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.

Spotlight on Yvette Rebik

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

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.