I’m just now reporting back from the Extemporaneous Theatre Company’s Friday night show: Totally Illin’.  The cast included Douglas O’Neil, Jr., Nick Crawford, Callie Mauldin, Christopher Davis, Debbie Smith, and Mike Cunliffe.  After three shows, I feel like I’m almost getting to know Christopher Davis and his ascots – you should all be so lucky.  The show also guest-starred good sports Alexa Jones and Sam Chalker.

One of the most fun things in watching improvisation – and maybe in talking with Lorelai Gilmore – is getting to see in action the actors’ rule about never saying no:

DEAN: Their eating habits are just the start of what you’re gonna have to get used to. There’s tons of stuff you should be aware of.
MAX: Really?
DEAN: Oh yeah. Like, don’t ever use the last of the parmesan cheese. And never get into a heavy discussion late at night ’cause that’s when they’re at their crankiest. Oh, and uh, go with their bits.
MAX: Their bits?
DEAN: Yeah, like, if you’re eating pizza with them and Lorelai decides that the pepperoni is angry at the mushrooms because the mushrooms have an attitude and then she holds up a pepperoni and the pepperoni asks for your opinion . . . don’t just laugh. Answer the pepperoni.
MAX: Answer the pepperoni.

Good improv always accelerates and builds tension within a scene.  It starts with people sharing some dialog.  But then the emcee (or the audience) introduces a source of stress.  Maybe one of the actors mentions something about an iguana stampede, which sends the dialogue careening in a whole new direction.  The rule is that the actors must go with the bits.  Must answer the pepperoni.  Must work the iguana stampede seamlessly into the dialogue.  If an actor says “no” or avoids a gambit, then – to the audience – it feels like yanking the emergency brake.  All momentum is lost, even in the little moments.  Build the narrative; build the story.  Much like the recent Jim Carrey vehicle, the answer onstage is always “yes”.

A related element of the fun of watching improv is that the players are under significant stress.  These are trained professionals.  Or at least “trained professionals”.  And it’s fun for an audience to watch charismatic people suffer onstage.  The point is not to be perfect; the point is to be entertaining.  Harvey Korman wasn’t supposed to crack-up to Tim Conway on live television – right?  But when he did, it was fun.  And I’m always actively searching the ETC cast for the crackup and I think I’ve caught a few.  I’m also trying to figure out who may be trying to make trouble – you devious ne’er-do-well.  Because that’s the fun.  Trying to say “yes” and go along with someone who is actively messing with you best puts an actor’s talents on display.  A brilliant gift of the improv is that the actors cannot prepare for the show – and they shouldn’t be allowed to.  I sit there and am amazed at some of the brilliant reactions when there’s almost zero time to think after the actor is introduced to the stress.  The less time you give ‘em, the more brilliant it looks.

Finally, in another embarrassing nod to the Gilmore Girls, things are often best when pacing is extremely fast.  Scenes don’t last long – nor should they.  The players are coming up with everything on the fly, it gets heated, then silly, then boils, and then ends.  Knowing when to stop something from tipping from “funny” to “awkwardly funny” to just “awkward” is an art.

Go see the Extemporaneous Theatre Company’s YouTube channel to preview clips from their earlier shows.  The next shows – put them on your calendar now – should be May 22 and 23.  Details are on their website.