The Actor's Role

Being part-time faculty at Columbia College, there aren't too many perks. So, you have to grab them where you can. One thing that's encouraged is to take your classes to theater productions and events that happen during your class time. Sometimes that's cool, sometimes it's grueling and, sometimes, like yesterday, it's a pleasure.

I got to sit in the same room with Olympia Dukakis, Nora Dunn, Carmen Roman and Kate Buddeke. Carmen and Kate are established veteran actresses on the Chicago scene. Olympia is in town directing Carmen in a play called Botanic Garden at Victory Gardens and Nora is directing Kate in Augusta at the American Theater Company. Albert Williams, arts editor of The Reader, organized the event. He noticed that two prominent ladies were in town directing two shows close to opening and rightly thought it would be a great idea to get them in a room together to see what they had to say. And he was right.

The most surprising thing they had to say was about the current state of theater across the country and how the actor has been reduced to just a prop. There's very little collaboration between actors and a few of them were even in shows where they were told not to talk to the director. Obviously, this is true about most film and television productions. They are huge machines with looming deadlines and expanding budgets. They need for you to come in with your lines down and to be able to hit your mark and deliver the goods. But in theater? I thought that was supposed to be different.

It's most prominent in New York on Broadway. Which does make sense. Most of the shows on Broadway are producer-driven and market-driven affairs. They are pre-produced to death and by the time the actor arrives for work, they really are reduced to "stand there and do this" type of direction. But they also found this at smaller theaters and at regional theaters across the country. That, I am sure, is a money thing. Theater companies have to figure out how to do the best job possible on the tightest budget. It's cost prohibitive to bring name actors in during the pre-production stage. Rehearsal periods are shortened to save bucks. Sets are built and dressed without the inclusion of an actor's input because that kind of luxury would take money. I'm not arguing against their point. I can just understand how it has become the way that it is.

The ladies were there to promote a culture where actors are allowed to do their jobs. Where they are allowed and encouraged to come in with thoughts and opinions about their characters and ideas about what works and what doesn't work about the story or the set.

Many directors would perceive this as trouble. No one wants to work with an actor who is difficult. As a writer and a director, I get concerned about an actor who wants to change the script. The script I'm already 100 percent happy with or I wouldn't be directing it. But most of the actors I have worked with are smart. Their ideas actually improve the story. As a writer, I also don't want an actor who wants to change everything, but I tend to know when something's not clicking and have had my butt saved on more than one occassion by an actor with a better idea.

I loved what Olympia, Nora, Kate and Carmen had to say. As a director, it's important to surround yourself with people - actors, designers and crew - who want to work together. Whose instincts you trust. Some artists will want to change things just to put their stamp on it. I think, to foster the culture the actresses want, it's up to the director to cast well. Or cast, period. Many directors don't get to cast their own shows.

Some tidbits from the discussion...

- Actors are collaborators in a show, not competitors. Olympia discussed a period in her development where she didn't care about the other actors. She was focused on having her moment on stage. The kind of moment that led to the next job. Her competitiveness worked career-wise, but she got to a point where she stopped caring about the work. As she put it, "If you're too busy trying to win, you forget to play."

- Take "Is this what you want?" out of your vocabulary. An actor's job isn't to be focused on giving the director what he or she wants, it's to serve the show.

- Take "That's not how I work" out of your vocabulary. It's limiting and isolating. Actors grow and change. How you work will change with it. Try new things. Experiment.

- As a director, you can be the top of the pyramid, which is the current model, or you can be the eye of a hurricane. The calm in the chaos and fury that pulls everything together.

Overall, I think Nora Dunn had the definitive statement on the whole process. "You're not there to please the audience, you're trying to engage them."



SUPER TUESDAY

Go vote. It's not just the presidential primaries on the ballot. But in regards to the presidential primary, if you're not sure who to vote for, READ THIS from Adam Felber.



ONE MESSAGE. LOUD AND CLEAR.

Sounds like the snowball is rolling on this. I have had people who are fans of this blog tell me they are going to do this and are spreading the word. Good job, everyone! On Tuesday, March 4th bloggers and fans of bloggers around the world are invited to do a Cyber Shout - "Impeach Bush Now!" Join us, won't you?



THE BS NEWS QUIZ OF THE DAY

Yesterday, I asked...

"Legislators in Mississippi are introducing a bill that would make it illegal for restaurants to serve whom?"

50% said "Illegal Aliens"
- What? They can work there but not eat there?

10% said "Flag-wearing Confederates"
- The south shall rise, again. For seconds from the buffet.

No one said "Suspected Terrorists"

40% got it right with "Obese People"

According to The Smoking Gun, Mississippi legislators introduced a bill that would make it illegal for state-licensed restaurants to serve obese patrons. The bill, which is likely dead on arrival, proposes that the state's Department of Health establish weight criteria after consultation with Mississippi's Council on Obesity. It does not detail what penalties an eatery would face if its grub was served to someone with an excessive body mass index. I recommend they be forced to feed the patron until this happens...

Putting Together a Running Order for a One-Act Sketch Revue

No Robowriters tonight!

We're on break until after Chicago Sketchfest. We will return on January 17th.Come see our shows on the 3rd and the 10th.



Here's a post from April 23rd. It's an essay I wrote a three years ago after seeing a few shows where I thought the cast was very talented and the material decent, but the show was off because of how the show was presented. If you have read it before and find something new, it is not because of my brilliant and layered writing style. I will from time-to-time tweak and update it.


Putting Together a Running Order for a One-Act Sketch Revue


Today, I am putting together the final running order for Savage Breast as well as putting the final touches on The Couch of Comedy's Baaaaadaaaaasssss Revue and OLD's Sketch Khakis. It reminded me of an article I wrote a few years ago where I compiled my philosophies for putting an RO (running order) together. Here it is, slightly amended.

This piece specifically addresses the typical revue done in Chicago, which is usually only 30-50 minutes long. Only Second City tends to do revues in two acts.

The information is culled from over twenty years of working in improv and sketch comedy. There are similarities in philosophy in what I present here in Second City’s Improv Almanac and Bernie Sahlin’s book on creating revues. I recommend you read them. I also think the best teacher is doing shows, applying the theories and seeing them in action.

Often, I will see a show where I like the cast, I like some of the material, and the show just doesn’t work. I leave saying polite things, but there’s no excitement at having just shared something special. There’s something missing. I think the audience feels this, too, but probably has an even tougher time pinning down why. The actors may just chalk it up to a tough night or an unresponsive crowd.

Many times, the problem lies in the order of the material. Many groups focus on the individual scenes of a show and forget about the show itself. Or, I’ve seen them focus so much on style and transitions, that they forget to focus on the content and flow of the show. Essentially, what they perform is a comedy recital, not a revue.

STRIKING A DEAL WITH THE AUDIENCE

“Let’s establish who the performers are and then surprise them with what else they can do.” – Paul Sills

In every relationship, there’s a deal going on – often unspoken – on what the two people expect from one another. I’ll be the guy you can go have a beer with when your boss is pissing you off and you be the guy I go to when I need a good laugh.

There’s this notion that the audience needs to be warmed-up, like they’re athletes getting ready for a workout. It’s not so much that they need to warm up, but need to be allowed the chance to warm up to you. They need to get a chance to meet you and like you. Then they can relax and really enjoy themselves. If they aren’t sold on you, it’s that uphill battle, again.

In a revue, the audience is looking to strike a relationship deal with the ensemble.

A show, like a scene, can be broken down into a beginning, middle and an end. In a scene, it’s important to establish with an audience the who, what and where so they can be in on action. The same goes for the whole show. In the first few minutes, if not seconds, of a show, the audience is looking to strike a deal with you. They want to know who you are, what you’re about, and that you care about them. They want to be your partner on this journey. They want to be assured that they have spent their time and money well. If you don’t gain their confidence at the start, you may have an uphill battle. Or you go through the show thinking, “we’ll get them with the next scene, that always kills.” You’ll never feel like you’re on sure ground with them. After the show, you may go on to blame the lack of rapport on things like the space, the tech, the time of day, the audience itself. Those have some validity, but what’s certain is that they never got on board with you.

Audiences want to laugh. They showed up, didn’t they? They are looking for opportunities. But they see and judge everything, especially in the beginning of a show. I have, on several occasions, turned to someone next to me in an audience after less than a minute and whispered “we’re in trouble.” And we were. How did I know? I look at several factors, so does the audience, but they may not be as cognizant of it… Did the show start on time or close to it? Are the performers any good? Do I like them? Are they trying too hard or not hard enough? Do they have confidence in the material? Is the material any good? Do I know what the hell is going on? Do I care?

Do I like them and do I care are probably the most important. At the start of a show, I’m looking to see if I want to invest in what’s happening on stage. If it’s coming across as amateur night, and totally lacking on all counts, then I’d rather be spending that hour at the dentist’s.

The sketch revue didn’t just happen. It’s roots can be traced to early Broadway and Vaudeville. It was honed in the early part of the century and when revues started to fade on Broadway, big musicals came storming in. Musicals stole from revues and are structured like them. They tend to start off with big, friendly numbers that introduce us to the main characters and the world they live in. If we don’t like them, it’s going to be a long night. That’s why the opening number also tends to be very upbeat.

THE OPENING

The first three scenes of your show are the most important.

The first scene, the opener, is your first introduction of the cast to the audience. It’s important that the players are all well represented and portray characters that aren’t too far off the mark of their own personality. This is where you strike a deal with the audience saying this is who we are, get to know us, we’ll take care of you. Other key components of an opener is that it’s high energy, well staged and well executed. Many shows open with a song. This is smart, as long as the song is also upbeat, uses the whole cast, and is performed well. A sloppy song up front will have an alienating affect on the audience. You’re better off going with a high energy ensemble scene than a song if your company isn’t up to the musical task.

The second scene should be something quieter, more intimate. Even a monologue or someone directly addressing the audience could go here. The idea is to explode on stage to kick up the energy in the room and then to focus the audience’s energy with something softer. A two person relationship scene is common in this slot.

The third scene is another opportunity to meet the ensemble, but here, more extreme characters can be brought into play. Since the audience already has a sense of who you are, they’re now ready to happily follow along with you with your oddball character wearing the fake beard and rainbow fright wig.

I have also seen variations on this where the opening is essentially a series of very short scenes or black outs. Or where the first two scenes are high energy ensemble pieces. They worked well, too and set the appropriate tone of the show with the audience.

The first third of your show is where you want to plant strong, accessible material. Accessible material is the more conventional stuff that people can relate to. That doesn’t mean this is where you put “airplane food, men leaving toilet seats up” stuff. Don’t pander. Don’t put in anything that doesn’t represent your style. But do put in the best of what you do that’s the easiest to grasp. This is where you are building trust with the audience.

THE MIDDLE

Right in the middle of your show is a good place to put another cast scene. This should be very different from the opener, but also upbeat. It can be another song or an ensemble piece that uses the whole space. It’s another opportunity for the audience to connect with your group as a group. And it’s an opportunity for you to give them another jolt of energy to carry them through to the end. You can also look at this as an opportunity to raise the stakes, as you would in a scene, and put in a cast scene that really showcases the talents of the group. Here, in a cast scene in the middle of the show, it’s less important that everyone be represented as equally as in the opener.

BETWEEN THE MIDDLE AND THE END

Two-thirds of the way into your show is a good place to put riskier material. Now that the audience knows you, loves you and trusts you, they’re more willing to go along with you on trickier stuff. This is a good place for hot topic issues that might turn off some people or for the weird surreal Dada stuff that you really love to do. This is a good place for any scene that breaks typical theatrical conventions. Deconstruction scenes are good here. Now you’ve gained the confidence of the audience, even if it’s not their cup of tea, they’ll go along with you to see where you are going. And, in their mind, if they don’t like the scene where you eat ketchup out of straw while a ballerina in a leather jacket punches a newborn calf, they know they’ve liked your other stuff and will wait to see what’s next.

THE END

The last third is where you really want to leave them with a lasting impression. This is where you put the best material. The scene right before your closer should be the funniest scene you have in your arsenal. This is often called the “runner” or “run out.” I don’t know why. Perhaps it’s because it really picks up steam and runs you into your closer.

The closer – like the opener, should be full of energy and be well performed. It’s another slot where many groups will put a song. It’s important that the closer have a satisfying conclusion. It’s the closer for a reason. You want the audience to feel complete. The whole cast should, again, be represented. That doesn’t necessarily mean equally. The closer should be more theatrical than the opener. This is where you pull out all the stops.


Things to LOOK OUT! For


- CONTENT – Unless you’re gunning for a theme, have a variety of material. Not just in content, but form and style, too. Unless you’re a two-person group, a series of two-persons scenes will get tiresome. Even if you are a two-person group, you need to vary the form of the pieces and the dynamics of the relationship. Otherwise, you’re just doing the same two-person scene over and over, again. Or you’re doing stand-up. We get it, that guy’s smart and the other one’s dumb. Move on!

- If you do have a few pieces that are similar, you may not have to ditch all but one. If you have three pieces that deal with proposing marriage, or seeing a doctor, you can put them all together in a suite of scenes. But make sure they each have a distinct take on going to the doctor or on popping the question. There might also be a way to connect them. Maybe the doctor character can all be the same guy. In that case, spread them out.

- Typically, avoid ending a scene and starting a scene with the same person. Unless that person is playing the same character, you want to wipe the slate clean. If the person left on happens to have a great range and a fresh style, this is not so much a problem. But if it’s a performer who, although competent, is limited, you’ll want to avoid relying on them so heavily.

- Don’t keep actors hanging out on stage too long or abandon them backstage. Use an actor two or three times in a row at the most and then keep them out of at least one scene. When you do keep someone out on stage, make sure they are not the lead character in all their scenes. Don’t keep anyone out of more than two or three scenes in a row. The audience wants to keep in touch with the people they met in the beginning.

A QUICK NOTE ABOUT SELECTING MATERIAL

When putting a show together, first develop a generous amount of material and then select those scenes with which your revue cannot do without. They are your strongest scenes. They are also the most definitive of your company’s unique voice. They are the ones everyone is in most agreement about. These are your cornerstones. Now, you can build a show around then. Material developed from this point can be geared towards what’s already there – thematically, stylistically, and in content, including possibly expanding or recurring characters. Every successful revue creates a world in which the audience wants to live, or least spend time in. Your set pieces help structure that world and the other scenes, including transitions, help put muscle and flesh on that world.

In ensembles, there will be some people stronger than others when it comes to performance skill. Try to keep the casting as balanced as possible, but if someone doesn't have a lot of range, it's not a crime to use them a little less than the performer with a wider range. Just make sure everyone gets their moment or two to really shine.


THE BOTTOM LINE

A SHOW IS LIKE A SCENE, WITH A BEGINNING, A MIDDLE AND AN END

OPENING (THE FIRST THREE SCENES)


– STRIKE A DEAL WITH THE AUDIENCE

– GAIN THE AUDIENCE’S CONFIDENCE

– THE FIRST SCENE IS HIGH ENERGY, WHOLE ENSEMBLE, CHARACTERS CLOSE TO THE PERSONALITY OF THE ENSEMBLE MEMBERS

– SONGS ARE GREAT TO USE, BUT ONLY IF YOU CAN PULL THEM OFF – A SONG, NO MATTER HOW GOOD, IF PERFORMED POORLY, WILL MAKE THE AUDIENCE UNCOMFORTABLE

– FOLLOW OPENING WITH A QUIETER, MORE INTIMATE SCENE, SUCH AS SOLO PIECE OR RELATIONSHIP SCENE (BE LOUD TO GET THEIR ATTENTION AND THEN WHISPER TO DRAW THEM IN)

– THE AUDIENCE SHOULD GET A CHANCE TO SEE THE WHOLE CAST AT LEAST TWICE WITHIN THE FIRST THREE SCENES OF THE SHOW

MIDDLE

– ANOTHER ENSEMBLE PIECE

– HIGH ENERGY, QUIRKY, GIVES A JOLT OF ENERGY

MIDDLE-TO-END

- PLACE RISKIER STUFF HERE

- RIGHT BEFORE THE CLOSER, PLACE YOUR FUNNIEST SCENE (NOT NECESSARILY THE BEST – THE FUNNIEST)

CLOSER

- ENSEMBLE PIECE WITH STRONG STORY/RESOLUTION

- PULL OUT ALL THE STOPS

- BRINGS THE WHOLE SHOW TO A NATURAL CONCLUSION

- OFTEN A BOOK END TO THE OPENER, IF NOT IN CONTENT, THEN IN STYLE AND IN WRAPPING UP THEMES AND UNFINISHED BUSINESS

2 Guys, 1 Cup

This week has been quite busy as I wrap up the last week of the semester at Columbia, work on the corporate gig, and prep two shows for Sketchfest.

For some reason, I get real uppity about festivals. I don't fully see the value in them. They smell to me like great money-making opportunities for the organizers and not much else. The people who get the most attention are the ones who already have the most attention coming in to the event. Smaller groups can spend a fortune getting their butts there to participate and leave without gaining anything tangible.

However, I always have a great time, see some shows or groups I've been wanting to see and haven't been able to, see one or two brand new shows or groups that are great, run into old friends and make a few news ones. And for many groups, it's a bonding going-into-battle experience that will test your mettle and create lots of memories, mostly good.

So, I really do like them. they're fun. Especially Sketchfest, where you know the organizers really care about the people who perform at their little soiree. Last year, I performed a remount of a show I did with Don Hall and also used Sketchfest as a springboard for a revue with Teatro Bastardo. This year is similar.



Locked in a Room with Don Hall and Joe Janes: 2 Guys, 1 Cup
written and performed by Don Hall and Joe Janes
directed by Jen Ellison
Thursday, January 3rd at 9:30pm - West Theater
with Premature Infatuation

If you saw our show last year, you laughed, you cried, you were shocked, you were offended, you slipped on blood and tears while scrambling for the exit. This year is no exception. We are assembling all new material. This show has bite. It will bite you and it wants you to bite it in the ass. Look for a return of our Sketchfest Fire Drill where the house managers will surprise us by blowing air horns during the show. At that time, all three acts going on in all the theaters will rotate for a minute or two until we are back on our home stage. Good times. Bring a towel.


The Greatest Stories Never Told...TOLD!
written by Nat Topping, Greg Wendling, Chris Othic
with Joe Janes, Joe Linstroth, Geoff Crump and Brian Crowley
Directed by Chris Othic and Joe Janes
Performed by Mike Johnson, Neil Arsenty, Kate Lambert, Jill Fenstermaker, Tim Heurlin, Geoff Crump, Nat Topping and Greg Wendling
Thursday, January 10th at 8pm - South Theater
with Johnny's Regret

This is a microcosm of the script we've been working on since May. Robot vs. Dinosaur takes you on a wild, adventure-filled romp throughout time and across the globe, from the top of the world to the bottom of your soul. Experience a journey that goes right down the line between fact and fiction. Climb Mount Everest! Battle Robot Hitler! See Jesus fly on a buffalo! A truly ripping yarn! Good times. Bring a towel.

Mark your calendars and come out and play with us. And please plug your show in the comments section so I know to keep an eye out for you.



THE BS NEWS QUIZ OF THE DAY

Yesterday, I asked...

"A new dating service in Florida claims to be the first one to match people by their what?"

34% said "Perversion"
- Finding potential partners who share your kink has already been going on for years. It's called the Internet.

No one said "Height" or "Political Ideology"
- Guess it's not that big of a concern. Sure explains Dennis Kucinich's marriage.

66% got it right with "DNA"

According to WCVB-TV in Boston, ScientificMatch.com, a Florida company, claims to have the first scientific way of finding true love by using DNA matching. They promise to help you find that "perfect someone" with "a natural odor you'll love, with whom you'd have healthier children and a more satisfying sex life." The company sends sealed cotton swabs and instructs customers to swab the insides of their cheeks. ...Ah, romance. It's in the air. Can you smell it? It smells like my armpit. All those jewellers inundating us with commercials this year will have to change their slogans. "Every kiss begins with a swab"

Speaking of Staged Readings

There's no Robowriters' assignment today because last night was the staged reading of our new show. Yay!

Staged readings are like focus groups for the show, except the audience tends to be more savvy in the ways of all things theatrical. Regardless of the caliber of the folks, you are bound to get a few comments along the lines of "I think you should add chimps."

But I do find them valuable. Particularly for comedy. Laughter is undeniable feedback and there were plenty of laughs last night. It's also interesting to hear feedback from fresh ears and eyes. Having been in the Robot vs Dinosaur bubble for the last six months, it's hard for me to see the project as a whole.

After months of writing different kinds of material, we decided to focus on adventure. There's a lot of history and tall tales in our show. Such as Nat Topping's rollicking and twisted take on Johnny Appleseed called "The Great Apple Massacre" and Chris Othic's "Journey to the Bottom of the World" about the third man to reach the south pole.

We really didn't think much beyond "it's about adventure." The staged reading audience pointed out a few things we didn't see. None of the pieces show heroes in a flattering light. In my piece, "Mr. Mysterium," the hero doesn't even win. He gets turned into a zombie. One audience member, a very astute woman, summed it up with "It's about masculinity and myth." That sounded like a "Bingo!" to me and will be very helpful in how we shape the show from this point forward.



COME SEE DANSE MACABRE! AT THE ACORN THEATER

The Acorn Theater just an hour from the city in the lovely Three Oaks, Michigan, near New Buffalo. Directions from Chicago can be found by clicking HERE.



WHERE'S JEAN-LUC PICARD?

Condoleeza Rice says the U.S. is more than open and willing to sit down with Iran "anytime, anywhere" and find a diplomatic solution to their nuclear power program IF Iran would suspend their nuclear program.

"We'll talk to you, if..."?

Maybe I don't understand diplomacy. Don't we need to sit down with them to try to find a solution for them to stop their program? Why would they give us what we want first? Where's the incentive? The Bush Administration only knows how to dole out carrots to their rich, obese rabbit friends. I'm not saying we should reward Iran for anything, but all we're doing is threatening them. And if all you did was threaten me to stop doing something I didn't think was any of your business, I'd be thumbing my nose at you, too.



THE BS NEWS QUIZ OF THE DAY

Yesterday, I asked...

"Actress Gretchen Mol and her director husband Tod Williams recently had a baby and named him what?"

31% answered "Gretchod"
- Which only barely beat out "Todchen."

16% picked "Steamwhistle"
- Which is my personal favorite and the primary reason my girlfriend won't discuss marriage or kids with me.

16% "Zorba"
- Close. It is Greek.

37% deemed the correct answer to be "Ptolemy"

According to Dlisted, Gretchen Mol, gave birth to a baby boy last month and I guess nobody cared. She announced it to People Magazine earlier this week. Gretchen and her director husband, Tod Williams, had the baby in NYC on September 10th. They named the poor child Ptolemy John Williams.

Okay, yes, I do have a problem with a kid being named after a Greek astronomer who believed the earth was the center of the universe. And, yes, he will and should be picked upon without mercy by his peers in grade school ("Hey, Ptolemy, I understand your "p" is silent!"). And, yes, it is better than Ptolemy's first name, which is Claudius. Even if he went with Claude, no child should have the name Claude. Only people born at the age 80 have the name Claude. But I think the most offensive part of his name is "John Williams." The film composer whose music all sounds the same! I don't even know why Spielberg hired him to do the new Indy film. Just sample bits from the previous movies, which is what John Williams is going to do anyway.

10 Things You Should Please Stop Doing in Your Sketch Revue - NOW!!!

I'll tell you a little secret about most of the teachers in The Second City Training Center...

Most of us never go see any of the Second City shows. It's been years for me.

I know. We're hypocrites. We're always yammering to our students "Go see the shows, go see the shows." And when a student does come in to class having seen one of the resident companies, I'll eventually cop to not having seen it after my "knowingly smiling" look fails. We'll tell people we're too busy teaching or doing our own shows. The real reason we don't go see shows is because it is heart breaking. Anyone who has ever been a student at Second City knows that oftentimes there's a disconnect between what we teach in class and what gets put on stage. As teachers, it makes us feel unheard and ineffective. Better to keep the blinders on and focus on the students in front of me with whom I have a chance of making a difference.

Realizing the dishonesty of it all in regards to my students, I recently saw several sketch revues in all three theaters at the improv mothership that is Second City. I now have a point-of-reference in discussing with them what works and what doesn't work in Second City-style sketch revues.

Out of all the sketch revues I've seen the last few weeks, I highly recommend to you the mainstage show, Between Barrack and a Hard Place. It was originally written and performed by Joe Canale, Ithamar Enriquez, Molly Erdman, Brian Gallivan, Brad Morris and Amber Ruffin. Brian has since moved on and Mark Swaner has seamlessly taken his place. There are some very smart scenes and entertaining improv and some edgy, yet candy-coated songs. What I like most about the show, counter to most every other sketch revue in Chicago, is that it doesn't feel rushed. There's an early two-person relationship scene that really takes its time and keeps the "issue" of the scene subtle, but powerful. It's not a perfect show, but I don't want to nit-pick it. It's a very strong show with a great cast. Everyone has their own unique personae on stage and is fun to watch. They might start working on a new show in a few weeks. If so, go see it soon so that you can see the full Barrack as it was intended before new material gets worked into it.

Yeah, I know. It sounds like I'm gushing. I'm really not trying to cover my ass on anything here. I fully enjoyed myself.


About those other shows I saw. Rather than drag names through the mud, I created a list.

TEN THINGS YOU SHOULD PLEASE STOP DOING IN YOUR SKETCH REVUE - NOW!!!


1) Please stop making up fake diseases or conditions based on celebrities or social trends for doctor scenes. Rather than have someone diagnosed with "Lindsey Lohan-itis," I'd rather see a scene about parents dealing with their daughter who acts like Lindsey and having to come to terms with that the best thing for them to do is, God forbid, stop trying to be her best friends and discipline her.

2) Please stop doing scenes structured like interventions or AA meetings. Aside from it being tired, it really keeps the characters from authentically dealing with one another. Have someone's best friend tell them they can't deal with their Justin Timberlake or Star Trek obsession rather than making that character join a hack rehab group or be intervened upon.

3) Please stop having homosexual overtones in your scenes. I get it, even though the male boss is letting the male employee go, it's really a metaphor for a gay break-up scene. I'd rather see a gay break-up scene driven by intelligence, emotion and humor than by giggle-inducing homophobia.

4) Please stop trying to shock me. I'm not opposed to blue humor, but if the foundation for a scene isn't there and I don't care about the characters or relationships, then you're just being shocking for shock's sake. Nothing moves forward and instead of making me laugh you've grossed me out. Or bored me, which is what happens after the shock wears off. Jerry Springer, Howard Stern and Mancow already have this turf covered.

5) Please stop having improvised portions if you're not really going to improvise. If it's just an excuse to ad-lib witty remarks or make fun of people in the audience, I'll go to Uncle Chuckle's Comedy Shack.

6) Please finish the scene that you started. You're telling a story. Finish the story.

I'm seeing a lot of "scenes" that are structured like this...

Present funny idea
Make a few funny jokes about funny idea
Quick! LIGHTS OUT and play LOUD MUSIC!

Scenes really can have a beginning, middle and end. Characters really can transform and situations can be resolved in ways that are surprising, yet logical and very satisfying.

7) Please stop using Tourette's and Alzheimer's as a reason for a character being funny. Having a character afflicted with one of these conditions could be interesting - and funny - if done respectfully. If you're going to use them, do your homework. Make it a part of the character, not the character itself.

8) Please slow down. There's this misconception that MTV has ruined sketch comedy and all theater, for that matter. It's not true. If it's good, people will pay attention. Most sketch revues deal in what Mr. Hall calls "shock and awe." It moves so fast and with such fury that you don't realize how unfunny it is. If you're worried that by giving your scenes a natural life you'll lose the audience, then you lack confidence in your material and your audience. Audiences aren't as dumb as they look.

9) Please stop making political references if you don't have something new or interesting to say. I get it. Bush is dumb. He messes up his words a lot. You've saddled your poor actor with doing an imitation of an imitation. Give me something that will make me laugh and think.

10) Please stop making so many damn pop culture references. Unless it really reveals something important about the character or forwards the story, avoid it. We get it. You watch TV. You download music. You love movies. Now, please, go read a book and take a pottery class. Go live your life and use that as a resource for material.

Most of these things show up in sketch revues out of laziness. Writers and directors are just aping what they've seen before and are playing it safe. Work a little harder. Dig a little deeper. Take more risks.



ROBOWRITER'S TONIGHT

Bring your scenes to the Uptown Writer's Space, 4802 North Broadway, at 6:30pm and get feedback from a big jerk like me. It's only $5.



THE BS NEWS QUIZ OF THE DAY

Yesterday, I asked...

"Michael Vick is being sued for 63 billion dollars by an inmate. Which is NOT one of his claims?"

40% thought "Vick gave money to Iran to buy missiles"
- but that's one of the major claims in the lawsuit. The prisoner contends Vick stole his dogs, sold them on eBay and gave the proceeds to Iran. I have no joke for this.

Another 40% thought "Vick hired robotic guards"
- but that's claim number seven. Those guards work at the prison and are trying to keep him from telling the truth about Vick. And to keep him from having conjugal visits from Sarah Connor. They all look like this guy...





No one picked "Vick threw snowballs at his car"
- which is, indeed, part of the lawsuit. But it's Michael Vick, so only half the balls actually hit the car.

The correct answer, which isn't part of the lawsuit, is "Vick ruined his lucky prisoner pants"
- hey, this guy is crazy, but he's not that crazy.

According the The Atlanta-Journal Constitution, enterprising litigant Jonathan Lee Riches, recently filed a multi-billion dollar handwritten lawsuit against embattled Falcons quarterback Michael Vick alleging everything from stolen copyrighted property to "microwave testing" to a shady arms deal with Iran. Most lawsuits like this wouldn't make it to court. An attorney wouldn't risk his or her reputation. That's why the guy with the traditional nutbag middle name "Lee" is going to represent himself in court. USA! USA! USA!

Sgt. Pepper's Sketch Revue

Forty years ago, The Beatles kicked off what became known as The Summer of Love with a mind-blowing explosion of music that raised the bar on rock and roll music and music albums. It's been known as the most influential record album of all time, extending its reach beyond musicians to artists of all type. Even me, who can't play a lick of music on anything and couldn't tune a kazoo.


I think of a sketch revue a lot like a record album. Not a CD, but a good old-fashioned vinyl record album. Each track is a sketch that tells a story. The best ones paint vivid pictures in your imagination, characters have strong wants and emotional investments, are relatable and only hang around for four minutes or less.

Don Hall and I have a lot in common as far as theatrical tastes go, but here's one place where we differ. He hates it - HATES IT - when there's down time between scenes. He doesn't want to watch actors setting up chairs in the dark. I don't mind it. Sometimes, I even treasure it. To me, it's a palate cleanser. Like the silence between songs on an album, the lights out and the music bridge as the next scene is set, completes one story and gets you ready for the next.

Sgt. Pepper's Lonely Hearts Club Band was the first ever pop/rock album produced with the intention that the listener enjoy it in its entirety. What became known as a concept album.

Paul McCartney has largely been credited with pushing The Beatles in this direction and I believe he pulled from his love of Music Hall entertainment in fashioning the flow of the album. Not only is it one of the most influential rock albums ever produced, it also makes a decent sketch revue.

Side one

1. "Sgt. Pepper's Lonely Hearts Club Band" – 2:04
- The Opener. A great little warm-up that introduces the band. It tells the listener who they are and that they are in for a great time.

2. "With a Little Help from My Friends" – 2:46
- Now that the audience knows who they are and they've warmed them up a bit, here's something a little more intimate to draw them in. Usually know as the Relationship Scene slot in a sketch revue. The first track goes right into the second, just to make Don Hall happy.

3. "Lucy in the Sky with Diamonds" – 3:30
- The tone of the show here is being explored here. The first track set up a concert by a mythical band. In this track, the group is letting their audience know that they're taking them to a whole new world that they created.

4. "Getting Better" – 2:49
- A nice character point-of-view scene with this.

5. "Fixing a Hole" – 2:38
- A nice, relatable situation. If one has never literally fixed a hole where the rain comes in, they can certainly apply a metaphor for their own lives.

6. "She's Leaving Home" – 3:37
- A character study, again, with a very relatable situation.

7. "Being for the Benefit of Mr. Kite!" – 2:39
- Act One closer. It promises a big show in the near future. Whets your appetite for Side Two.

Intermission - otherwise known as getting off your butt and flipping the album over.

Side two

1. "Within You Without You" (Harrison) – 5:07
- Side One has won over the audience. Shown them a fun, but safe world the group has created. Now, it's time to get a little weird and a little dangerous, stylistically. This is a complete departure from anything heard yet in the show.

2. "When I'm Sixty-Four" – 2:37
- This track, with it's classic good time feel, says, "Now, just in case that got too weird, don't worry! Entertaining you is still our priority. We haven't abandoned you!

3. "Lovely Rita" – 2:44
- Another quick character study and a relatable situation - getting a parking ticket - with the twist of falling in love with the meter maid.

4. "Good Morning Good Morning" – 2:43
- There's a lot about life on this album and this one has the most humorous take on just getting through the day. Life sucks, but I will continue to say "Good morning!"

5. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" – 1:20
- Thanks for coming. Let's wrap up the show. Remind you that this was meant as a whole experience by referencing the opener. A false ending that bookends the start of the album. Strengthens the theme.

6. "A Day in the Life" – 5:33 - The Closer. The BIG Closer. Mixes both elements of the album - straight up, well-structured songwriting and the loopier, more dangerous stuff. Wraps everything in the show up in a very dynamic way.

Like most sketch revues, the "concept" isn't heavy-handed and necessary for all the scenes/songs to work. In fact, some of the songs would easily fit on other Beatles albums. In sitting down to write this, I could have sworn Lovely Rita was on Abbey Road. What can I say? While Sgt. Pepper's is their most influential, Let It Be is actually my favorite Beatles album.

1,000 - I must admit, when I started this blog, I had no idea who or how many would read this. I have nothing to measure it against. My expectations were very low. Imagine my surprise when I saw the visitor meter turned over 1,000! Woo-hoo! Site Meter tells me the 1,000th visitor is from Phoenix, Arizona. That's the other thing I didn't expect, people from all over the planet drop in on this place from time-to-time. Mostly by accident, but, hey, I'll take it.

Putting Together a Running Order for a One-Act Sketch Revue

Today, I am putting together the final running order for Savage Breast as well as putting the final touches on The Couch of Comedy's Baaaaadaaaaasssss Revue and OLD's Sketch Khakis. It reminded me of an article I wrote a few years ago where I compiled my philosophies for putting an RO together. Here it is, slightly amended.

This piece specifically addresses the typical revue done in Chicago, which is usually only 30-50 minutes long. Only Second City tends to do revues in two acts.

The information is culled from over twenty years of working in improv and sketch comedy. There are similarities in philosophy in what I present here in Second City’s Improv Almanac and Bernie Sahlin’s book on creating revues. I recommend you read them. I also think the best teacher is doing shows, applying the theories and seeing them in action.

Often, I will see a show where I like the cast, I like some of the material, and the show just doesn’t work. I leave saying polite things, but there’s no excitement at having just shared something special. There’s something missing. I think the audience feels this, too, but probably has an even tougher time pinning down why. The actors may just chalk it up to a tough night or an unresponsive crowd.

Many times, the problem lies in the order of the material. Many groups focus on the individual scenes of a show and forget about the show itself. Or, I’ve seen them focus so much on style and transitions, that they forget to focus on the content and flow of the show. Essentially, what they perform is a comedy recital, not a revue.

STRIKING A DEAL WITH THE AUDIENCE

“Let’s establish who the performers are and then surprise them with what else they can do.” – Paul Sills

In every relationship, there’s a deal going on – often unspoken – on what the two people expect from one another. I’ll be the guy you can go have a beer with when your boss is pissing you off and you be the guy I go to when I need a good laugh.

There’s this notion that the audience needs to be warmed-up, like they’re athletes getting ready for a workout. It’s not so much that they need to warm up, but need to be allowed the chance to warm up to you. They need to get a chance to meet you and like you. Then they can relax and really enjoy themselves. If they aren’t sold on you, it’s that uphill battle, again.

In a revue, the audience is looking to strike a relationship deal with the ensemble.

A show, like a scene, can be broken down into a beginning, middle and an end. In a scene, it’s important to establish with an audience the who, what and where so they can be in on action. The same goes for the whole show. In the first few minutes, if not seconds, of a show, the audience is looking to strike a deal with you. They want to know who you are, what you’re about, and that you care about them. They want to be your partner on this journey. They want to be assured that they have spent their time and money well. If you don’t gain their confidence at the start, you may have an uphill battle. Or you go through the show thinking, “we’ll get them with the next scene, that always kills.” You’ll never feel like you’re on sure ground with them. After the show, you may go on to blame the lack of rapport on things like the space, the tech, the time of day, the audience itself. Those have some validity, but what’s certain is that they never got on board with you.

Audiences want to laugh. They showed up, didn’t they? They are looking for opportunities. But they see and judge everything, especially in the beginning of a show. I have, on several occasions, turned to someone next to me in an audience after less than a minute and whispered “we’re in trouble.” And we were. How did I know? I look at several factors, so does the audience, but they may not be as cognizant of it… Did the show start on time or close to it? Are the performers any good? Do I like them? Are they trying too hard or not hard enough? Do they have confidence in the material? Is the material any good? Do I know what the hell is going on? Do I care?

Do I like them and do I care are probably the most important. At the start of a show, I’m looking to see if I want to invest in what’s happening on stage. If it’s coming across as amateur night, and totally lacking on all counts, then I’d rather be spending that hour at the dentist’s.

The sketch revue didn’t just happen. It’s roots can be traced to early Broadway and Vaudeville. It was honed in the early part of the century and when revues started to fade on Broadway, big musicals came storming in. Musicals stole from revues and are structured like them. They tend to start off with big, friendly numbers that introduce us to the main characters and the world they live in. If we don’t like them, it’s going to be a long night. That’s why the opening number also tends to be very upbeat.

THE OPENING

The first three scenes of your show are the most important.

The first scene, the opener, is your first introduction of the cast to the audience. It’s important that the players are all well represented and portray characters that aren’t too far off the mark of their own personality. This is where you strike a deal with the audience saying this is who we are, get to know us, we’ll take care of you. Other key components of an opener is that it’s high energy, well staged and well executed. Many shows open with a song. This is smart, as long as the song is also upbeat, uses the whole cast, and is performed well. A sloppy song up front will have an alienating affect on the audience. You’re better off going with a high energy ensemble scene than a song if your company isn’t up to the musical task.

The second scene should be something quieter, more intimate. Even a monologue or someone directly addressing the audience could go here. The idea is to explode on stage to kick up the energy in the room and then to focus the audience’s energy with something softer. A two person relationship scene is common in this slot.

The third scene is another opportunity to meet the ensemble, but here, more extreme characters can be brought into play. Since the audience already has a sense of who you are, they’re now ready to happily follow along with you with your oddball character wearing the fake beard and rainbow fright wig.

I have also seen variations on this where the opening is essentially a series of very short scenes or black outs. Or where the first two scenes are high energy ensemble pieces. They worked well, too and set the appropriate tone of the show with the audience.

The first third of your show is where you want to plant strong, accessible material. Accessible material is the more conventional stuff that people can relate to. That doesn’t mean this is where you put “airplane food, men leaving toilet seats up” stuff. Don’t pander. Don’t put in anything that doesn’t represent your style. But do put in the best of what you do that’s the easiest to grasp. This is where you are building trust with the audience.

THE MIDDLE

Right in the middle of your show is a good place to put another cast scene. This should be very different from the opener, but also upbeat. It can be another song or an ensemble piece that uses the whole space. It’s another opportunity for the audience to connect with your group as a group. And it’s an opportunity for you to give them another jolt of energy to carry them through to the end. You can also look at this as an opportunity to raise the stakes, as you would in a scene, and put in a cast scene that really showcases the talents of the group. Here, in a cast scene in the middle of the show, it’s less important that everyone be represented as equally as in the opener.

BETWEEN THE MIDDLE AND THE END

Two-thirds of the way into your show is a good place to put riskier material. Now that the audience knows you, loves you and trusts you, they’re more willing to go along with you on trickier stuff. This is a good place for hot topic issues that might turn off some people or for the weird surreal Dada stuff that you really love to do. This is a good place for any scene that breaks typical theatrical conventions. Deconstruction scenes are good here. Now you’ve gained the confidence of the audience, even if it’s not their cup of tea, they’ll go along with you to see where you are going. And, in their mind, if they don’t like the scene where you eat ketchup out of straw while a ballerina in a leather jacket punches a newborn calf, they know they’ve liked your other stuff and will wait to see what’s next.

THE END

The last third is where you really want to leave them with a lasting impression. This is where you put the best material. The scene right before your closer should be the funniest scene you have in your arsenal. This is often called the “runner” or “run out.” I don’t know why. Perhaps it’s because it really picks up steam and runs you into your closer.

The closer – like the opener, should be full of energy and be well performed. It’s another slot where many groups will put a song. It’s important that the closer have a satisfying conclusion. It’s the closer for a reason. You want the audience to feel complete. The whole cast should, again, be represented. That doesn’t necessarily mean equally. The closer should be more theatrical than the opener. This is where you pull out all the stops.


Things to LOOKOUT! For


- CONTENT – Unless you’re gunning for a theme, have a variety of material. Not just in content, but form and style, too. Unless you’re a two-person group, a series of two-persons scenes will get tiresome. Even if you are a two-person group, you need to vary the form of the pieces and the dynamics of the relationship. Otherwise, you’re just doing the same two-person scene over and over, again. Or you’re doing stand-up. We get it, that guy’s smart and the other one’s dumb. Move on!

- If you do have a few pieces that are similar, you may not have to ditch all but one. If you have three pieces that deal with proposing marriage, or seeing a doctor, you can put them all together in a suite of scenes. But make sure they each have a distinct take on going to the doctor or on popping the question. There might also be a way to connect them. Maybe the doctor character can all be the same guy. In that case, spread them out.

- Typically, avoid ending a scene and starting a scene with the same person. Unless that person is playing the same character, you want to wipe the slate clean. If the person left on happens to have a great range and a fresh style, this is not so much a problem. But if it’s a performer who, although competent, is limited, you’ll want to avoid relying on them so heavily.

- Don’t keep actors hanging out on stage too long or abandon them backstage. Use an actor two or three times in a row at the most and then keep them out of at least one scene. When you do keep someone out on stage, make sure they are not the lead character in all their scenes. Don’t keep anyone out of more than two or three scenes in a row. The audience wants to keep in touch with the people they met in the beginning.

A QUICK NOTE ABOUT SELECTING MATERIAL

When putting a show together, first develop a generous amount of material and then select those scenes with which your revue cannot do without. They are your strongest scenes. They are also the most definitive of your company’s unique voice. They are the ones everyone is in most agreement about. These are your cornerstones. Now, you can build a show around then. Material developed from this point can be geared towards what’s already there – thematically, stylistically, and in content, including possibly expanding or recurring characters. Every successful revue creates a world in which the audience wants to live, or least spend time in. Your set pieces help structure that world and the other scenes, including transitions, help put muscle and flesh on that world.

In ensembles, there will be some people stronger than others when it comes to performance skill. Try to keep the casting as balanced as possible, but if someone doesn't have a lot of range, it's not a crime to use them a little less than the performer with a wider range. Just make sure everyone gets their moment or two to really shine.


THE BOTTOM LINE

A SHOW IS LIKE A SCENE, WITH A BEGINNING, A MIDDLE AND AN END

OPENING (THE FIRST THREE SCENES)


– STRIKE A DEAL WITH THE AUDIENCE

– GAIN THE AUDIENCE’S CONFIDENCE

– THE FIRST SCENE IS HIGH ENERGY, WHOLE ENSEMBLE, CHARACTERS CLOSE TO THE PERSONALITY OF THE ENSEMBLE MEMBERS

– SONGS ARE GREAT TO USE, BUT ONLY IF YOU CAN PULL THEM OFF – A SONG, NO MATTER HOW GOOD, IF PERFORMED POORLY, WILL MAKE THE AUDIENCE UNCOMFORTABLE

– FOLLOW OPENING WITH A QUIETER, MORE INTIMATE SCENE, SUCH AS SOLO PIECE OR RELATIONSHIP SCENE (BE LOUD TO GET THEIR ATTENTION AND THEN WHISPER TO DRAW THEM IN)

– THE AUDIENCE SHOULD GET A CHANCE TO SEE THE WHOLE CAST AT LEAST TWICE WITHIN THE FIRST THREE SCENES OF THE SHOW

MIDDLE

– ANOTHER ENSEMBLE PIECE

– HIGH ENERGY, QUIRKY, GIVES A JOLT OF ENERGY

MIDDLE-TO-END

- PLACE RISKIER STUFF HERE

- RIGHT BEFORE THE CLOSER, PLACE YOUR FUNNIEST SCENE (NOT NECESSARILY THE BEST – THE FUNNIEST)

CLOSER

- ENSEMBLE PIECE WITH STRONG STORY/RESOLUTION

- PULL OUT ALL THE STOPS

- BRINGS THE WHOLE SHOW TO A NATURAL CONCLUSION

- OFTEN A BOOK END TO THE OPENER, IF NOT IN CONTENT, THEN IN STYLE AND IN WRAPPING UP THEMES AND UNFINISHED BUSINESS