It’s easy to start up an improv group, since the only requirements are an empty space and perhaps some lights. Everything else is created from the imaginations of the actors and audiences.

The Performance Space

More specifically, you need a space with good visibility (no obstructing pillars), a number of chairs for the audience, and a few chairs for the performers. It’s important that the space be the right size for your audience! You’ll have a much better show if you have 40 people squeezed into a room that comfortably seats 35, than if those same 40 people are rattling around in a room that seats 150.

You may want to consider having a concession stand with pop and snack foods. Once you’re well-established, you might even start merchandising (T-shirts, cast photos, etc).

Lighting

Lights are not absolutely essential for an improv show, but they do add a lotto the performance. Lights serve to define the scenes in space and time (in space, since the lit area is where the action generally is, and in time, since the scene begins with the lights coming up and ends with the lights going down). Lights also make the show seem much more polished and professional.

The person running the lights is, in a sense, a member of the cast. They can determine when the scene is over, and they can change the direction or mood of the scene by altering the lighting. In any case, good communication between the performers and the lighting person is important; usually a “lights down” gesture is agreed on beforehand so that cast members (even those not onstage) can let the lighting person know when to end the scene.

One simple technique that adds a lot of polish to the show is to bring the lights down after the suggestions have been taken, pause for a second, then bring them up again to mark them beginning of the scene.

Music and Sound Effects

A good keyboardist is a valuable asset to an improv troupe. Like the lighting person, the musician is a member of the cast. In addition to providing support for improvised songs, musicals and operas, they can set a mood for a scene by their choice of background music. They can also make musical offers during a scene, which the improvisors can use to take things in a new direction; the musician can also act to reinforce the choices the actors make (for example, by playing a love theme at a romantic moment).

The musician also provides pre-show music, and sometimes plays during intermission. If you have no musician, a tape can be used for these purposes instead. In any case, the music chosen for pre-show should be lively and upbeat, to raise the energy level of the audience before the show formally begins. The intermission music can serve to keep the intermission from dragging on too long (which saps the energy of the audience). In addition to all of this, the musician can provide little musical “bridges” between scenes.

If your musician uses a synthesizer, they can provide sound effects as well. If not, you can have a sound technician with a selection of short, leaderless (possibly continous-loop) sound effects tapes. Some troupes have a “foley artist” with a collection of sound effects devices (doorbells, gongs, buzzers, gravel with shoes, etc) who works the way old-style radio sound effects people did.

The Host

A good host is critical. The host welcomes the audience, explains what it is they’re going to see, and generally breaks down the fourth wall and makes the audience feel at ease with the idea of giving suggestions.

The host also keeps track of the time, decides when the intermission should take place, and wraps the show up at the end (thanking the cast and crew, and usually introducing them by name).

In some troupes, the host also sets up all the scenes, while in others, the performers take turns.

The answer is, it’s easy, and needs only one dimmer channel. Plus a couple of hours work in the shed. The technique described doesn’t appear to be published in any of the standard stage lighting works, but has been used for many years, the “secret” having been handed from lighting tech to lighting tech.

I was shown this trick by a chap called Brian Beckley, who was a very accomplished stage director for an amateur theatrical association of associations called NATHDA (‘The Norbury and Thornton Heath Drama Association’), on a little lighting course he once ran. Mind you, that must have been over a decade (or two) ago. However the trick works as well in the 90′s as it did then. Thank you Brian.

A word about Shop Safety

This project uses mains voltages, which are hazardous, and can cause death. Your insurance company may not like you building this project, nor may they like you using one of these in a show. Your theatre may even object to you using DIY effects in their venue. Ensure that you (and your show) have appropriate cover for your activities and liabilities.

And be sure to read our disclaimer.

Overview

The flickering effect is generated by simply

using a low wattage coloured bulb in series with a fluorescent tube starter. The starter does it’s thing, and tries to start the ‘tube’, but of course, it never can. So your bulb just keeps flickering in (and this is what makes the effect look good) a random and unpredicatable way.

Of course, real fires have more than a single flame, so grouping together a number of these flickering lights (I like to use three) and using different coloured bulbs (I like to use opaque red, clear red, and amber) makes the effect more realistic.

The only other thing to say is that the effect works best if you have your dimmer set at 50-60%; like many good lights this one looses it if you turn the wick all the way up.

Thats all there is to it!

110V(USA) versus 230V(Rest of world)

Although this trick works well in both 110V and 230V countries, the type of starter needs to be varied, due to the different avalanche voltages. Sadly, I’ve lost track of the citizen of the USA who pointed this out to me, some considerable time ago.

Directors can be useful.  It is good to have an intellectual in the room with do-ers, IF they are used to their strengths.  That’s not saying that actors can’t be intellectuals and I’m certainly not saying they aren’t intelligent, it’s just that most director’s backgrounds lend themselves better to the issues of interpretation and analysis.

To my mind, the director’s job, if anything, if at all, is to help guide and steer the cast to the best possible understanding of what they are going to need to do in performance.  This is best served if the director and actors share the same grammar, this is often not the case since directors tend to speak a language derived from the inside of their hand and actors tends to want to answer the question ‘what shall I do now?’   If the director can bend their intellect to answer this question, then they are very helpful indeed.  They can assist the cast in discovering the very actable parts of the script, assist them with exploring and uncovering anything that should affect how these parts of the script are approach.  In other words, my main criteria for a director is that they can help the actors translate page to stage, turn words into action.  This is not magic, it requires the director to think in a way that can allow them to help the actor.  Unfortunately, most directors learn their craft on the job, and are never taught the rudiments of acting.  Few actors seem to have them either, even after 3 or 4 years of training and years of work.

So, Part One: of the director’s job, help the cast understand the play/script in such a way that they are able to take action for it.

Part Two:  Help the cast to stage the action of the play, so that it remains faithful to the play, is performed to the height of the actor’s abilities and in such as way that the story of the play is communicated to the audeience.  Again, this doesn’t require a grand design or vision.  Directors too often are given creative reign to piss all over the writer’s work, as if the writer were some buffoon capable only of making lovely words join up, but requiring a special kind of artistic person to bring them to life.  (the director thinks they are that person, I argue, that person is the actor and a third party is only required if the actors struggle to do this by themselves).

Part Three:  Give the cast helpful notes, feedback that is practicable.  In my classes, feedback from other students is only allowed if it is practicable – capable of being put to use.  If the advice is impracticable, the actor will note it, placate the speaker and then worry about how to make it work OR ignore it.  The director giving notes, must gives notes that can be actioned.

Part Four:  Get OUT of the actor’s way.

Part Five:  Attribute the success of the show to the actors.

So, these are my beliefs on what the director should do.  And when I take a show to the Edinburgh Festival Fringe this year, this is how I will be working on it.  I hope you’ll come and judge me on my work and the actors on theirs.

The superstition goes back to several accounts of terrible things happening to actors and sets alike, from the first performance of “Macbeth,” when Shakespeare himself had to play the role of Lady Macbeth since the boy who was to play her suddenly died. King James hated the show so much, he shut it down. Over the years, there have been tales of injuries, bad luck, and even death at performances.

In order to reverse the bad luck, the person who uttered the word must exit the theater, spin around three times saying a profanity, and then ask for permission to return inside. Other variations require spitting over your shoulders or simply spewing a lot of curse words. The best thing to do is not say the word at all. If you must refer to the play, call it “The Scottish Play.”

Don’t say you haven’t been warned.

The Performance Space

More specifically, you need a space with good visibility (no obstructing pillars), a number of chairs for the audience, and a few chairs for the performers. It’s important that the space be the right size for your audience! You’ll have a much better show if you have 40 people squeezed into a room that comfortably seats 35, than if those same 40 people are rattling around in a room that seats 150.

You may want to consider having a concession stand with pop and snack foods. Once you’re well-established, you might even start merchandising (T-shirts, cast photos, etc).

Lighting

Lights are not absolutely essential for an improv show, but they do add a lotto the performance. Lights serve to define the scenes in space and time (in space, since the lit area is where the action generally is, and in time, since the scene begins with the lights coming up and ends with the lights going down). Lights also make the show seem much more polished and professional.

The person running the lights is, in a sense, a member of the cast. They can determine when the scene is over, and they can change the direction or mood of the scene by altering the lighting. In any case, good communication between the performers and the lighting person is important; usually a “lights down” gesture is agreed on beforehand so that cast members (even those not onstage) can let the lighting person know when to end the scene.

One simple technique that adds a lot of polish to the show is to bring the lights down after the suggestions have been taken, pause for a second, then bring them up again to mark them beginning of the scene.

Music and Sound Effects

A good keyboardist is a valuable asset to an improv troupe. Like the lighting person, the musician is a member of the cast. In addition to providing support for improvised songs, musicals and operas, they can set a mood for a scene by their choice of background music. They can also make musical offers during a scene, which the improvisors can use to take things in a new direction; the musician can also act to reinforce the choices the actors make (for example, by playing a love theme at a romantic moment).

The musician also provides pre-show music, and sometimes plays during intermission. If you have no musician, a tape can be used for these purposes instead. In any case, the music chosen for pre-show should be lively and upbeat, to raise the energy level of the audience before the show formally begins. The intermission music can serve to keep the intermission from dragging on too long (which saps the energy of the audience). In addition to all of this, the musician can provide little musical “bridges” between scenes.

If your musician uses a synthesizer, they can provide sound effects as well. If not, you can have a sound technician with a selection of short, leaderless (possibly continous-loop) sound effects tapes. Some troupes have a “foley artist” with a collection of sound effects devices (doorbells, gongs, buzzers, gravel with shoes, etc) who works the way old-style radio sound effects people did.

The Host

A good host is critical. The host welcomes the audience, explains what it is they’re going to see, and generally breaks down the fourth wall and makes the audience feel at ease with the idea of giving suggestions.

The host also keeps track of the time, decides when the intermission should take place, and wraps the show up at the end (thanking the cast and crew, and usually introducing them by name).

In some troupes, the host also sets up all the scenes, while in others, the performers take turns.

Costumes

Costumes should be very minimal, and easy to put on and take off. Hats are great, as are glasses and perhaps jackets and shawls. Anything else takes so long to put on that by the time you’re ready to enter the scene, the moment has passed.

Troupes that use costumes will often build up a collection of assorted items, usually kept on a coat rack or offstage table.

Promotion

It’s really important to let people know you’re there. Start off by inviting friends, relatives, and anyone you’ve ever known. Send press releases to local radio stations and newspapers, and put up a few posters. Get the word out!

It’s showtime!

One last, important piece of advice: always remember you’re there to have fun!

The answer is, it’s easy, and needs only one dimmer channel. Plus a couple of hours work in the shed. The technique described doesn’t appear to be published in any of the standard stage lighting works, but has been used for many years, the “secret” having been handed from lighting tech to lighting tech.

I was shown this trick by a chap called Brian Beckley, who was a very accomplished stage director for an amateur theatrical association of associations called NATHDA (‘The Norbury and Thornton Heath Drama Association’), on a little lighting course he once ran. Mind you, that must have been over a decade (or two) ago. However the trick works as well in the 90′s as it did then. Thank you Brian.

A word about Shop Safety

This project uses mains voltages, which are hazardous, and can cause death. Your insurance company may not like you building this project, nor may they like you using one of these in a show. Your theatre may even object to you using DIY effects in their venue. Ensure that you (and your show) have appropriate cover for your activities and liabilities.

And be sure to read our disclaimer.

Overview

The flickering effect is generated by simply using a low wattage coloured bulb in series with a fluorescent tube starter. The starter does it’s thing, and tries to start the ‘tube’, but of course, it never can. So your bulb just keeps flickering in (and this is what makes the effect look good) a random and unpredicatable way.

Of course, real fires have more than a single flame, so grouping together a number of these flickering lights (I like to use three) and using different coloured bulbs (I like to use opaque red, clear red, and amber) makes the effect more realistic.

The only other thing to say is that the effect works best if you have your dimmer set at 50-60%; like many good lights this one looses it if you turn the wick all the way up.

Thats all there is to it!

110V(USA) versus 230V(Rest of world)

Although this trick works well in both 110V and 230V countries, the type of starter needs to be varied, due to the different avalanche voltages. Sadly, I’ve lost track of the citizen of the USA who pointed this out to me, some considerable time ago.

Schematic

Construction and use

This effect can be constructed in any way you wish to suit the type of fire you are attempting to simulate. The lamps and starters can most easily be assembled either on a square of wood, or using a metal box with the bulbs on top, and the starters inside. Either way works well.

Then bury the arrangement in schrunched up gel, of appropriate fire type colours and shape to fit your ‘fire’. 40W GLS bulbs don’t get particularly hot when used in this application, so you shouldn’t end up creating a real fire on stage, providing there is adequate ventilation around the bulbs and gel. If in doubt, fit a small fan.

If you use a metal box, ensure it is grounded. Adopt good wiring techniques, and use quality components throughout. Ensure the mains lead is anchored firmly as it connects to the arrangement. Ensure that if the mains lead is pulled from your arrangement, the ground lead is the last to disconnect. Remember this thing will be used on stage, and you don’t want your effect to be frying any actors. This is an effect, a simulation, not the real thing.

One last thing – change the starters every now and again. They were never intended for this sort of duty cycle, and I suspect they probably wear out.

What else can I do with starters?

I saw this little article, and thought I’d include it here. Note that I wouldn’t necessarily recommend doing some of these things, many of the loads suggested will not be best pleased at being powered through a starter, so proceed with caution!

Directors can be useful.  It is good to have an intellectual in the room with do-ers, IF they are used to their strengths.  That’s not saying that actors can’t be intellectuals and I’m certainly not saying they aren’t intelligent, it’s just that most director’s backgrounds lend themselves better to the issues of interpretation and analysis.

To my mind, the director’s job, if anything, if at all, is to help guide and steer the cast to the best possible understanding of what they are going to need to do in performance.  This is best served if the director and actors share the same grammar, this is often not the case since directors tend to speak a language derived from the inside of their hand and actors tends to want to answer the question ‘what shall I do now?’   If the director can bend their intellect to answer this question, then they are very helpful indeed.  They can assist the cast in discovering the very actable parts of the script, assist them with exploring and uncovering anything that should affect how these parts of the script are approach.  In other words, my main criteria for a director is that they can help the actors translate page to stage, turn words into action.  This is not magic, it requires the director to think in a way that can allow them to help the actor.  Unfortunately, most directors learn their craft on the job, and are never taught the rudiments of acting.  Few actors seem to have them either, even after 3 or 4 years of training and years of work.

So, Part One: of the director’s job, help the cast understand the play/script in such a way that they are able to take action for it.

Part Two:  Help the cast to stage the action of the play, so that it remains faithful to the play, is performed to the height of the actor’s abilities and in such as way that the story of the play is communicated to the audeience.  Again, this doesn’t require a grand design or vision.  Directors too often are given creative reign to piss all over the writer’s work, as if the writer were some buffoon capable only of making lovely words join up, but requiring a special kind of artistic person to bring them to life.  (the director thinks they are that person, I argue, that person is the actor and a third party is only required if the actors struggle to do this by themselves).

Part Three:  Give the cast helpful notes, feedback that is practicable.  In my classes, feedback from other students is only allowed if it is practicable – capable of being put to use.  If the advice is impracticable, the actor will note it, placate the speaker and then worry about how to make it work OR ignore it.  The director giving notes, must gives notes that can be actioned.

Part Four:  Get OUT of the actor’s way.

Part Five:  Attribute the success of the show to the actors.

So, these are my beliefs on what the director should do.  And when I take a show to the Edinburgh Festival Fringe this year, this is how I will be working on it.  I hope you’ll come and judge me on my work and the actors on theirs.

The superstition goes back to several accounts of terrible things happening to actors and sets alike, from the first performance of “Macbeth,” when Shakespeare himself had to play the role of Lady Macbeth since the boy who was to play her suddenly died. King James hated the show so much, he shut it down. Over the years, there have been tales of injuries, bad luck, and even death at performances.

In order to reverse the bad luck, the person who uttered the word must exit the theater, spin around three times saying a profanity, and then ask for permission to return inside. Other variations require spitting over your shoulders or simply spewing a lot of curse words. The best thing to do is not say the word at all. If you must refer to the play, call it “The Scottish Play.”

Don’t say you haven’t been warned.