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.
