Spotlight on Kerstin Caldwell

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

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

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

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

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

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

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

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

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.