improv every night of the week. There was a long period of time when I was either rehearsing, playing, taking a class or at a show every night of the week except maybe one. Being surrounded by what you love, being able to work with and apply your new found knowledge of it and watching others grow and do the same was probably some of the best times of my life and something I really miss.

What was your inspiration for starting Gaining Perspective?

When I moved back from Chicago I noticed that a lot of groups I had watched or even performed with before I left were still doing either the same things or very similar things to what they were doing almost five years before. I was so excited to share with them what I learned while I was gone so I decided to extend what I had been teaching high school students on to adults.

I've always been interested in the idea that in Denver most places that are known for their improv, as well as most independent groups, tend to stay to themselves. They didn't appear to really go beyond what they already know about improv to learn more. For a long time, The Bovine's training center has been the only place with a structured five-level curriculum to learn from. Since I believe that all there is to learn about improv is infinite, I knew there was an opening for more beyond just five levels. I saw that some people wanted more so I started Gaining Perspective to fill the gap of what could come beyond a structured five-level curriculum.

My goal with Gaining Perspective was to get people to see that if they truly loved improv, they would want to study from more than one voice in order to see the craft from a different point of view. Seven years later, I'm still working on convincing people of that concept, but there has certainly been progress. It hasn't always been an easy road, but it's been the best thing I could have done for myself as far as spreading my love of our work to others. I wouldn't trade a single moment... Even the icky ones.

Does your approach to teaching improv differ whether it's adults or high school students?

It used to, but I don't think that it does anymore. Coming from learning improv in high school, my passion has always been to get as many kids into it as I could. The way I saw it was that I had been given the greatest gift of my life when I was in high school. Who would a smart ass kid like me have become as an adult without this gift? So I made it my mission to get myself into as many school programs as I could to show the other smart ass kids a place to use their smart ass skills for good instead of evil, too.

Over the past couple of years, my approach with high school students has changed depending on whether I'm supplementing improv curriculum in a theater class or I'm teaching improv as a core curriculum like I do at William Smith High School in Aurora. I've made the focus for teens at William Smith about creating self-awareness and how choices they make in improv tend to be the same types of choices they make in their own lives that either help them to succeed or fall short of their goals. What's funny is that the more I developed this approach with high school students, I realized the need for this same concept with adult students, as this concept certainly isn't bound by age. My approach with high school students informed and evolved into how I teach performing and getting out of one's own way on stage to adults, thus the inception of The YES! Lab.

I guess my style now, regardless of the age of the students I'm with, is a mix of self-awareness and an authentic application of who you are in this moment in order to create a more honest you on stage and off.

What's next for The Yes! Lab?

So much is happening, its crazy-pants!

In September, our Instructor team, Preposterous, will be headlining the 11:30 show at DIF on the 30th. In October we teach Getting Your Feet Wet, our "try us on" workshop at DIF on the 1st, and we celebrate our one year anniversary with a show at The Improv on October 6th. And then in January, we relocate our workshops and shows to the Voodoo Comedy Playhouse, which we are super excited about! ... Oh yeah, and just to be extra crazy, Sam & I decided to throw a baby into the mix as well, so that's on the upcoming agenda. Not only do we train the next generation of improvisers, we also breed them. Go IMPROV!

Spotlight on Sarah Kirwin

2011-08-13T16:23:00.000-07:00

Sarah Kirwin has performed in hundreds of shows over the years. Sarah has also written and performed for 8 Bovine sketch shows. She was also a writer/performer/producer for 3 independent sketch shows including the show, "Divided By Whoopie", which was an official selection at the Chicago Improv Festival and Chicago SketchFest. Sarah was also a member of the The Box Fans an all female troupe which was the first Colorado group to be an official selection at the Chicago Improv Festival. Sarah has been teaching improv at the Bovine Metropolis for over 10 years. She directed, "Misfit: The Musical", and has also directed for the Sanscript Players and Complete the Whole Set. She has appeared numerous times on film, television and radio. Most recently performing and writing for Starz/Encore movie channels. Sarah currently performs with the improv groups; Dishwater Blondes, La Gay, OCSS, Spike and Sarah and Saul Improv.

How were you first introduced to improvisation?

I was very shy growing up and had never really done any kind of performance. When I was 18 I worked up the nerve to answer an audition ad for a Denver group named TheaterSports. I thought we were going to write plays. It was short form improv. I was there and I was too scared to try something else. So I stayed.

So many students enjoy and are motivated by watching you perform, who did you enjoy watching as you working up through the improv ranks?

I remember the first time I saw Jill Bernard perform. I remember wondering how a performer could be so daring. She's my improv hero. She is one of those performers who just amazes you with every performance. She's the smartest player I've ever seen and her characters are insanely real. I wish she were gay. In Denver my favorite performer has always been Michelle Miracle. She is without a doubt the funniest person I've ever known. I was lucky enough to see her perform tons and I learned a crap ton about performing watching her do stuff onstage. I wish she were gay.

How would you define a good improv scene?

As a scene that makes you forget it's a scene.

You have performed in so many shows and participated on numerous teams over the years, are there any experiences that stand out for you?

The first time I kissed a man was onstage. It's a horrific memory. One time I was a dead body and my friend sat on my chest during a scene. I thought I was going to die but I didn't want to interrupt the scene to say, "I'm going to die." So I just dealt with it. I don't recommend doing that. No scene is worth dying for. And having a cast member die would probably mess up the show more than breaking character would.

After years of teaching and performing improv, how do you prevent things from becoming stale or routine?

I don't know.

What is your advice for students that have graduated from a training program but want to continue to improvise?

Audition. I know we all hate to do it but it's how we get on shows. Make sure you continue to learn. No matter how long you've been doing this art form there are always ways to improve yourself as an improviser. Find people who you dig and start a troupe! There are plenty of venues around town with open spots for shows. Produce!

Spotlight on Brian McManus

2011-07-10T12:28:00.000-07:00

Brian McManus is a regular performer at Denver’s Impulse Theater. He spent five years in New York studying improv with the Upright Citizens Brigade, the People's Improv Theater, Armando Diaz and more. Over the last 15 years he has performed in more than 1500 shows and continues to perform weekly with Impulse Theater. In addition to teaching classes at the Bovine and directing various community groups, Brian has provided customized workshops for the Colorado Improv Festival, Colorado High School Thespian Conference, the Young Actors Institute and others. For the past two years he has been directing improv at Lakewood High School and Smoky Hill High School, working with students to put together improv shows performed at the school.

How were you first introduced to improvisation?

I was in college studying journalism and trying to stay away from theater (I was done with all that). One day I decided to just poke my head in and check out the theater building and taped to the front door was a crayon-drawn poster of two crude figures standing next to each other asking “Do you want to meet your alter-ego?” and giving details for a meeting time and place. I had no idea what improv was, but I wanted to meet my alter-ego for sure. This was the first meeting of the group that became the Lords of Misrule – a group that performed pretty regularly together for more than 10 years. And of course, I ended up getting a degree in Theater. Journa-what?

How did the group Lords of Misrule originate?

The two guys who started it had tried to start an improv group several other times and for whatever reason, this iteration stuck. When I think of the faces around the circle during the first few meetings, it’s remarkable how many of them played a major role in my life over the next decade (including my future wife). The thing I appreciate about the groups origin is that we were autonomous and self taught. We used Keith Johnstone’s IMPRO as our bible and pulled in acting exercises to supplement what we were getting from Johnstone. Arbitrating our own training forced us to respect group dynamics and strengthened our core – we relied on each other to keep moving forward, rather than an outside source like a director, or coach.

But I would say the more definitive group was born a couple years in when we discovered long form. The group attended the Big Stinkin International Improv Festival II in Austin in 1997. We did a short-formish game that we made up called “Impossible Mission” which lived up to its name. It was one of the worst experiences I’ve ever had on stage and it forced us to reevaluate what we were doing and why. While there we saw groups doing long form and everyone’s eyes lit up. Seeing improv without the strict short form sturctures attached to it really cracked our minds open. Our transition from short to long form was, for some reason, a dark time for the group. We became very serious about it all and we lost several (great) people who were like, “Dude, this is supposed to be fun.” But we came out the other side doing some amazing, different stuff.

What was the group's objective and experience in NYC?

That would have been a great question for us to ask the group before we moved. I think our moving there was more a sense of following each other, following the family. The group was bolstered by the chance to play frequently at the newly opened Bovine Metropolis Theater. Sara Alan and Perry Daniel (Ladies of Misrule) were performing with Impulse regularly and the 3 of us lived within a few blocks of each other on Capitol Hill. The Denver improv scene was so easy and fun; it created a sense that we should try our luck in a bigger city. One of the guys that started the Lords was already living in NYC. I had just started dating Sara and she told me on the phone one day that she and Perry were moving to NYC. I was like, “uh, yeah…me too.” Five of us moved in together into a 3 story brownstone in Brooklyn – there had been talk of a Lords House for a long time. I suppose our goal was to find somewhere to perform regularly so we rehearsed in our living room and started booking shows anywhere that would have us. The main place that would have us was called ‘Above Kleptomania,’ a theater on the second floor of a peep show place in Times Square. And by theater I mean a small room that was used for strip dancing before Giulani’s Disney-fication of Times Square. The room hosted a double homicide in the late 80’s and was replete with mirrorred walls and some pretty cool stains. It was only moderately satisfying so we started writing more and put together a couple sketch shows that were for the most part pretty mediocre. So we were getting on stage with fair frequency but there was some dissension on how useful/meaningful that was. After 18 months of that, we started straying towards our greater strengths. Sara and Matt focused more on writing, Perry delved into other types of theater, and I started taking classes at UCB and the PIT. For me, that’s when things really started ramping up.

Over the next 3 years I was in 15-20 different groups that sometimes wouldn’t even last long enough to hold their first show. After 7 years with the Lords, it was crazy looking into people eyes on stage and not knowing what they were going to do. Eventually, I settled into a couple groups that I was a part of for a while - a house team at the PIT and another rogue group that did stuff anywhere (including CBGBs). By the time we left I had completed all the formal training at UCB and the PIT and was performing 3-4 nights a week at the PIT. The last year or so my focus during classes shifted to how improv was being taught. My notes shift from talking about what I got out of each exercise to how exercises were introduced and what they were for, different teaching styles, and methods of elucidating good improv. So, though not exactly what I set out to do, I basically spent my time there studying improv.

How would you describe the vibe of the different improv theaters in New York (Magnet Theater, People's Improv Theater, and Upright Citizen's Brigade)?

While I was there, UCB went from being your standard improv traning center to a talent farm for NBC. This transition caused a more competitive edge to develop at the theater. Good for increased quality in material and performances, bad for building community. I’m more of a community person, so I headed over to the PIT. The PIT was similar to the Bovine in terms of fostering the improv community, giving people a chance to perform and get their chops up. It was lead by Armando Diaz and Ali Faranakian - they had a solid training program and great instructors to back it up and they were consciously working to create the kind of Improv family that UCB had lost. After a year or two, Armando Diaz split off and started the Magnet. The Magnet felt more experimental to me. The shows there seemed more avant garde than what was on stage at by UCB and the PIT. It hadn’t been open that long when I left but I have the sense that it’s now a staple of the scene there as much as either of the other two.

Where do you get inspiration for your characters?

I’m emotionally driven into characters. Often times, I develop a strong general emotion before anyone speaks and let that drive my reactions. If I’m entering a scene I’ll look for characters that can fill the gaps and build off what’s already on stage. I wish I was stronger at physically manifesting characters – it’s fun when those work out.

You perform long form as well as short form at the Impulse Theater. Does your approach to both forms vary?

The two go hand in hand. Sometimes when the wheels come off duing a short game it heads very quickly towards long form, usually because relationships in the scene commandeer the structure of the game. But in the super short games like spelling bee, or arms expert, I go in with more abandon. You don’t have to maintain your character or their reality for more than 2 minutes and if it sucks, it’s over soon. I think you can still play with abandon in long form, but it can’t be as reckless. You’re more accountable for your choices and that slows things down for me. Impulse is a blend of both. You go from Spelling Bee, which couldn’t be gamier, to Three-Act-Play with theatrical entrances and exits (as opposed to sweep edits). I call it schlong form.

Spotlight on Liz Epstein-Smith

2011-06-17T13:40:00.000-07:00

Liz Epstein Smith has been performing improv since 1996. As a founding member of Mile Hi-Larity, she has has been teaching team building workshops, improv classes and performing all over Colorado (and sometimes other states too) for the past 13 years. She loves to laugh and make others laugh. When not doing the Mile Hi-larity or other improv stuff, she spends her time playing tennis, reading and being a wife/mom to her husband and two daughters.

Liz graduated college with a bachelor's degree in computer science and economics. She followed that with a J.D. from D.U. Law School. After practicing law for a decade she realized that is was much more fun to be home with the kids and is lucky enough to do so.

How were you first introduced to improvisation?

I was thumbing through the Colorado Free University catalog with a friend and we saw an improv class. We thought it would be fun to try it. We both loved it. I loved the spontaneity and quick wit. I love to laugh (doesn't everyone?) I laughed at the super funny things and was amazed at the intense effort that everybody put into their scenes. At the end of the class, there was a "performance" for our friends and family. My boyfriend at the time encouraged me to audition for a troupe. I did so. Got in and immediately had no time for the boyfriend. I had a great time with Comedy Jocks for a number of years. Then it was time to do something different.

Mile Hi-Larity has been performing shows since 1998. How did the troupe form and how would you describe your team's style?

While in Comedy Jocks I met some great people. The most awesome of which is my husband, Steve. I also met one of my best friends, Nick Nguyen. The three of us, along with another woman, Sarah Tracy left Comedy Jocks for various reasons. We all missed improv and what it brought to our lives. We decided to form Mile Hi-Larity. We designed it as a real company. We have corporate documents and by-laws. That has helped us immensely over the years. In the beginning we focused on team-building workshops, which we really enjoyed doing. Unfortunately, most corporate team-building gigs are during the work week and as we all had day jobs, this became increasingly difficult. We started focusing on entertainment gigs (which are usually during the evenings or weekends) and that's where we are today.

Mile Hi-Larity's style is short form and completely focused on working as a team. No member of the troupe is the "star." When we audition people, the number one quality we look for is how they interact with others. You can be the funniest person in the world, but if you can't share the stage and the funny, you aren't right for us. We believe that if you follow the guidelines of the various games, the "funny" shines through. Our motto is: When people watch you on stage, they should either say, "Wow, I couldn't do that!" or "Wow, I wouldn't do that!"

What improv games are your favorites to play and why?

I like games that rely more on wordplay than physical comedy. I'm definitely not as comfortable with the physical stuff. I would love to get better at body movement . Backwards Interview, What are you doing? and New Choice are in my top ten for sure. I like the singing games a lot too. I'm not the best singer, but it's fun to commit and see what comes out. It's a little hard to pick favorites. I enjoy almost all the games - either because they lend themselves to my strengths so I feel very comfortable and strong or if they are not my "best" games, I have to really work hard. I like that feeling too. I also know that the other players always have my back.

You have performed in theaters and events all over Colorado. Are there any experiences that stand out?

On the positive side, we have done a bunch of shows in Aspen during the summer. We would teach a masterclass in improv over the weekend and then perform in the beautiful Aspen tent at night. The setting was incredible and the audience always superb. The Boulder International Fringe Festival is also a lot of fun. Mile Hi-Larity will be performing again this year. There are a lot of funky theater and music groups that perform for a couple weeks in August. There is a very neat sense of camaraderie among the performers.

I suppose one of my low points was when someone threw a rubber chicken at me during a show. I hardly new what to do. I bit it's head off and moved on.

Another awkward show was for about 1300 people. We were supposed to start at 9, but didn't go on until after 10:30. The audience was getting tired and we had warmed up and cooled down over and over again. The kicker was that the person on stage before us was a fire and brimstone speaker focusing mainly on how life is not fun. Then it was our turn to "be funny."

Has improv helped you in your personal life?

Improv has had a huge effect on my life. Obviously, the most important - I met my husband doing improv. We have so much fun together. We laugh all of the time and are rarely bored. There's no end to the improv games we can play. We had to wait in line for passports many years ago for several hours - it was the most fun, entertaining time together. Nobody makes me laugh harder than Steve.

In the business world, I am comfortable speaking in public and can think on my feet. I find it easy to talk to people I don't know and am able to make others feel comfortable too. It is a skill that I really appreciate.

Spotlight on Eric Farone

2011-05-10T17:33:00.000-07:00

Since 1993 Eric has trained over thousands of improvisers and professionals in the art of improvisation. He has produced and directed over 30 full length sketch comedy shows and even more improvised shows. He has also directed and written plays for Bovine Metropolis Theater and Wells Humor Organization.

He studied improvisation in Chicago at The Players Workshop for The Second City, The Second City, Improv Olympic, and The Annoyance Theater. He has studied under and worked with Del Close, Martin DeMaat, Keith Johnstone, Paul Sills, Mick Napier just to name a few.

Before opening the Bovine Metropolis Theater Eric was a corporate trainer at USWest for three years, teaching managers skills based interviewing skills and assessment techniques. He graduated with a BA from Colorado State University in Speech Communication.

How were you first introduced to improvisation?

My friend Renee Albert told me that I should go to “The Second City” for classes. I started by taking a year of classes at the “Players Workshop of The Second City”, I can remember my first class, sitting in the lobby, waiting, with headshots of Bill Murray, Brian Doyle Murray, George Wendt, Shelley Long, etc. up on the wall. I was going to be funny! I had no idea of what improv was about.

My first class, my instructor was Martin DeMaat, he had us do a mirroring exercise. One of us would lead and one of us would follow. He started switching who was leading and who was following faster and faster and I got lost and just started reacting and following. I realized that I had no control and neither did my partner and yet the mirroring still moved forward, almost with a life of its own. This was a mystical thing that something could happen without anyone forcing it. I was hooked.

What were some early influences on your sense of humor?

My father blames himself for me owning an improv theater. He told me once, “The only positive reinforcement we ever gave you is when you were funny”. My dad was also the one who got me into the Marx Brothers, Abbott and Costello, etc.

When I was growing up I loved Steve Martin, Saturday Night Live (especially John Belushi), and Mel Brooks. I loved Monty Python, as a matter of fact; my friends and I used to do a live comedy radio show on KCOL in High School called “Nights of the Round Table”. Most of the movies that I loved in the 80’s, I found out later were made by The Second City alumni.

You studied in Chicago at Second City, iO, and the Annoyance Theater. When you returned to Denver you were involved with the improv troupe Head Games. When did you decide that you wanted to own an improv and sketch theater in Denver?

I decided to open an Improv Theater in Denver while I was studying with Del Close at IO, more than a year before I left Chicago. While in Chicago, I would make notes and sketches of the theater. I created a directing class at Players Workshop, so that I could be a better director.

I love Improvisation and I love Colorado so I always knew I would come back. I would focus on what I wanted to bring to Colorado from Chicago (and what I didn’t want to bring). I believed that Colorado was the perfect place to bring to the stage the attitude and concepts I was taught in classes in Chicago by the masters. How the focus of the improvisation could actually be about bringing gifts, team work, fun, connection, accepting the unknown and diving deeper into it, etc. Denver seemed like a place where true improvisation could flourish without being a slave to the joke and self serving behavior on stage.

The Bovine Metropolis recently celebrated it's 50th graduating class from the Boivne School of Improv. In your opinion, what makes a good improv teacher?

A good improv teacher is someone who loves improv and realizes that their job is to get out of way of other people falling in love with improv.

A good improv teacher knows it is their job not to teach, but to set up the exercises in a way that the improvisers discover improv for themselves.

A good improv teacher is like a good wing-man; they know it is not about them.

You have produced, written, directed, and appeared in dozens of improv and sketch productions since starting the Bovine Metropolis Theater with your wife Denise Maes. Is there a production that you have been most proud of artistically?

"The Play Incubator". This show was a work of pure improvisation. Each performance the entire feel, structure, and form of the show was different. It was an improvised play in two acts with only two locations, each actor would play one character for the entire night. We would get a suggestion for the title and a location for the first act to take place. The structure of the show was all based on characters wants and needs and archetypes (based on the title of the play).

During intermission we would stay on stage in character not speaking to each other. We would get a different location for the second act to happen and just fly. It was an incredibly wild ride. One performance the show was a 1950’s sci-fi movie, the next show was like a Beckett play, the next would be a romantic comedy.

I think improvisation is a truly amazing artistic feat when everyone comes to the stage and discovers the form, the tone, and the meaning from the suggestion. Letting go of all ideas except that tonight is going to be perfect.

The Denver improv scene has grown by leaps and bounds since you opened the Bovine. Where do you feel the future of improv and sketch comedy is headed in Denver?

The improv scene in Denver is growing from the efforts of everyone in the community. It is a collaborative effort from every player, coach, student and repeat audience member. I hope the scene continues to grow exponentially and continues to welcome, embrace and encourage everyone that wants to take their fun seriously.

I know the scene will continue to grow, but Denver can boom, big! In order for it to pop, we need to create a sustainable, thriving improv community in Denver. That would require a few culture changes:

1. Right now Denver doesn’t need to produce more improv, but better improv. Rehearse, practice and play with intention. There are some great shows and groups performing right now, but every group can do better and we can all push and encourage each other to strive for the magic on stage every night.

2. Then we need to take pride, in our abilities, performances, and our performance venues, but mostly in improv as an art form. A pride that is self assured and vocalized. Remembering that pride does not need to denigrate others in order to find its value.

3. Performers need to support and be enthusiastic about all improv, not just the shows in which they are performing. On nights when players are not playing or rehearsing they need to be watching, enjoying and rooting for other improvisers. We need to build a community of people that need and value improv beyond their own participation in it, or it is no better than Karaoke.

4. We need to share this passion, this joy of improv and spread it to the all the people we know. Get more people aware of how amazing it is to watch great improv. Players need to coach, teach, and inspire other players. And everyone needs to talk up and at least Facebook about shows that were great in which we didn’t perform.

5. Once all this has occurred, then there needs to be many more stages dedicated to different aspects and types of improv. We are seeing more and more improv shows in Denver popping up, but we need even more and they all need to have a differentiating benefit so that performers with different visions have places to play.

Spotlight on Shannon Wood-Rothenberg

2011-04-09T12:48:00.000-07:00

During the day, Shannon teaches math and science to a fantastic bunch of 6th graders. On the weekends, she performs with several long-form improv groups including "Two Girls at Once" and, up until recently, "Hit & Run: Musical Improv." She's also the founder and director of Denver's own "Makeshift Shakespeare" which you'll have to see to believe, as well as a cast member of Season 2 of "Denver's Next Improv Star." Shannon loves helping stray dogs, Vivaldi's oboe concertos, all things Scottish, and her freakishly adorable twins. And no, that’s not her real hair color. Duh.

How were you first introduced to improvisation?

My very, very first introduction to improv was in high school when, for some strange reason, the principal allowed a non-teacher-actor-type from Chicago to run a production. He decided to create a sketch comedy in the style of The Second City. It was the first theater thing I had ever tried out for (I was 16) , and for a shy, nerdy girl like myself, it was like spreading my wings for the first time. Corny, but true. After that, during college, I would often drive to Denver from CU Boulder just to see Impulse Theater (then called Comedy Sports). I think my sense of what's funny has also been largely shaped by the fact that, as a child, my family religiously watched Monty Python's Flying Circus and SCTV.

Was doing musical improv with Hit and Run Improv a stretch for you or did you always enjoy singing?

I have always enjoyed singing, but that doesn't mean Hit and Run wasn't scary. Making up songs on the spot is terrifying the first few times you do it. But when you get to the point where you can make up a song, create a chorus and harmonies, and trust that the people you're playing with will be right there, it is truly an amazing thing. I miss this group terribly, but I believe that improvisation is largely a personal journey, and nothing lasts forever. It's part of the whole "leap, and the net will appear" philosophy. You don't just leap once, and then get comfortable. You leap again and again and again.

How have you enjoyed the experience of performing in Denver's Next Improv Star at the Bovine Metropolis Theater?

DNIS is one of the most exciting and thrilling things I have ever done as an improviser. Period.

What should someone expect from a Makeshift Shakespeare performance?

When one sees the men of Makeshift Shakespeare in action, it should be an almost religious experience. These guys have studied Shakespeare and worked very hard together to create a form that rises above typical long form. What you will see when you attend a Makeshift Shakespeare performance is an hour-long play in the style of Shakespeare himself, improvised completely in the moment, based on an audience member's suggestion for a title. It is truly amazing to see five men creating Shakespearean characters, plot twists, deceptions, gender confusions, love triangles, shipwrecks, etc., out of thin air. And an hour later, you've seen a full play - beginning, middle, and end. As the founder and director, you'd think I'd have gotten used to it by now...but I still walk away from every performance reeling.

What lessons have you learned from improvisation that assist you in directing?

I think every director of an improv group comes at things in their own way. As a director, I originally put a lot of thought into selecting the cast and carefully crafting our journey into Shakespeare's plays. Our process was very intense and the learning curve was fairly steep. Since we opened, I have put more of my energies into tweaking the form, sending out minor and personal notes to each player, encouraging the men to form "manly" bonds by getting out of their way during pre-show warm-ups, and generally acting as a scheduler/cheerleader/fluffy-shirt-washer/mom. I feel confident both in their abilities as improvisers and in each of their desires to contribute to making this show breathtakingly impressive, and that confidence allows me to hand over more of the reins as it feels right.

What is it like being a mom and an improviser?

I started improvising when my kids were three. (They're twins.) It was, more than anything, a way for me to find myself after three years of intense full-time "momming" which, while rewarding in and of itself, can also be a bit identity-altering. Since the very beginning of my journey as a performing improviser, my kids have been right there. My first performance ever was as an understudy in "Dark Side of the Moo" in 2006 while I was still taking classes at the Bovine. My kids came to see that show, and they have come to every single production I've been in since. I love that they see me taking risks and being silly. I love that they are learning that it's fun to be fearless, to love to create, to collaborate with others. So while improv started out as something I did for myself, it's ended up being something I am so very proud to be able to share with my kids.

Spotlight on Steve Loukas

2011-03-07T19:08:00.000-08:00

Steve has been doing improv comedy since birth (although only his later works have been recognized as such, early works such as 'I did not steal that Care Bears tooth brush from the grocery store' were not as well received). In February of 2007 he joined Rodents of Unusual Size. In September of 2008 he started The Wigs. He has also done guest performances with Monkey's Uncle, Mile Hi-Larity, as well as some improv showcases including GroupMind's Improv Combo Platter and The Avenue's Game Season. Steve also collaborates with Heather Clisby to put on an annual fundraiser Smile Train. 2011 will be their 4th year, and to date (with the generous help of many Denver improv-ers) they have raised enough money for over 20 surgeries.

How were you first introduced to improvisation?

A friend of mine had been inviting me to her improv shows for a while, and I finally got around to it. I just remember sitting in the audience thinking Man I'd LOVE to do this! So after the show I asked if they were auditioning. I joined the group and thus began the relationship between me and improv comedy.

What type of comedy did you enjoy growing up?

I was absolutely in love with sketch comedy growing up. I'd sneak out to the living room to watch SNL as kid with a 10pm bed time. And in 6th grade I started "The Rubber Chicken Show" a captivating, home-made sketch show chocked full of jokes that only middle-schoolers could find amusing. That lasted through high school (as we were very dedicated).

How did The Wigs form?

After almost two years with the improv group that took me in off the street, I began to have a new vision for an improv show. So I held some auditions, found some players, and started The Wigs, with a mission to have a united group with the common goal: Quality Entertainment.

What should people expect at a Wigs show?

Our audiences can look forward to some over-the-top, outrageous improv comedy. We love to work outside the box and incorporate as many new ideas into each show as we can (tastefully). The Wigs has anywhere from 7-9 members at any given time, so each game you see has a different mix of players. We also give out raffle prizes and pies. Our #1 goal is to make sure our audience has a great experience!

In addition to performing , you also help the Avenue Theater with their Wednesday Night Comedy series. What has been your experience with helping run that program?

The Avenue is a great venue; I've been performing there for four years. Running the Wednesday Night Comedy series has been a blast. Having started a group from scratch and having to search painstakingly for venues, I get a chance to give back to new/searching groups. It also connects me to much more of the improv community, which I really appreciate.

What is the most rewarding thing about improv comedy for you?

Initially, I just liked being laughed at. But improv has given me a great opportunity to help people. Either providing a group for people to grow and perform in, a venue to showcase themselves, or getting people inspired to give improv a try. It's been amazing how improv has given me and many others a great outlet to explore our imaginations and share our minds with each other and with the city of Denver!

Spotlight on Cindy Laudadio-Hill

2011-02-06T09:16:00.000-08:00

Cindy Laudadio-Hill has been performing in and around the Denver/Boulder area since the turn of the century (this one). She has been a cast member at the Bovine Metropolis Theater in “Sketchers”, “On The Spot”, ACME Sketch shows and the “Sans Script Players”. She has also performed with various groups over the years, most memorably with the “Mood Swingers”, “Box Fans” and “The Dishwater Blondes” at the Chicago Improv Festival, Denver Improv Festival, Boulder Fringe Festival, Colorado Improv Festival, Twin Cities Improv Festival and Ladies are Funny Festival as well as locally. She was a co-founder and chairman of the GroupMind Foundation (2005-2010) and a co-producer of the Denver Improv Festival (2005-2008) and producer of “UNscripted” and “SCRIPROV”. When she’s not making stuff up on stage she is a partner in a communications training company and looks after her empty nest.

How were you first introduced to improvisation?

As a kid, I truly loved Lucy, Carol Burnett, Jonathan Winters, Red Skelton and Lily Tomlin. SNL came on the air the year I went to college and we would literally stop the party to watch it every week. Nobody could believe how different it was, it was a breath of fresh air. I fell in love with Gilda Radner and John Belushi - I was hooked. I became aware of The Second City and I thought I would someday go to Toronto or Chicago – or at least back to NYC, but life had other plans. Cut to 10 years ago - I saw an article about the Bovine Metropolis Theater in the Boulder paper, I called and signed up for the classes. They were exactly what I was craving. I felt like I found “my people”.

How do you get inspiration for your characters?

I don’t know, lots of things….I think people are interesting and funny. They (usually) make me smile.

What should audiences expect at a Dishwater Blondes Scriprov show?

I guess “SCRIPROV” came from my interest in writing and performing scripted work and infusing it with the energy and spontaneity of improv. I have met a wonderful community of “traditional” actors in Denver and thought it would be cool to blend our two worlds. Basically, the audience will see a fully scripted, rehearsed theatrical scene performed by “The Legits” while the Dishwater Blondes are off stage. Then the “Blondes” are called out and randomly cast into one of the roles in the scripted scene. The remaining “Legit” stays on script and the Dishwater Blonde improvises the scene, not knowing what has come before. We do that a few times and then we do a straight up long form set in ACT 2 with inspiration coming from cold script reads by “The Legits”. I have to say, it’s been a lot of fun for the audience and the players.

You recently appeared in a production of "You Can't Take it With You" at the Vintage Theatre. How did you enjoy the switch to a character that was scripted?

It was challenging and a little confining at first, but then I had a lot of fun with little things that I wouldn’t have had time to find with an improvised character. The costume, hair, makeup, jewelry, etc. of the character just filled out things that I sometimes don’t linger on enough in improvised characters. I’m an improviser at my core, but it’s all good.

You were the chairperson for the GroupMind Foundation from 2005 to 2010. What did you take away from that experience?

The GroupMind Foundation came about as a result of a group of dedicated folks getting together and wanting an Improv Festival in Denver. I guess the main thing I took away from the experience is that there is this wonderful larger community of improvisers all over the country that share our love and obsession with this crazy art form and are trying to elevate it, explore it, and share it. I’m thrilled that the Groupmind is still thriving and that there is a new focus on bringing another festival to Denver.

What type of comedy (movies, television, books, etc.) do you enjoy when you aren't improvising?

What do you mean when I’m not improvising? I’m always improvising. I love relationship scenarios, and observational comedy. My favorite TV comedy right now is “Modern Family” and I just reread David Sedaris’ book “Me Talk Pretty One Day” I think he’s a riot. I laughed out loud at “Date Night” it was just silly and fun. I think Tina Fey is a culmination of all the wonderfully talented and funny women that have preceded her. That makes me happy.

Spotlight on Adrian Holguin

2011-01-08T08:22:00.000-08:00

Adrian Holguin has been acting and improvising for over 20 years. He is a perpetual member of Caution: Slow Children @ Play. After 3 fail auditions he joined Comedy Sports in 1997 which shortly thereafter became Impulse Theater. In 2001 he became the assistant Director. He performed his 1000th show with Impulse in 2004. Along the way he has found time to perform in various venues including a memorable stint as an insane clown at the Bovine Metropolis, and a homeless-mexican-vision in the film Sacrifice of old San Juan. He is the coach of the Smoky Hill High School Improv Troupe Spontaneous Combustion and has directed 3 main stage shows there as well. When he is not being silly, he teaches mathematics and helps his wife raise their two children.

How were you first introduced to improvisation?

I started in 1990 at Western State College with a group called "Caution: Slow Children @ Play". I still see those guys and perform with them every chance I get. While in college we would make trips down to Denver to see Comedy Sports all the time. I took a workshop, and auditioned 3 times for the cast before I got in.

The Impulse Theater started in 1987 and you have been performing with them since 1997. What do you think have been the key factors of Impulse's success?

We have been blessed with a long run and the opportunity to perform a lot. Nothing builds improv chops like stage time. Additionally, when John Bauers and Sue Knudten came to Denver, they crafted a philosophy of improv that emphasized real characters with honest reactions and strong relationships. That philosophy has kept Impulse focused on the importance of good scene work. Finally, I have had the opportunity to work with some of the most talented improvisers in the country. Performing so often, for so long with these actors has helped build an ensemble that is truly greater than its individual performers.

The Impulse shows allow the performers to utilize costumes for their scenes. How does the use of costumes assist you in creating a character?

The key is to use just enough of a costume, to suggest the idea of a character, it is up to the actor to provide the essence of the character. When an Impulse actor is first starting out we actually discourage the use of costumes or wigs so that they don't rely on them as a substitute for actual characters. After a while you get to where certain costume pieces can totally change your personality.

The Impulse has showcased more than 150 performers over the years, and you have been part of the cast for over a decade. What components make a good Impulse cast?

First and foremost the 5 actors who perform on any given night must listen to, and support each other. The best Impulse casts have worked together so much, that we can highlight strengths and support weaknesses almost instinctively. While there is a definite "Impulse Style" of play, it has evolved over the years as it has embraced the personalities and talents of various actors.

You have coached the Smoky Hill High School improv troupe Spontaneous Combustion for a number of years. What is your approach to teaching high schoolers the art of improvisation?

I believe that Improv is an art form in its own right. My kids are expected to respect the work, themselves and each other. When kids have high expectations placed on them, they rise to meet them. The school has been great about supporting the kids as well. Spontaneous is included on our district calendar right along with the choirs, bands, and theater performances. We are seen as an integral part of the fine arts offered at school.

What is the most rewarding aspect of improvising for you?

One of the most important things a person can do for themselves is PLAY. I have the opportunity to pretend several times a week. Not many people are so lucky.

Spotlight on Yvette Rebik

2010-12-09T19:28:00.000-08:00

Yvette loves to make people laugh! She's been with the Bovine Metropolis Theater since 2005 (Class #29) and has written and performed in 8 ACME sketch comedy shows. She just finished performing in "Biography" at the Bovine and is also a player there in "On the Spot" and the "Improv Royale" long form house team MooCrew. She also performs in various other improv groups around Denver and was in the Final 4 in "Denver's Next Improv Star". Yvette is also a teacher at the Bovine. Outside of the theater, you can catch her as Tizzy on The Dom and Jane Morning Show on MIX 100!

How were you first introduced to improvisation?

I’m from the Chicagoland area. I always watched “Saturday Night Live” with my family, and it became a tradition I especially always looked forward to. Once my mom saw how much I loved the show, she told me that a lot of the cast members came from The Second City in Chicago. She talked about how she’d seen shows there, and when I was old enough, I went with my parents to see as many shows there as possible before leaving for college at CU-Boulder. I was immediately hooked after seeing live shows.

After 3 years of college, I simply did a Google search! I had always wanted to try it, so when I was visiting back home in IL in the summer of 2005, I just looked up Denver improv classes. The Bovine Metropolis Theater’s site was first, so I clicked on that. I read about the theater and the program and was sold! I signed up for the next Level 1, and the rest is history. I’m a proud graduate of Bovine Class #29!

Last year, you performed in the Bovine's production of Denver's Next Improv Star. What did you take away from that experience?

That show was a crazy fun experience! The biggest thing I took away from that show was to be a confident player. Own what you can bring to the stage. Know your strengths and work on your weaknesses. The constructive criticism from the judges helped me with all of these, making me a better player at the end. I’m so happy I made it to the final 4!

You appear on the Dom and Jane show each morning on MIX 100. How has your improvisation training prepared you for being on the air every day?

My improv training is what got me my job, so it plays a huge role every day. We don’t script our show. We’ll brainstorm topics based off things going on in our lives, quirky stories we find in the news, listener e-mails, and other various sources. If someone comes up with a good topic, we’ll barely talk about it to keep it fresh for the next day’s show. Listening and thinking quick on my feet helps me so much with my job, and also being funny! It’s an entertainment show after all, so Tizzy has to be on her game every morning.

You perform on the Bovine long form team Moo Crew and have also done short form for the show "On the Spot". Does your style of play differ depending on the form?

Most definitely. When people ask me which form I like better, I can never pick. I love them both so much! When I perform long form with MooCrew, I really concentrate on not rushing scenes but also maintaining energy on stage. I love that I can develop strong characters with a lot of background and have nice relationships with others. With short form, high energy is a must, which is something I’m known for. I have to think super quickly on my feet, especially with pun games, but I love that challenge. An “On the Spot” show can have 20+ games, so throughout the performance I’m a lot of different characters, whereas with long form I may only be a few in one set. When writing for sketch shows, I like getting inspiration from long form scenes rather than short form. However short form moments can inspire sketch blackouts. Pretty much I feel more “BAM!” moments in short form and “yesssssss” moments in long form.

You happen to be one of many "improv couples" in Denver. What benefits are there to having a partner that also improvises?

I turn to my boyfriend (Dave Karasik) for guidance and tips, and I absolutely love performing with him. Since we’ve been together 2 ½ years and have been performing together for even longer, I have fantastic group mind moments with him. I completely trust him on stage, plus it’s fun to mess with each other too. We’re very supportive of each other both on and off stage. Being supportive is one of the best qualities to have in an improviser and in a significant other. Our schedules can get a bit crazy, but since we’re both actively involved in the improv community, we understand the late night commitments and don’t give each other a hard time when we don’t get a lot of time to ourselves. I love that we have the same passion – improv!

Spotlight on Howard Semones

2010-11-13T09:22:00.000-08:00

Howard Semones started his performance career at the age of three singing The Archies' "Sugar, Sugar" in front of a jukebox for strangers in a bus station and has since performed in such exotic places as Iceland and South Carolina. Eventually Howard moved to Denver where he began explorations into improv comedy and appeared in three plays, "The Food Chain," "10 Naked Men" and "Shopping and F*cking." Recently he made his film debut in the award-winning short film, En Filmen Experimentalen and appeared as Storefront Zombie #2 in If You Can't Eat 'Em… He currently directs and performs with the local Denver improv troupe, Monkey's Uncle.

How were you first introduced to improv comedy?

In 1998 or 99, a gentleman came into my part-time job with flyers for improv classes I'd been told many times to do stand-up, but all my humor came from bouncing off others so decided to take the class. Turns out it was one of those acceptance-into-a-cult moments sans the white sneakers, Flavor-Aid and Snuggie robe. The robe I refused because it was bedazzled.

Who were some of your comedic heroes growing up?

Mostly stand-up comedians like Jonathan Winters, Robin Williams, Elaine Boosler, Phil Hartman and Lois "Sorority Girls From Hell" Bromfield. Basically any comedian with big hair and loud pastel shirts. As for writers, you can't go wrong with early Jim Abrahams and the Zucker brothers.

When and how did Monkey's Uncle form?

After begging my improv instructor to form a group, we finally held auditions for Monkey's Uncle's birthing group, LaughLines. When that didn't pan out we narrowed the group to the five strongest players and had our first real gig in 2001 at Jazz@Jack's when they were still on Platte. That first show was a long mess. Afterwards the director stepped down and left me to pick up the pieces. Thankfully, we had Matt Wallington who had been in the community for close to a decade and helped Matt Krupa, Mike Sjerven and I avoid many of the rookie mistakes. We had even more help refining the group when Larry Epstein brought his years of experience in. We finally added some female energy a few years ago with the addition of Shari Myers.

What have been some of the highlights of your improv career with Monkey's Uncle?

Making very close friendships with five very talented people is the main one. Our superhero opening (including costumes) turned out to be a huge success. And one year we found ourselves performing for a nurses' convention at the Denver Museum of Nature and Science in the IMAX theater in front of the screen performing for 200 - 300 extremely responsive people. That was us soaking in awesome sauce.

What is it about improvisation that you enjoy the most?

Working up the audience to the point where the show has to stop because the audience can't stop laughing is the best, but really enjoy the fact that no one -- including the performer talking -- knows what's next.

How has the improv scene in Denver changed since you started performing?

It's grown ginormous. I've seen medium-form grow out of groups needing to make themselves unique. The positive of that is there is a type of improv and style of humor for nearly any audience.

You occasionally team up with other improv troupes like Rodents of Unusual Size for shows like When Animals Improv. How are those shows different than other Monkey's Uncle performances?

Groups like Rodents help us strengthen our performance. They tend towards cleaner show and we just let our audience take us where they demand, so it's always challenging to keep a scene clean but funny as well. It also gives us fresh perspective and helps us form ideas that make Monkey shows better. Plus there is always the more people on stage, the bigger the potential audience. That's why we're in talks with The Denver Wigs, which has hundreds of players, to do a combo show. A witty name escapes us currently. Simian Toupee? We'll work on it.

Spotlight on Meridith Crosley Grundei

2010-09-28T19:13:00.000-07:00

Meridith C. Grundei is an award winning performer and holds an M.F.A. in Contemporary Performance from Naropa University in Boulder, CO. Prior to moving to Colorado, Meridith worked as Associate Faculty for The Second City Training Center in Chicago, IL. Currently, she owns a presentations and media training business called Red Ball Communications, is adjunct faculty at Naropa University in Boulder, CO where she teaches Improvisational Theatre, is an instructor for the Rocky Mountain Theatre Conservatory at Denver University and is a private coach to a variety of professionals who are actors and public speakers. As an actor, Meridith has performed with companies such as the American Conservatory Theatre (The Misanthrope), iO Chicago, Baby Wants Candy, Sprung Movement Theatre, The Evergreen Players (16 Wounded), square product theatre (The House of Yes), WreckingBall Theater Lab (Good Girls Don’t, But I Do), Playback Theatre West and many others.

How were you first introduced to improv comedy?

In college at Colorado State University. I was a member of the improv group, Clownbox in Ft. Collins, Colorado where we performed Keith Johnstone short-form games. Later when I moved to San Francisco, CA I was introduced to long form and performed regularly at a café on Taylor St. with a group called Adnauseum.

You studied at iO and worked for the Second City in Chicago. What did you take away from that experience?

A lot! Improvisation has taught me how to be a better actor and a better person. I have used my skills not only to help develop work but to also help others in communication and team oriented relationships. I feel that teaching improvisation to very diverse groups of people has taught me a tremendous amount about myself. Teaching is the best education I will ever get. Did I answer the question?

Both iO and the Second City inspired me in different ways. I feel fortunate to have experienced them both.

You currently teach improv in Denver and Boulder. What is the main message or theme you try to convey to your students?

That YOU are enough!

To trust yourself, to perform at the height of your intelligence, to know what your objective is and to stay present. There is more, but you should take my classes to find out...tee hee.

Oh yeah, AND have fun!

You are currently performing with Playback Theatre West. How would you describe Playback’s form?

Playback Theatre is a long form style that was developed through theatrical improvisation, story telling and psychodrama. The form itself is comprised of smaller forms called pairs, fluids, chorus and story. One member is a conduit between the audience and the players. This person is called the conductor. The conductor elicits stories from the audience that the remaining players then playback. It is an amazing community experience and I feel extremely honored to be apart of this group. It has been a very freeing experience for me to improvise in this way. I feel like it combines the funny with the truth and the sorrow that we all embody.

Last month Playback Theatre West hosted a show at the Dairy in Boulder focusing on Fourmile Canyon fire stories. How did those stories translate through improvisation?

Surprisingly, we had very little fire stories. We had many people in the audience who had been displaced because of the fire and they mostly shared their frustrations during our short form styles. One woman shared that she was in Boston for vacation and all she wanted to do was to sit down and enjoy a lobster dinner. When she received the call that she may have to evacuate she was mad. She was even more frustrated when she flew home, without her lobster dinner, to find that her house was still standing.

One of our company members was also displaced and this stirred up a lot for him.
It was amazing to have that represented in the group during the time of the performance. He could relate to the audience in a way the rest of us couldn’t.

We also raised $338.00 that night by passing the boot. We donated the funds to the local fire department.

Tell us about Hippieman’s Plan for America?

It is a sketch comedy pilot that is currently in production starring; myself, John "Hippieman" Novosad, Bill LeVasseur and Ash Albiniak. So far we have had two special guest appearances by Gary Grundei and Kristin Keating. Hippie Man is directed by Tom Parkins.

The show is very Cobert Report meets SNL, meets Kids in the Hall, meets Mr. Show etc., etc., etc. Very fun cast and group of people! I can’t wait to see the final product!

Are you currently working on any other projects?

Currently, I am directing Paul Sills’ Story Theatre for the Evergreen Players in Evergreen, CO and I am working on a show called Songs of Meat and Cake with square product theatre in Boulder. Songs of Meat and Cake opens at the end of October and Story Theatre opens in January.

Spotlight on Matthew Taylor

2010-09-10T16:49:00.000-07:00

Matthew Taylor grew up on the south coast of England in the tiny sailing village of Itchenor. In 1985, he came to America to spend a summer as a sailing instructor. Matthew fell in love with Colorado during his travels and lived in Crested Butte before moving to Denver to focus more fully on performing arts. He is a founding partner of A.C.E. Entertainment, a commercial actor, and author. Matthew has been an active member of the Denver Improv comedy scene for many years.

What were some of your first experiences with Improv comedy when you first came to Denver?

I first took classes from Todd Lambert in Boulder during the fall of 1990. We formed a troupe out of the classes which was called The Mission and performed several shows in Boulder and around the state. Todd planned a crazy tour in which we were to perform in 49 states in 30 days. Things fell apart a few days before we were to head out and The Mission imploded.

Missing performing, Colleen Collins a former Mission performer and I decided to go to Denver to sign up to do stand up at Comedy Works. On the way down in the car Colleen told me that instead of going to Comedy Works she had signed us up to audition at Comedy Sports (now Impulse Theatre.) We both were hired and I played with them for a couple of years.

Eager to explore new forms a few of us formed the group Reaction Slacks and played regularly in the basement of the West End Tavern in Boulder. Lots of talent with a few egos thrown in made for some fabulous sold-out shows and an incredible short life span.

Out of the wreckage of that group formed Laughing Matters which quickly (this is a whole new story!) merged with Headgames. Headgames performed Fridays and Saturdays for the next eight years in the basement of the West End Tavern which is now sadly a kitchen. Cast members during that period included Linda Klein, Barbara Gehring, Eric Farone, Mike Collins, Dave Dalton, Matt Need, Timothy Brennen, Terri Thompson, Susan Hennessy, Bill Lippincott, Phil Keppel, Roger Dowd, Mark Tuchman to mention just a few.

Did you always have a passion for comedy?

I have always loved to laugh so I have always searched out ways to keep laughing.
Sometimes I laugh by watching or listening to comedic groups like Beyond the Fringe or Monty Python, other times it’s just looking at what everyday life throws at me and adding a twist. For me nothing beats the sound and feeling of laughter.

How did you, Barbara Gehring, and Linda Klein form A.C.E?

The three of us performed in a group called Headgames. Barbara had just joined when HBO announced auditions at Comedy Works for the Aspen Comedy Festival. Linda contacted the entire cast of Headgames saying we should do something. Linda, Barbara and I were the only ones to show up at the Market coffee shop the morning of the auditions. We decided to call ourselves A.C.E. because of our different nationalities. We did a Cirque du Solie parody which Judy Brown from HBO loved and immediately she asked for our promo packet. We told her it was in the car and rushed to Kinkos and created one. Then she wanted a video tape of our show so we had no choice but to put up our first show at the old Avenue Theatre. This was the fall of 1998.

After a long courting process with Judy we didn’t get invited to HBO’s festival, so we went anyway and formed The Aspen Comedy Fringe Festival of which A.C.E. was the only group to ever be invited. We were proud to win First Place for two years and then earn a surprise upset third place the following year!

Since then A.C.E has performed over fifty unique theatrical productions, filmed a television pilot, appeared at numerous festivals, and company events.

What are some of your experiences with A.C.E that stand out the most for you?

Our friendship and the ease with which we still laugh together stands out for me.
There are so many memories over the years, most of which involves the combination of travelling and cocktails. The first time we were flown somewhere to perform was a thrill even if it was to Holland, Michigan. But Rome, Lisbon and Hawaii were even better. Then there are the magical times we performed something I personally was so proud of like the first A.C.E. In the Raw Show, Oh!, synchronized swimming in the old Tabor Center Fountains, our show Blur, when the three of us existed in one scene but were in three different realms on stage, The Biddies, Trout World and Wild Tree Safari USA where the audience could experience the gentle giants in their natural habitat and even have the opportunity to feed them in the sapling petting zoo.

The list goes on and on. I am so lucky because if we came up with an idea there was never anybody there to say, “No you can’t do that”.

How has improvisation in Denver changed since you first arrived on the scene?

Early on the only place that was consistent was Comedy Sports. Jon and Sue ran an amazing business, which offered performers great training and the opportunity to perform regularly in front of a large audience, not to mention getting paid. Their great strength has always been their strict focus on short-form and their ability to play the games so well.

Chicken Lips with Bob Wells were doing some improv, but they also ran more traditional comedic theatre shows. Both offered limited classes focused mainly on short-form and an introduction to improv.

For me the biggest change in the Denver Improv scene came when Eric Farone started Bovine Metropolis Theatre. Here for the first time there was a true focus on classes and the embracing of long form. Now hundreds of people have devoted a year studying Improv and the standard of play in Denver has naturally elevated. This has in turn caused new groups to form, greater opportunity for performance and more classes creating a strong and exciting Improv community.

You appeared at The Bovine Metropolis Theater in August for a live audio taping of your upcoming book, Tales of an Englishman. What inspired you to write this book?

I have lived a colorful life and have always had fun reliving funny events that have happened to me and listening to other people’s tales. It was Linda Klein who first started to encourage me to write mine down.

In 2005 when my mother died I found it very cathartic to write about my time with her and this was probably the first time I put pen to paper. When Girls Only became such a huge hit it made sense for A.C.E. as a company to focus on the show which naturally meant (with me not performing in the show) that I had a lot more time on my hands. It was common sense to create a second A.C.E. project and to use this time to commit my stories to paper.

Where can someone read some of your stories now?

I have a blog and website, www.MatthewTaylor.com, where several stories are posted and some podcasts as well. I am also teaching a Thursday four week Story Telling workshop at the Bovine during the month of Sept, where I will work with people to help them find the story within them, dust it off and bring it out into the world for all to hear.

Spotlight on Paul Cross

2010-08-06T21:46:00.000-07:00

Paul Cross is originally from Oklahoma, where he received his bachelor's degree in theater. He completed training at The Second City, IO and Annoyance in Chicago, and played on house teams at IO Chicago and L.A. He's the founder and player of the Bovine Metropolis Harold house team Maude, and also coaches The Draw at the Bovine. He coaches the Armando team, Petting Zoo, and runs various improv workshops in town. Paul is currently working on a big project with Gaining Perspective that's set to launch this fall. It's going to be a lot of fun and he's really looking forward to it, so keep your eyes peeled for announcements at http://www.gainingperspective.com/.

How did you become involved with improvisation?

My original goal was to do stand up, and the eventual goal was to be on SNL. That's all I ever wanted to do since I was 12, to be on SNL. I was really nervous about stand up and thought that improv would help me feel more comfortable doing it. I saw an ad in the paper for Denver Theater Sports and got involved in that, because I found out that all these improvisers ended up on SNL. We rehearsed in a library room and performed in coffee shops. Shortly after I started that, I started taking improv classes at Impulse and with Eric Farone's program, which I think was called ACME back then. But he had a cow clock on the wall, so maybe it was the beginning of Bovine Metropolis, I'm not sure. I fell in love with improv and decided to focus on that. I moved to Chicago shortly after and did Second City, IO and Annoyance all at the same time, and later went through Second City's writing conservatory. I loved getting all those different points of views at the same time. I did some stand up and even got a week gig at Zanie's out there, but I just wanted to focus on improv. I got a writing agent through my Second City connections and moved to L.A. And for the record, getting a writing agent in L.A. doesn’t mean anything.

You studied and performed at the IO in Chicago and Los Angeles. How would you compare those experiences?

L.A. had surfing, Chicago did not. A lot of the stereotypes of L.A. people are true, and a lot of them aren’t. There was a big influx of Chicago instructors and performers in L.A. when I moved there. The general consensus of the improvisers in L.A. was like, “Oh, here come the Chicago people, they think they’re so awesome.” I don’t have a lot of positive things to say about IO L.A. Our team would have awesome practices and then our shows would be chaotic because the players would be worried about if there was an agent in the audience and it took away from the magic of doing improv.

How has improv in Denver changed since you first started?

When I took classes with Eric Farone, they were in his home's basement. That was really exciting when I came to visit from Chicago and saw the theater. I think it's great that people graduate from the program and then put teams together. That wasn't happening when I started. Now teams can play at Bovine, whereas before, they had to rent out theaters to play. I also believe that Impulse's longevity and success has heightened awareness of improv in the city. Many people know about Impulse, so it's a good jumping off point when I explain to people what long form is. Like, "Okay, you've seen Impulse, yeah that's a great show. We do something like that too, but different."

You wrote, produced and directed Iraq War, the Musical! which featured a number of local improvisers. What did you take away from that experience?

I used quite a bit of improvisers in that show, and there were several things which came from improvising in rehearsals and during performances. My Second City experience was really helpful with that. Second City trains you to write from your improv. I knew that the bones of the scenes were there, and that those scenes would come to life when the actors owned what they were doing. I trusted them enough to let them take things where they felt their character would go. It gave a lot of improvisers who hadn't been in a normal theatrical production the chance to try something like that. The best thing I took away from it was that it was something I wanted to do, I felt really strongly about the audacities of that war, and I put that on stage. The Denver Post gave me a great review, and I think that's all I really wanted, was to put something up that I wrote, directed and produced that got a good review. It will be quite a while before I tackle something like that again, I had always wanted to do something extraordinary, and fortunately I had the funds to do it. Those funds came from me making a mega-load of money from the oil industry, so it seemed fitting that I should use that for a musical about the evils of the oil industry.

You currently perform with Maude. What is it about the Harold form that you find the most appealing?

I missed playing the Harold so much. That's what we played at IO. I don't like playing just montages which don't tie anything together and don't economically use the ideas put out on stage. It's not rewarding to me or the audience. Doing a Harold is not easy, so I love the challenge. You have to learn it as a team and you have to really pay attention to each other. Hyper-awareness of everything done is crucial. The Harold involves group mind and trusting each other. It's not about going on stage and doing jokes and not really caring about what's going on. It's about relationships and creating something amazing. I love that we put something up where it's possible for the audience and the players to react to like, "Wow. I've never seen anything like this." We go on cabin trips together and really know how to screw with each other. We give each other permission to push each other's buttons. That builds trust in a team. You can't have a good Harold team unless you are all committed and trust each other. I love Maude. Long live Maude.

Please tell our readers about The Draw on Thursday nights at the Bovine Metropolis Theater.

The Draw is a great way for the improv community to come together. It gives people the chance to play with a great team. It's a long form show. I've put people on the team, the "Aces" we call them, who are great at supporting. It's all about support, support, support. The "Wild Cards" are those who sign up at 7, then we do a drawing at 7:15 for the people who get to play. If a wild card brings 4 paying people to the show, they are guaranteed a slot. It's a long form show, it's relatively new, and I give the wild cards detailed notes after the show, so they get to play and get feedback on their playing. The Aces have cards which I put gold stars on when they give awesome support to the wild cards. I just want to make sure it’s all about support. I'm really excited to be involved with it and look forward to it's future success.

Spotlight on Jessica Haas

2010-07-09T19:57:00.000-07:00

Jessica Haas is a Denver improviser who performs with the short form troupe "The Wigs". The Wigs were formed in 2008. If you would like more information about The Wigs and Jessica, go to their website at http://www.thedenverwigs.com/.

How long have you been improvising?

About a year and a half. No joke!

Have you played with any other groups other than The Wigs?

No! I joined the Wigs without any prior experience with improv.

How did you get involved in improv?

I was hatched from an egg a fully formed improv genius! Actually, it was by accident, or fate, really! I took an acting class for fun one winter, and our final night of class we did a performance for friends and family. I was in a scene from Paul Simon's The Odd Couple with two other actors. It was only a 5 minute scene and we really got into it. costumes, fake accents, props! Turns out, I love comedy! I was approached by a friend after the show about meeting Steve Loukas (who started The Wigs). The rest...is history!

Where is your favorite place to play in Denver?

Well, I am biased because we've been fortunate enough to play many regular shows at The Avenue Theater on 17th. They've been so great and supportive of us. I think my second favorite place is the rec room where we practice every week! :)

What should someone expect at one of your shows?

Free pie! And you can expect to laugh alot...with us OR at us! You can also expect at least one bad French accent too. I dont' want to give too much away, but we have a "Wheel of Consequences" (cue spooky music), that puts our players through a battery of ridiculousness. Good stuff!

What are some of your favorite improv games to play and why?

My favorite game is called Audition - where 2 players audition for 2 theater directors. I also like The Wigs version of Password, and Jeopardy. Oh, and I really like "Prequel", where you can take a scene back in time as much as you like...5 minutes...50 years....2000 years!

What are you doing when you aren't improvising?

Saving the world! I'm a Training Specialist by day, and I dabble in public speaking, and play kickball. Some would say I'm a renaissance woman!