I’ve said it before, I’ll say it again, “I love me some Johnsons.”
Check out this great example as Improv As Improv Does Best…in the face of “mistakes.”
I adore this scene.
In just over a minute 10 players flood the scene. They evolve by following and reacting. Even though a central player emerges, there is no leader.
Listen to the audience’s reaction. Yes, it comes at a great place in the pacing of a pattern-heavy show. Yes, the final line is a reference to an emergent theme.
But what the audience loves is the confident collaborative creation of something out of nothing. It almost doesn’t matter what Hannah says, the audience is going to love that she made a strong emotional choice to define the swell around her. They’ve been rapt the entire time – never doubting that the group was building toward something because the group never appeared in doubt. The audience is having fun because the players are clearly having fun.
And then of course after Hannah drops her line the group has the good sense to edit the scene, rendering it a Blackout, which plays beautifully into the pacing of the larger show.
I adore this scene.
Players are: Gerard Antoine, Sarah Berday-Sacks, Kevin Clatterbuck, Michael Farmer, Patrick Gaskill, Zachary Mann, Hannah Rumsey, Geoff Stone, Vince Sunga, Carter Tait and Elliot Wegman
A “Blackout” is a short scene with one big punchline. In sketch, or in improv with a tuned-in booth operator, the lights would go out on stage after the punchline, designating the end of the scene and earning the name “blackout.”
Blackouts are fun. They can help vary the pacing of a long-form show. They can be great when it’s clear there’s not going to be a bigger laugh beyond the first big punchline, but even if there is life beyond the punchline it can be enjoyable to cut the scene “early” so you can bring it back later. Will Hines and I had a scene where, in crossing stage, he asked if I had “a roll of quarters in my pants.” I did, I removed it and that was the end of the scene. Later in the show he asked if I was smuggling a zucchini in my pants; again, I was. Repeat.
I really love this Blackout from Horse Apples’ District Indie Improv Fest Show. Joey Tran kills it by being authentic. Truth is he doesn’t believe he can whistle; that’s honest frustration in his “no” to my question. And the audience believes him. So when he tries – and he legitimately tries because, again, he doesn’t think he can – and, lo and behold, he succeeds!, the surprise is also genuine. Honest, in-the-moment, shared with an engaged audience, emotionally reactive… that’s improv as improv does best, folks.
This is a fun show. Lots of support. Big group games. Many recurring patterns through the show. Invested characters. Accepted endowments. And some authentic Improv As Improv Does Best moments.
Thank you, District Indie Improv Festival for having us and recording this show!