Mischief Improv: Recent Episodes
David Escobedo
Follow the start of an improv team in Chester, England. David Escobedo has been performing improv since 1995 and has directed/produced 100's of improv shows ranging from Long Form to Short Form, and from Street Performances to Happenings. This podcast will give you the Warm-Up's, Exercises and some of the challenges that arise from promoting, producing an improv team consisting of many people who have never heard of improv before! This documentation occurs as a requirement from his Master's Thesis from University of Chester and in conjunction with his internship at Storyhouse
In art form that is so temporary, we have a tendancy to view aspects of it as permanent. We think an improv team will last forever, or take classes with only one person... improv is organic. It stops, and starts.
If you need to take a break, go ahead. If you want to switch teams, go ahead. If you want to change the style of your team, go ahead.
The practice and study of improv is as ethereal as the show. Allow your journey to ebb and flow, like your improv sets.
I did a study for fun. I looked at communities and how communities interact with one another like organisms in an ecosystem.
This is a portion of that ecosystem when talking about "leadership."
How many improv workshops deal with "listening?" Like a ton of them.
One of the issues we have with online improv is that the skills we used to use in person (observation, peripheral vision, etc) we can't use in online improv. Online improv is different - and it should be. It should have the same differences as a live play to a movie.
I talk about rediscovering listening, and how odd it is that some improviser are so resistent fo evolve.
Firstly and leastly, I talk about this entire podcast and why I started it. It’s all about DOCUMENTATION!! Which made me think I want to do a whole episode on “documentation.”
Then we get into the heart of the podcast which is the concept of “stop trying to find something, and just pick something.” Sounds simple. In some respects it is MUCH MORE simple than we make it. In other respects the difficulty of finding something, comes from finding it as a group – not an individual.
I have been noticing a few trends in larger improv companies when addressing their lack of BIPOC representation on stage and as teachers. Leaders tend to use the same reasons across the board - and sometimes they are reasons for past behavior, as well as an excuse for future behavior.
The value of class is not always what comes from the instructors. I do my best to make my workshops and classes have value beyond what I teach.
In college and when taking classes at big improv institutions, I find the connections I make one of the most valuable experiences.
The problem with “Improv Community” is …
In this podcast about improv, I talk about the Improv Community. No, I don’t just say why it’s bad – but I talk about why it’s not the faultless gold trophy so many people champion it to be. I have learned recently that the “community” can be wrong! Which is such an odd thing to say. I think it is.
Hope you enjoy!
Chaos.
Chaos can lead to exploration in art.
Also in improv, especially long form, the most impressive shows are not laugh-laugh-laugh, they are about “how did they do that?” Comedy is only a by-product of the process. Sometimes the laughter is misleading us to sacrifice the story or re-hash bits that everyone has already seen.
Lean into the chaos.
Enjoy it. Face it.
Sometimes it leads to beautiful discoveries.
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Finally feeling like I’m getting back into the swing of producing things! Let’s talk about some of the physical tools you have when performing. Your hands and face – and WHY they are some of the most dynamic parts of your body. AND BONUS content at the end!
Shhhh. It’s a surprise tip.
I talk about my failures, and specific ones in the last few weeks. “Struggle” has always been a part of improv – either as the scene on stage or off stage as part of the company/team. We don’t talk about it too much because we avoid vulnerability and we want “brand trust.” If I run a team, I want people to trust we are going to be successful every show. If run an improv company, I want students/audience members to trust my product and talking about failure may challenge that.
I talk about “armchair consultants” and the specific things I’ve tried! And have lost money and time on….
… but that doesn’t mean I won’t try again.
Recently inspired by opening my own book, “This Improv Book”, to a random page and reading it. It’s funny because so much has happened (covid19, beginning my PhD, moving) since I published it earlier this year, and I’ve been reading so many other things for my degree that I have forgotten about what I wrote. I read it and think “I totally agree with that!” Why not? I wrote it! Lol.
I talk about a passage from my book, called “Pro Tips” – which is meant in a tongue in cheek way.
Hope you all are doing well.
Had an epiphany while recording this. I talk about how the first third of an improv set should have confidence and not an anxious search for the plot. Writing a contract at the beginning of the show makes it “more comfortable“ for the performers because then they have a more clearly defined scale of a “successful show.” Did we do what we promised at the beginning?
But usually those contracts are written by the more domineering members of the group. Which means they typically are always setting the contract. We are only hearing the stories they tell.
Discover more. The audience wants to see your struggle – not your struggle! They want to see your courage to carry on.
Interview with Keith Hyland of Broken Chair Improv and Liverpool Comedy Improv. Keith has come to improv more recently, but with a plethora of acting/performing experience. He is truly a giant energy to watch on stage, and his teams love him. He is great at finding a character within milliseconds of stepping on stage, and then still being flexible with that character depending on where the show goes.
Very happy I got to know Keith a bit better and I look forward to working with him after this is all over.
Since we’re not having rehearsals right now, I thought I’d do a couple interviews. I have always enjoyed working with John Guelke. He has a very unique style and an awesome perspective on improv and art. Hope you enjoy it! (I sure did)
Today we go surfing …
… the social media waves. I walk you through my process for sharing and commenting on social media pages. I run over 20 social media pages from FB to IG to Twitter (and a small number on YouTube). How do I make efficient use of my time? Well, I walk you through that.
I also hope it shows what someone sees who is actively looking for improv teams/shows. Then compare this to people you are trying to reach who happen to be cruising social media not searching specifically for improv – and consider how much your shows and posts are being seen.
This is not on improv skills, it’s more about the improv community that you may be a part of!
I talk about how a lot of the reward is not what happens on stage. We focus so much on skills and shows that over the years the BEST thing about improv has been the people I’ve met. It’s about the experiences.
It’s important for us to talk in the academic community. Those statistics and works is how many organizations validate improv in schools or in the workplace. They need to be able to quote stats.
I also talk about my work on Buzzfeed Community! So excited. I like the work so far. Check it out.
“No Gatekeepers” – I’m talking to you! If you think I am.
Let’s talk a bit about being “plotty” and a great book I’m reading, “Do It Now” by Parallelagramophonograph in Austin, TX. The difference in narrative improv between Los Angeles and England is almost polarizing. How the community views “plot” is different and each has their own strength/weakness.
I also talk about discovery a bit and how Brandon Sornberger taught the concept of “Earn Your Wacky.”
I get to interview one of our newer cats members, Joanne Sarginson. She is a joy to work with! Her creativity and ability to justify moves is astounding. We talk a little bit about “energy” and how that affects a show.
Mischief Managed Improv just performed as guests at Deacon Street Arts in Leicester.
This reminded me to go over some tips of how to be a good guest team in another community.
I also talk about dynamics – hitting different visual levels in a scene. Also how having new blood on a team of experienced players (no matter how experienced) is good for both! Experienced players may have fallen into habits or formulas and newer players bust those plateaus.
Also, touch a bit on contradictrionss in improv.
Liam and I had just performed in London at Hoopla Impro. We talk a bit about that performance but also talk about:
- When Should People Take Big Risks in Improv
- What Role Does the Audience Play
- Teaching Knowledge vs Constructivist Thinking
It was a crazy great interview!
We had our first regular show at the Lock Keeper in Chester – and what a huge response! I talk about that.
But first I mention this Improv summit I’ve been working on, where we got representatives from improv teams from all over Liverpool, Manchester, and Bangor to come together to just talk. It was great. So happy to have met people face to face. Already talking about doing it again.
I was in San Diego, and I was fortunate enough to get to interview Vanessa Anton, again! Vanessa Anton is a teacher and performer with Cornerstone Improv in San Diego. She also travels around the world teaching workshops.
This was recorded as we drove through San Diego.
Vanessa a gem.
#improv
This episode I talk about something very vulnerable to me personally.
First off, we talk about conflict in improv teams. I give the three pronged advice of Sarcasm, Emotion and Take the High Road.
- Don’t use sarcasm
- Don’t use emotion – except for happiness and genuine sympathy
- Do take the high road
I fail at this. I am only human.
I also convey what my greatest fear is with regards to being the leader of Mischief Managed Improv.
Please like, share … and recommend this podcast to all your improv friends.
I made a blanket fort! In the best interest to mitigate echo. I talk a bit about “lying” during improv scenes and when character try to change each other.
“Initials” is a game I invented for our team, and it works really well for any genre team! It can teach the tropes associated with that genre but also to deliver concepts as if they are real and without apology.
“When I hear a good improv tip I TELT it everybody I know!” Let’s talk about TELT!
Lukas Kirkby guest coached us, and then we had a rehearsal where I introduced the Mischief Managed format to the new players. I go over some incredible moves the players did in supporting one another.
We did the warm up I learned from Jay Sukow which is called The Handshake where the team invents a handshake. Moves within that handshake have to be representative of the people who are doing the handshake, then they have to teach that handshake to everyone else.
First of all, the moves made to emphasize the brilliance of another player’s moves were great!
Second the ensemble of multiple people coming together to merge together to make one owl! AMAZING!
And I loved how they re-used ideas from the beginning of the set so that everything had a purpose.
We’re back for Season 3. I’ll tell you how my non-auditions went, a little bit about our 4 new players and how we’re diving into Short Form as a way to learn more about Long Form.
We learned how to “sell it” by playing New Choice, Pillars, Hesitation and Sentence Fragments. All of these games require the players to sell and justify an idea that isn’t theirs. That’s what makes it funny for the audience and fun for the players! So then we lean into that philosophy in a Long Form set. Take your scene partner’s ideas and sell them and justify them!
We also did 185 where the suggestion was “blah blah blah.” Too many teams have internal competition – it really damages the community of improv. 185 with “blah blah blah” is a great demonstration for how support can bring the entire show to the next level!
This episode is a few rapid fire questions to Maggie Noland and David Elliot. I get to ask them things like:
- If there was an improv moved named after David Elliot, what would it be?
- If there was a short form game named after Maggie Nolan, what would it be?
- If you walked to the top of “improv guru mountain” and someone unexpected would be the “guru of improv” who would it be?
- What did you do better when your first started, that you sort of lost after doing it for so long?
- How can you tell when someone is new at improv?
It leads to some fun conversation with two people not only do I think are hilarious, but incredibly insightful. I love people who can crack jokes but also have emotional depth. I find not only do I enjoy spending time with them, but I learn from them as well.
Please share and subscribe!
Previously we had asked two of our talented cast member Maggie Nolan and David Elliot “what is the pompous things improv performers talk about?” … when we talked about it.
This time we asked, “what don’t improv performers talk ENOUGH about?”
Give it a listen.
Between seasons I interviewed two of my improv cast members, after some drinks. We get raw and honest about improv as a community and some skills. This is Improv UNPLUGGED!
Maggie Nolan, David Elliot and I talk about our experiences in the improv community. This episode we discuss what we see people post a lot about online. We talk about what a lot of people seem to want to weigh in on ... but may have very little impact on their improv rehearsal!
WELCOME TO SEASON 3 OF MISCHIEF MANAGED IMPROV PODCAST! Episode 0!
Last show of the season, we had a great time visiting the incredible community in Nottingham. SOLD OUT SHOW! If your team has fun and gets along, you should do a tour! The van trip is so fun.
Our final show was 10 months in the making and I talk about how the whole MissImp evening warmed up, then how we as a team warmed up. Mischief Managed Improv got to share the stage with Four From Far Away – a great improv team.
Thank you for listening. This marks the end of our very first season as a team.
I hope we get to work together again, or if we haven’t yet, I hope we get to work together in the future.
LAST rehearsal of the season. We talk about “good” and then “fantastic” improv. The warm-ups include a name game taught to me by Stuart Moses of the Improv London Podcast. We use it as a method to organically find the game. Then we did an exercise that was HARRY POTTER TROPE + TWO LETTERS OF THE ALPHABET to help us continue to make specific names within the realm of the genre. An exercise I invented which is good just to get your minds into that world.
We also talk about the difference between accenting a scene, helping a scene, and editing a scene. We discussed the timing of knowing when to do that.
Then ran some sets. Love this team.
Getting ready for our last show of the season! Bye 2018!
This episode I announce that my team operates in “seasons” much like a “theater season.” I go over the advantages this has as an improv leader as well as for the members of the cast. It eliminates a conflict.
For our last rehearsal we worked on taking bad suggestions. Suggestions that are polarizing, repetitive or offensive, how to receive them and still honor them. Audience members want to feel like part of the show and the suggestion is usually their one time to interact directly. Also, some tips on how to ask for suggestions - specifically ones that help you – otherwise known as “the get.”
One of the tougher forms to pull off as a show piece in my opinion. A Monoscene is one location, no edits, no time jumps, and no exits. There are less meta-improv tools at your disposal, and the scrutiny of the success comes in really deep characters exploring specifics through dynamic relationships.
The more people participating in the Monoscene increases the number of relationships. 2 people have 1 relationship. 3 people have 6 relationships! Then bringing in solid characters with points of views, character philosophies and emotionally flow for the course of the set.
"How do you inject your idea into an ensemble scene?" An awesome question raised during one of our rehearsals.
Words aren’t going to save us – object work and relationships will save us. I talk about an older improv philosophy “get to the action.” Which, over 20 years later, still has value.
Improv is a language. It provides the grammar, wherein we provide the content. It doesn’t tell us what to say, or in what delivery style, it tells how to say it and how to better hear it.
This episode comes after a rehearsal where everyone just made solid game moves. We did two warm ups into an exercise into a long form set. Our Warm Ups were:
5 Differences
Character Monologue
Exercise was:
A Monoscene
Yes, we did a long form format as an exercise to have that SKILL it exploits be brought further to the surface.
Then ran into two forms of the Quest.
Lots of GREAT NEW improv teams popping up! It’s a great time to begin your own team, or support a new team! Stop looking at the big name teams – they don’t need your support as the teams that have just begun in the last couple months! Become the biggest fans of the smallest teams, rather than a small fan of a big team.
#MotivationalSpeaker
We have been exploring the improv format known as “The Quest” which is great for thematic improv. It helps us stay on target and gives us a brilliant jumping off platform to explore a story. Our opening is a group scene paint – into a hero’s story.
I also talk a bit about gatekeepers, and instead, riding the big improv wave that’s happening in England. It's always better to ride the wave or be a PART of the wave, than to try to funnel it for personal gain. We're stronger together.
I also touch on how improv can be difficult. And as improv leaders we should talk about the difficulties. We can empathise with one another and even maybe offer help! Teaching improv is not all good times.
Also, it's important to let your coaches/leaders know what your ability is to make rehaearsal - and to be realistic about it. We make plans based on what people say they can do. Sometimes it costs us money if people don't show up when they say they will.
Two of Mischief Managed’s amazing cast members go over a list of improv tips shared online by Jill Bernard. Jill Bernard is synonymous with improv, and her blog, articles and workshops have inspired thousands of people around the world. She is a constant source of insight for improv scene work, but also the improv community.
We go over only a few points she makes in a longer list with Monica Escobedo and Maggie Nolan. It proves to be a bonding experience and have some very serious moments.
Give this episode a listen. Share and comment!
I explain an exercise we invented that helps flex your “long form muscle.” This helps your team practice binding stories together and determine what truly is valuable to set up in the first few scenes.
I also gush a bit about working with Lukas Kirkby and he runs a little Q & A with the Mischief Managed Improv Team.
We have a guest from the cast, Rodrigo, to talk about the cultural differences he has in being from Argentina and performing in an English improv team coached by an American improv teacher. We also discuss some of his favorite improv moves that his teammates make and why he enjoys performing with the Mischief Managed Improv team – even though he doesn’t consider himself a Harry Potter fan!
The end of this episode organically shifted to my group discussing how to view boundaries. It’s awesome.
Before then I talk a bit about the British Improv Project, Copenhagen International Improv Festival and how I tried imbuing my cast with super powers!
Let’s explore another format! The Funeral Service, is a controlled long form show that highlights relationships and is best served when you play the reality of the scene instead of making it wacky.
Didn’t have a rehearsal due to the holiday weekend, but looking forward to our next one! Thank you for listening and please share!
I have an excellent guest on this episode. Phaedra is on the Mischief Managed team and has been a part of it from the beginning. We explore her background and some of the excellent moves she has made in scenes. It’s fascinating to hear what she does in her field (DNA) and how that is juxtaposed with her talent in performing improv.
This will be one of the highlights to those of you who teach improv – hearing someone new to the field appreciate the skills improv highlights.
A tough rehearsal, where I take credit for all the challenges. The team still rocked through it and trusted each other. All teams will have a tough rehearsal – a rehearsal where people just don’t jell. Even through a tough rehearsal my team took big risks and trusted each other.
I am beginning to train someone to teach improv. This allows me to define what virtues I think make a good teacher. I get into that, which explores the relationship between the improv teacher and their students.
Enjoy! Please like, share and subscribe.
Vanessa Anton guests on this episode, and we talk about her coaching the team for International Women's Day. Our regular cast had the pleasure of working with several guests from other teams. After an online conversation with Dr. Ron Harvey, I decided to add an improv scene to this episode. After which we discuss specific moves in the scene and some tips on how we enter scenes. Great episode!
Le Rhonde is an improv format where the performers edit and enter scenes in a specific order. All their storylines are related to one another, but never cross over – unless your team decides to do so. The order creates a circle and you at some point come back to the first person.
I also go over how Long Form Formats typically capitalize on a few elements that are found across most long forms. Also, how practicing both Short Form and Long Form can benefit your team!
Lastly, I also go off on invention versus discover and the benefit of that in your improv sets.
I sol- WE BOTH solemnly swear we’re up to no good! I have another guest! Our warm-ups:
- Trust Circle
- Stretching
- Dog-Bark
George Smith is my guest co-host for this episode. We deconstruct the last rehearsal and talk about some specific improv tactics. George and I touch on “justify and don’t normalize” and how relationship is more important than plot – because it will help you out more when the energy seems to dip in a scene.
During the last rehearsal we ran a full Short Form set in the style of “Whose Line Is It Anyways?” as well as a full Long Form Set.
George was also part of the show in Leeds and gives us his insight about that show. He was very impressed with how other members took a suggestion from the audience that may be both polarizing and over played, “Trump.” Other troupe members of the team interpreted as a mix of competition and “triumph.”
This all leads to an awesome moment where George opens up about his reason for finding improv and how improv can be transformative.
Kate Swift is my guest, co-host for this episode.
- Animagus
- Mandrake Roots
- House Elves
We dissect the rehearsal and a bit of the show in Leeds. Kate is a brilliant student of improv, and has some observations that even people who have been doing this for years normally don’t notice.
We talk about how trust comes from support. We mention a moment of great support in the rehearsal where Kate supported me with “oh that’s a great band!” This support creates trust, but it also shows that the initiation is not as important as the support. We also talk about support in being “living paintings” – a 6 person scene!
Kate has great insight on reading your partner. So happy to have her in the Mischief Managed Improv team, and having her as a guest on this podcast!
Please, rate and subscribe!
Much like Episode 0 where I discussed and explained the Harold, I thought I would explain another long form format. I discussed the Pretty Flower, sometimes called the Family Guy Format. There is a flow-through scene which incorporates all the players. Then cut-to’s or tagout runs branch off this, but we always come back to the main flow-through scene.
Because of how shows and rehearsals landed there were no rehearsals between the last podcast and the current one.
Hope you enjoy it! Please share, like and subscribe.
We had some good experiences getting bad suggestions!
I solemnly swear I’m up to no good. Here are the warm ups!
- Vera Verto
- Woodchucks
- Mirror Erised
This rehearsal we went over some great improv mechanics! We worked on warping the reality of the scene with Split Scenes. And within those split scenes we would hand stuff back and forth to each other. We also worked on how to initiate it.
Then we rehearsed and discussed the mechanics of “Wand Battles.” How to keep the chaos and magic smooth.
I also get pretty honest about how hard it is when players cancel on you. It’s a challenge, and it happens.
Sometimes in scenes we aren’t playing people. How do you train improv performers to support offers that aren’t people?
- Snape Approves
- Sorting Hat
- Escape from Gringotts
- Clumping
I went over warm-ups that encourage people to accept the reality, instead of judge the offer. The choice we make as a team are always so much more impressive than the unsupported choices of an individual. There is this African Proverb that says, “if you want to go fast, go alone. If you want to go far, go together.”
Escape from Gringotts (AKA: the Machine) really brought the team together. It was a great visual and way to support a move that wasn’t based in spoken words.
We also worked on organic openings and evolving from creation to creation.
I’ve decided to start every season with the explanation/dissection of a format or move in improv. Formats are the Harold, Armando, Living Room, Camershrapnel, etc. Moves will be things like mapping, Canadian Cross, split scenes, monologues, etc.
And I’ll call these Episode 0 of the season. We start off with a dissection of The Harold!
This was the online show (which you can see on our Facebook Page), and I feel as if they did such incredible work.
- Charms
- Shake It Off
We worked on names in scenes, and how emotionally evocative names are a better offer than more polite names. At the top of scenes is the best time for evocative gifts.
The ensemble work was incredible and I talk about interviewing two people after the show.
"I like that I can go on stage and have no idea what I'm doing and every one figures it out, including me."
The three Warm-Ups we did this time were:
-
Likeable
- Sorting Hat
- Fantastic Beast
I solemnly swear I’m up to no good. Yes, and … this was the first time I ever mentioned the concept of “yes, and” in improv and it was 8 classes in. We did three different Harolds. The final set, with 12 people and they did excellent. I also talk about what has been paying off big! There are also big signs that this needs to evolve more into a team, not just a revolving door of improv.
Also, in the after interview a member of the class said one of my most cherished quotes.
"I like that I can go on stage and have no idea what I'm doing and every one figures it out, including me."
Justify, don't normalize.
The four Warm-Ups we did this time were:
- The House Cup
- Big Bogart
- Mirror of Erised
- Party Quircks
I solemnly swear I’m up to no good. I talk about trying to win the game, but the goal is not to “win” the game the goal is “trying” to win the game. The drama is not in the “win” but the “trying” to win. Once you win the scene is over. I also touch on the philosophies of don’t play a kid, a stranger, drunk or crazy. And why I say that. Always play an expert, this is not your first day on the job, and your character owns the space. That person is not crazy, they are actually the smartest person in the world. Don’t normalize, justify your partner’s choices.
"Too cool for school" attitudes.
The two Warm-Ups we did this time were:
- Deathly Hallows
- Sorting Hat
I solemnly swear I’m up to no good. We ran through the Harold 3X’s including five people who have never done improv before. I’ll tell you how it went in the episode. Also, something we all deal with: people who feel like they are too cool for the class, and how it tends to be their insecurity more than anything. I get more mileage out of treating people like geniuses. Many times people succeed because they don’t know they should be struggling. I also talk about some of my personal strategy in the first three seconds of a scene. Hope you enjoy this podcast!
We went over the Armando, Living Room and Montage.
The four Warm-Ups we did this time were:
- Transmutation Tag
- Sorting Hat
- Character Circle
- Hogsmead
I solemnly swear I’m up to no good. In this rehearsal we learned about entering scene without having an idea and discovering the scene instead of inventing. Then for the rest of the rehearsal I introduced the improv performers to three long form formats: the Armando, the Living Room Format, and the Montage. I talked about some of my efforts for outreach and retention. Also, this episode is recorded on the same day I found out one of my improv friends died. It struck me profoundly. I talk about the unique bonds we create in the improv community. Finally, the episode ends with the improv thought … “water monster.”
There are different types of people in the world.
The three Warm-Ups we did this time were:
- Polyjuice Potion
- Peripherals
- Edits
I solemnly swear I’m up to no good. We went over the 5 major ways to edit scenes in a long form set and we also went over The Quest, The Slacker and The Movie format. I also discuss a person who attended who may have been on the spectrum, and how this challenges teaching an improv workshop/drop-in.
My own theory on improv.
The three Warm-Ups we did this time were:
- Horcrux
- Quidditch
- Monster Book of Monsters
I solemnly swear I’m up to no good. Touched on the concept of “ironic detachment” during the warm-ups. Opened up on my own personal theory of improv a bit, and my start in improv. I believe that one way to attack an improv scene or set is by recognizing the patterns or behavior. The first pattern or behavior could be as complex as “a team of scientists defusing the bomb made of anti-matter during Christmas” or as simple as this one person repeats a beeping noise. Once that pattern has been established as the status quo, then a second pattern is introduced either as an alternate to the first or in contrast. Some companies may identify this as game. I think it’s more about patterns – which is inclusive of character, environment or relationship. The first pattern should have a wealth of information or be explored for a while before any other patterns are introduced. It also relates to a sense of timing as to when patterns should shift.
A high tide raises all boats.
The two Warm-Ups we did this time were:
- Legilimency
- Hogwarts Express
Talked about the challenge of retaining and attracting people to the workshops. Also, about the philosophy about more improv shows and workshops helps improv everywhere. It increases awareness and provides more opportunities to learn the skill of improv.
First day? Let's tackle the Harold.
The first three warm-ups we did in the Harry Potter Improv Workshop were:
- Bellatrix LaStrange's Knife
- Deathly Hallows
- Dueling
We also did Story, some general scene work ... then wasted no time and jumped right into the Harold.
This podcast will cover my progress of starting an improv team in Chester, England. This project is part of my Master's Thesis at the University of Chester as well as my internship at Storyhouse Live.