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What You'll Get
- $79 for level 1: intro to improv class tuesday nights or saturday mornings ($175 value)
The Fine Print
Promotional value expires 360 days after purchase. Amount paid never expires. Limit 1 per person, may buy 1 additional as gift. Limit 1 per visit. 24 hour cancellation policy. 18 & up. Not valid with other offers. Must call to reserve a spot in the class- subject to availability. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.
Improv Comedy: Making it Up as They Go Along
You never know what you're going to see at an improv comedy show—and that's the beauty of it. Read on to see what you should expect at a show or class and to learn just how it is that actors can put their scenes together so fast.
Even when their characters are arguing, improv comics are working from a philosophy of trust and agreement—necessary ingredients for acting together with no script. Improv comedy encompasses a broad array of styles, with the major division between short form—quick, self-contained games—and long form—a series of multiple, interconnected scenes featuring distinct beats. Accordingly, a given performance might resemble a one-act play, a Saturday Night Live–style sketch scene, or a high-energy game show. Most rely on audience suggestions to spark the flow of fresh ideas, however, and some even weave brave audience members into the action.
Perhaps the most famous long-form style is the Harold, in which performers build continuous scenes that develop and intermingle in surprising ways. The unusual name arises from a joke, according to developer Del Close's biography, The Funniest One in the Room. As Close asked his collaborators what to call the new form, someone sarcastically yelled, "Well, Harold's a nice name." Appropriately for a form devoted to spontaneous absurdity, the name stuck.
This comic form also has roots in one of America's darkest eras: the Great Depression. While working for the Works Progress Administration, Viola Spolin needed a way to teach basic theater precepts to unschooled actors of various ages and backgrounds, so she created a series of theater games that focused on the playfulness at the heart of acting. In the 1950s, her son, Paul Sills, applied her principles at the short-lived but influential Compass Players on Chicago's South Side, and, later, at The Second City—one of the most prominent comedy companies of the 20th century, with alumni including John Belushi, Tina Fey, and Steve Carell.