Want to do a great thing?

Want to do a great thing?
Say YES to a good thing!
Or be stuck with no-thing. 

Planning, brainstorming, and collaborating are HARD. So many times, we find it easy to say what we don't want or to point out the flaws in other people's ideas. It happens to the best of us. In improv we call this the "Yes, But" approach or "blocking". 

We can even confuse pointing out risks and gaps as the way we bring value in collaboration. I find that "bad" ideas usually fall away naturally when I support "good" ideas. Bad ideas don't need to be assassinated.... that gives them more focus. 

Try to focus on what you want instead of what you don't want. 

Try saying what you love about someone's idea before saying what you hate about it. 

Chances are, it will lead to a good thing that will eventually lead to a great thing.
For me, this is the heart of the "Yes, And" approach to life.
I hope we can all build toward great things! 

Speaking of saying YES,
Join us at STAGE TIME Open Improv Jam and try improv with me and the cast of our Tuesday shows!
Tuesday January 16th, 8pm at XYYVR (Bute and Davie Street)
No Cover, pay what you can

https://www.facebook.com/events/104672393433504/

Talent and Taste

After 3 years of healing from a back injury, I got up on the mountain and.... I've still got some talent! 

Improv is frustrating when you start out. 

Like snowboarding, or riding a bike, or any skill. 

You know what's funny, but your scenes don't seem to reflect your sense of humour. 
Or how funny you know you are. Here's the thing: 
You have to wait for your talent to catch up to your taste. 

Keep at it! The fact that you're unhappy is a GOOD THING. It shows you have good taste. 

Keep watching shows and noting why you laugh and the technique that is happening on stage to make you laugh. You'll get there... and when your talent catches up to your taste - oh man are you gonna have fun. Some more good news? Just like snowboarding, you retain a huge part of your talent once you've built it up.

Backstage at XY YVR with the cast for one of our Tuesday night shows. Felt so good to do a show & be proud of the work. 

Bloom where you're planted... and transplant often!

My dear community, friends, and family,

I'm excited to announce that Jonathan and I will be returning to Vancouver this July, 2016!

New York City has been amazing. We've grown and learned so much.
The city both humbled me and lifted me up. 

I'm gonna miss the big apple and I'll be back lots.

We're heading back west a year early because Jon got his dream position to start doctorin' at the University of British Columbia and Vancouver General Hospital. I'm looking forward to be back performing at Vancouver TheatreSports League, and with my dear troupes The Fictionals Comedy Company and Queer Prov.

I'm gonna squeeze every ounce of love I can get out of our remaining 3 months in New York. I've made and deepened amazing friendships especially with my Dirty Little Secrets Improv Show cast and fans.
Being in the same city as Stephen Sheffer was the best part of the whole year. You are an absolute inspiration Shef.

I remember a banner that hung in the gym in my elementary school read "Bloom where you are planted!"
I've embraced that motto and now I'll add to it - "and transplant often!"
Change helps me to grow.
See you soon Vancouver :)

Our March Dirty Little Secrets Show - With Jon as Doctor Spill!

You are ready!

In the last post on my blog, I explored the idea that you are enough. 

Today, I follow up on that idea with another assertion - YOU ARE READY! 


In my work as a corporate communications trainer, I often hear clients tell me that their confidence is directly linked to how much preparation they've done.

In other words, they often don't feel confident if they haven't prepared.

I didn't feel nearly ready to leave Vancouver! 

Improv teaches us that you can be confident without being prepared because you are READY.
Your wisdom, experience, intuition, and ability are all available to you to make something up in the moment. To co-create with your audience.

You're ready to listen.
You're ready to contribute based on what you hear.
You're ready to be in the moment.

Of course preparation is essential. Sometimes though, we use preparation as something to hide behind as a way to cheat ourselves of being in the moment. Being prepared sometimes means doing it "like you practiced" or delivering the thinking that you've done previously. It can be comfortable to live in the past. It takes great courage to be in the moment and jump in "unprepared" and aware.


You may be unprepared, but that doesn't mean you're not ready.

You are enough.
You are ready.

Right now.

Met up with some Vancouver Improv pals after my first weekend in NYC!

Jon and I saw the Sunday Service perform at the PIT Theatre

You are enough!

In both my corporate training work and improv teaching I've been exploring a theme: you are enough.

It's the concept that your experience, your wisdom, your approach, and your interpretation are all ENOUGH.

We spend so much time not being as confident as we could be because we're second guessing our worth and inner genius. The performers (and communicators) that I've noticed to be most comfortable in their own skin seem to know that they are enough.

So approach your moments with the confidence that if you listen you'll find the answer, if you're present you'll connect with everyone, and if you be yourself it will be the greatest gift for everyone else.



Because you are enough. Right now. You are enough.

Happy Improvising!

I recently had to remind myself that I'm enough while getting ready for our move to New York! 

Finding the "Button"

I'm writing today about happy endings.

The very last line or beat of a scene is called the "button". The button can be a funny line that sums up the whole story, or a pun that ties everything up in a funny way, or simply the final remark. When you get good at delivering a button, you can dramatically improve the lasting impression of your scene.

The button is hard to master - it's half in the delivery and half in the content. I've seen many terrible scenes (because they were not going anywhere or not clear) vindicate themselves because an improvisor quips in with a clever ending line that makes everyone feel better. The button saved the scene! I've also seen many great scenes seem to fizzle at the end because they couldn't find a neat way to wrap it up.

Thinking of a good button .....

So here's how to master the button: It's a mix of delivery and content.

The delivery: The button has a certain definitive sound. It usually ends on a downward inflection versus an upward inflection that would make it sound like a question and continue the scene. This aurally suggests to the audience that the scene is done. "And that's why I'll never eat cotton candy before going to a bike shop ever again!" Try reading that sentence with a downward inflection at the end. You can make it FEEL like the end of a story by going up on the word "ever" and down on the word "again". The delivery can indicate that it's the final line. Get used to feeling when a scene is coming to a close and experiment in the timing around delivering that button. There will be a window of opportunity when it's clear that the scene needs a good button to end on. Sometimes it can be sooner than you think.

The content: A good button sums up a scene. It can be what a character learned from the situation, what was experienced in the scene, or simply a positive note. This is the time to think back on the suggestion that inspired the scene, what happened to the characters, and what the audience liked about the scene. Ask yourself if there are any loose ends that you could tie up in that final line. Is a pun coming to mind? If none of these options are obvious, you can always end on a positive note "... and that was the best trip to the doctor I've had since she used to give me lollipops." Ending positive will always be a good note to end on, whereas a negative ending can be a drag if your joke doesn't land.

Jon Snow's button is often "winter is coming"

So, pay attention to endings! They often contribute to your overall reaction to a scene. Master buttons, and feel confident that you're going to tie everything up at the right time with the right words.

And, scene!

It's all in the delivery

Mastering delivery can lead to you be great in almost any improv scene. 

I study my funny friends on stage. Like Scott Patey, who was our special guest in Improv Against Humanity at the Vogue Theatre last night. I hosted, so I got to introduce and watch all of the inspired scenes. Scott can reliably delight an audience so I watch his trusted delivery methods. He has tried&true methods of delivering a line so that it produces laughter. Each of his characters is rich and three dimensional and they all know how to deliver a crisp line within the persona. So much of his unique comedic style comes from his delivery. 

That's Scott, delivering the middle finger as a corpse in a windmill full of corpses. Humanity! 

One of my improv teachers said to me "Being funny in improv isn't about saying funny things, it's about saying things funny." 

My advice to new improvisors is to pay attention to the times the audience laughs at your work - when you can feel them on the same page as you. Try and remember the way you delivered the line. That "innocent response", that "last word", that "horny answer".  These can become tools for your characters to use in future work. You'll get the feeling of good delivery, and you'll start getting good at delivery. 

Also, pay close attention to the way that the ending of a scene sounds. You'll often hear that the final sentence completes the scene and wraps up the entire story. So it feels as if you've just swallowed the last delicious morsel of an epic piece of chocolate cake. 

 

What are you leaning on?

Having to lean on a cane showed me what I had been "leaning" on before.

I've been recovering from a back injury the last 6 months. In October, I herniated a disc in my lower spine that caused me to lose feeling and strength in my right leg and foot.

I've made great strides and am still slowly healing week by week. There's been ups and downs, breakthroughs and setbacks, promising days and dismal ones too. There still are. 

Until feeling came back to my foot, I used a cane. It was to help me balance and to be a reminder for myself (and fellow performers) to take it easy with my body. 

For those 4 months, I performed on stage with a cane. I did about 100 shows with that cane. It changed the way that I perform:

The cane meant losing one hand that always had to hold it. 

The cane meant that the audience wondered about me in a different way. 

The cane was a constant prop. 
The cane had to be a part of my every character. 

I suddenly became aware of what I had been leaning on the whole time before the cane:

Being physical at a whim. 

Lifting people and props. 

Doing lots with both arms. 

Fitting in easily and getting a warm reception from the audience. 

Becoming whoever I wanted with relative believability. 

I had to develop a different way of improvising by not leaning on these strengths or options. I've become better at being still and staying interesting without moving too much. I've become better at reacting emotionally instead of physically. I've become better at setting other actors up - especially for physical jokes. I've become better at playing Doctor House.

Having to lean on a cane showed me what I had been "leaning" on before. Now I'm a better improvisor for it.

So, what are you leaning on? 

Rowing with the cane as I whitewater raft with The Fictionals