Info

The improv blog with attitude.

Posts from the Festivals Category

Choose another category?

When is something little and minor, big news? When it’s Steve Little and Jerry Minor headlining the newly-added opening weekend for Big City Improv Festival.

In addition to being amazing improvisers, their resumés read like a Fantasy Comedy League of show credits.

Minor is a former cast member of SNL and Mr Show, with roles on Community, Eastbound & Down, Curb Your Enthusiasm, Arrested Development and Lucky Louie. Little, meanwhile, has also appeared in Eastbound & Down, as well as 30 Rock, The Office, and Reno 911.

You can catch them in a variety of special “BCIF edition” shows at Comedy Bar:

Friday, October 12

8:00 pm – Catch 23

10:30 pm – Mantown

Saturday, October 13

8:00 pm – Theatresports

9:30 pm – All-Star Armando

Sunday, October 14

8:00 pm – Bad Dog presents Play by Play

9:30 pm – Sunday Night Live

Click here to buy tickets. And while you’re at it, check out BCIF’s amazeballs workshops with improv luminaries Jet Eveleth, Paul Brittain, Marc Rowland & Brent Skagford, and Kristen Schier.

BCIF just unveiled the first in a series of videos created by Toronto’s improv community. This one features Cameron Algie, Steve Cole, Quentin Matheson and Chris Leveille, directed by Chris Besler. Click the image below to view.

In just one month, Big City Improv Festival will blast off at Toronto’s Comedy Bar. Check out the stellar line-up headlined by Jet Eveleth and Paul Brittain. For more information, click below.

Today marks the launch of Toronto’s new independent improv fest, Big City Improv Festival. We asked Gary Rideout Jr of Comedy Bar (the venue and the Bite TV series) for the 411.

P&C: This is the first annual Big City Improv Festival. What’s different about it from festivals Toronto has seen in the past?

GRJ: I think the thing I’m most excited about is the production team. There are a lot of passionate improv people involved, and everyone’s not afraid to share the workload so that everything gets done with plenty of time and attention. As someone who’s been an Associate Producer with Toronto Sketchfest since day one, I know it takes great leadership and a solid support team to build a great festival.

Julie Dumais produced the Combustion festival for a few years and she did a great job. I think it took something like that to prove we could put on a world class improv festival here in the city of Toronto. Something that would help our reputation in other markets, and something that would show the international acts that we have great audiences who do support good improv.

P&C. Comedy Bar has become a hub for improv, attracting some of the best local and out-of-town talent. What kind of acts can people expect on both the main stage and side stage at this year’s festival?

GRJ: I can tell you that with the production team involved, cultivating submissions from the best local, national and international acts won’t be a problem.

That said, coming up with a great festival schedule is like coming up with a good running order for a sketch show, or composing a great piece of music. There’s ebb and flow, and there will be both massive highlights and hidden gems. There’ll be party shows and thought-provoking shows, all with the onus being on what is funny and now, and what, with this great opportunity, can we present to the public to get them coming out to see improv, not just every night of the festival, but year round.

Festivals are a great place to showcase local favourites or have a local show become a new local favourite. The lingering effects of a great performance here can translate into continued success for that act.

P&C: Are there any special guests planned?

GRJ: We’re tinkering with the idea of some special guests. Bringing in someone famous helps get press for the festival as a whole, and gives a bunch of improvisers the opportunity they might not have otherwise to perform with someone cool. That said, with this being our first year it’s also important to focus on all the already-great local acts that exist in this city, and help expose them to the general public and let them know they can see those acts year round.

P&C: There’s been an explosion of interest in improv in the last few years. What do you think accounts for this?

GRJ: It’s crazy. I’ve always had a theory that the interest in styles of comedy goes in waves. For awhile, everyone’s doing stand-up, then sketch gets big for awhile, right now we’re in an improv boom.

The Second City Training Centre expanded and always seems to be full, and everytime I see a Bad Dog class in the cabaret at Comedy Bar, it’s full. It’s a great time.

I think before Comedy Bar, there were opportunities to perform improv but you really had to be pro-active in terms of finding a space where you could produce an “improv show.”  In some ways improv was being looked at as an exercise you do just to get better at improv. So you go on stage for 25 minutes and then sit around and get told by someone else what they would have said or done in that situation.

With Comedy Bar, it’s kind of paint by numbers; you pitch a “show concept,” then you produce and perform that show for an audience. Bad Dog and National Theatre of the World have strived to put a focus on the value of improv as the presented artform, not just the vehicle to get to the content. Other acts see that and are doing the same thing in their own way. Improv is the show.

One of the first things I did with Catch23 when we brought it to Comedy Bar was move it from Mondays to Fridays. I wanted more people to see the show and the stories that come out of it, not just in the scenes but in the fake competition and relationships between judge, audience and players. It’s always packed, and almost always a great show. (I said “almost” there on purpose, I can’t help being a little bit critical.)

P&C. What’s the vision for the future of Big City Improv Festival?

GRJ: Big City Improv Festival has an opportunity to be the improv festival that properly represents the city, and all the great performers that call Toronto home. It’s something we’ve desperately needed for a very long time, and something that could go a long way to help Toronto’s reputation internationally

Submissions are now open. The festival runs October 15-20 at Comedy Bar.

Image © Big City Improv Festival

Matt Folliott is an actor/improviser/comedian, and member of Standards & Practices. He’s performed in festivals across North America, including DCM, CIF, VIIF, Out Of Bounds, Improvaganza, and Mprov. He even has a couple of souvenir tattoos – but that’s another post.

Inspired by Amy Shostak’s 12 Tips for Festival Organizers, I decided to write a post from the other perspective: that of the festival performer.

I’ve had the pleasure and honour of attending some of the best comedy festivals in North America. There’s nothing like a well-run festival. The energy is electric, the performers feel welcomed and supported, and everyone leaves saying the same thing: “I’ll come back!”

These are just a few tips to help make your festival experience even more enjoyable and worthwhile.

1. Have a game plan. Plan your trip. Plan your trip! PLAN YOUR TRIP! Most festivals will have activities planned for their guests, and that’s awesome, but it never hurts to have your own agenda. Take advantage of your time like a member of the illuminati takes advantage of our ignorance. Also, if you’re heading to the States, have a game plan of what you’re telling Customs. They don’t like performers crossing the border, so make sure you have another reason for entering. You don’t want your trip ruined before it even begins; ruin it with drugs, alcohol and sex with strange people, not poor planning. Key Word: Research

2. Smile, be friendly and engaging. Let’s be honest. Only ten percent of improvisers get paid for festivals, so get that out of your head right away. You ain’t doing this for the money! You’re there to meet fellow performers, create friendships and make professional connections. Always be thinking, “I’m so LA,” and force yourself out of that shell, Franklin! Meet people, you won’t regret it. Key Word: Shmooze

3. If you have the option, stay with your fellow performers in hotels or on their couches. Bonding is key at any festival, so if you get the chance to live or crash with other performers, do it. That’s also were all the fun happens; you know, when you’re hanging out with ten or so other funny people with nothing else to do but crack jokes and be silly all while you’re being fuelled by beer and bad food. Also, being billeted can really lower the cost of your trip, so look into it already! Key Word: Bonding

4. Be on time. For your call times, for festival workshops, for planned activities, for everything. No one likes a Late Larry or a Tardy Tamara. People get that you might be running behind, you were probably up late partying, but try your hardest to be on time. Festival organizers have put in work to get you there and set things up for you, so show some love back and show up. Key Word: Punctual

5. Don’t be a comedy snob. If you’re asked to do mixer shows or short form improv or to judge theatre sports, say yes! Maybe you don’t like mixer sets because they can be clusterfucks, or maybe you don’t like shows sprung on you without notice. Well, get over it pal. Being asked to do other shows at a festival is a compliment, as well as an opportunity to make new friends and admirers. Take the chance to try new things, and challenge yourself to find the fun in things you haven’t enjoyed in the past. Key Word: Try

6. Kill your shows! It’s easier said than done, but you’ve got to impress. Think of the song Lose Yourself by Eminem; that’s the type of attitude you have to have before every show. Now stop thinking about the song Lose Yourself by Eminem, and never revisit that thought again. Just remember you’re there to do what you already do at home, so don’t stress. Remember, you’re awesome! So stop shitting bricks and have fun. Believe me, audiences in other cities want to see you succeed. So take a deep breath and go out there and show them what you’re made of: star light and cosmic dust. Key Word: Play Hard

7. Meet your audience. After your show is the perfect time to say hello to the local crowd that came out to support you. Let them know you appreciate them coming, and get to know your potential fans. Plus, you never know what hilarity will ensue when you meet the people. Next thing you know you’re in the back of a van with a guy named Rainwater, hitting a four-foot bong and getting a back rub from a limber cat. What? It could happen at a festival, man. Put on your politician hat and get out there, shake hands and kiss babies, and then kiss the mothers of those babies to see if they have fathers. If not move in for the kill. Key Word: Approachable

8. Sleep. Just do it. If you go too hard you’ll burn out partying or exploring your new surroundings or getting super high with Rainwater the Albino Shaman from the strip mall. Sleep is needed at these festivals to keep your head in the game and your stick on the ice. Key Word: Nap

9. Take Workshops. Most festivals offer workshops, usually with instructors you may never have the opportunity to work with again. Did you hear me? You might never see these people again, so what you are waiting for? Take a workshop already! Anyhooter, workshops and classes are always less expensive for festival performers, and are sometimes free if you’re lucky. Plus you’ll get to meet other improvisers and have the chance to refresh your skills. If you’re really lucky, you might put a brand new tool in that old leather belt of yours, grandpa. So what are you waiting for? Sign up for that workshop! Key Word: Register

10. See shows! Festival shows are inspiring and motivating. So many of the most memorable shows I’ve seen have been at festivals or on the road. So get that performer’s pass  and watch a show. Watch a bunch of shows. Watch some shows, then watch some more. You catch the drift. Key Word: Watch

11. Meet festival volunteers and administrative staff. This one gets overlooked sometimes, and it’s a damn shame because those people volunteering to rip tickets at the door or those lovely humans sitting in the office are the life blood of festivals. Without people like them, nothing would get done. After all, we’re artists. We think with our hearts not our heads. We need these kind, caring, lovers of comedy to make sure dopes like us know where we are supposed to be and where to point the jokes. Their service is invaluable. God speed tiny dancers, you are the wind beneath our wings. Key Word: Volunteers

12. Communication. This is a two-way street and is super important if you are to enjoy yourself in your comedic travels. Ask questions, ask for help, and keep the lines open with festival organizers and fellow performers. I mean how are you going to know if you don’t ask? Key Word: Ask

Well that about covers it I think. Maybe you have a few of your own that you would have added in. You know what? Keep it to yourself, no one likes a know-it-all. Happy travels fellow comedy nerds!

Photo © James Binnie

Amy Shostak is a kickass improviser and the Artistic Director of Edmonton’s legendary Rapid Fire Theatre. She has performed across Canada, the US and Europe. She also created Kiss My Bus, a play literally performed on a bus for the Edmonton International Fringe. A graduate of the University of Alberta, she loves heavy metal and naps.

In a whimsical turn of events, I was given the power to curate a comedy festival. I get to hand-pick people that I deeply respect, people who inspire me, people who I have never met but love from afar, and give them an opportunity to do what we all love. Not to get all mushy, but it fucking slays.

Improvaganza is in its 13th year, and this will be my third time organizing it. Our guests vary from a few celebrities, to relative newcomers, to old favourites, to innovators. But no matter who comes to our festival, the focus is always on showing our guests a good time. And by “good time” I mean to say, we aim to make the festival fulfilling. Fulfilling socially, professionally, and artistically.

I don’t think Improvaganza is perfect, but I am darn proud of it. From my experiences travelling to other festivals around the world (some enlightening, some awful), I have thought a lot about what makes a festival enjoyable. Here is some advice for festival organizers that I think will launch your fest from zero to hero.

1. Have someone you like pick your guests up from the airport. There is no excuse for lost guests. Especially adorable international guests. So, do yourself a favour, and arrange a ride for them from someone you trust and find socially tolerable. No one likes weirdos, not even desperate artists. For an added bonus, have every driver take your guests by the theatre before taking them to their hotel. Once at the hotel, have your driver go into the hotel with them to make sure they check in without incident.

2. House all your guests together. If possible, have your guests stay all in the same place. This creates a sense of community. Billets can be fine, but hotels are better from our experience. If you do billet, make sure no one is abandoned in the suburbs.

If possible, pay for your guests’ hotel. This is a big chunk of change that you can cover with a decent sponsorship. Our sponsored hotel isn’t even nice – it’s on top of a blues bar, and can be described as rustic at best, sketchy at worst. Despite this, the staff at the hotel is super accommodating to our requests, all of our guests stay on one floor (which allows for fun, camp-esque door-knocking) and we are allowed to party in the hallways til 6am. It works for us.

3. Make your guests feel special. Go that extra mile, whatever that means to you. At Improvaganza, upon arrival at the hotel, guests find a six-pack of beer on ice in their sink, a full calendar of events (shows, workshops, social), contact info for important people, an embroidered Improvaganza towel/pillowcase (as I mentioned, sketchy hotel), coupons and gift cards for local restaurants, a map, and a festival pass.

4. Be there and be nice. Have a present and approachable staff. There’s nothing worse at a festival than not being able to get in touch with whoever’s programmed your show, or not knowing who they are. Worse, is being scared of them because they are jerkish. Guests should feel able to ask you for whatever they need: a tech rehearsal, a weird costume request, emotional support, a quiet place to work, anything. Your presence and availability will make your festival better.

5. Program Mixer Shows. Give your guests a chance to perform together – jam shows, experimental concept shows, ensembles – all these things are a great way to give more performance opportunities to your guests outside of their showcases. As obvious as it is, many festivals do not have these at all, or they don’t have enough of them.

6. Give your guests things to do. Care needs to be taken when it comes to the social schedule. If you program nothing, people will want to drink in your theatre every single night because they know no other alternative (which, if you’re providing free beer can become problematic). On the other side of the spectrum, if you program too much, there will be a guilt factor when your guests cannot keep up with you. Emphasize the planned activities are optional, and try to get a few key party people behind them.

In terms of what to program, we recommend: nights at bars with sponsored food and drink specials, or nights that feature your performers (maybe one is a DJ – set them up at a local club, or if you have a house band – get them gigs around town during your festival). Local experiences are good too:  your art gallery, cultural landmarks, etc. We have a barbeque at our GM’s acreage every year – which is one of the highlights of the festival. It is an all-day affair and includes hot tubbing, a poker game, bocce ball, soccer, and getting blotto. Rule of thumb:  if you genuinely think your social calendar is cool, other people will too!

7. Find Work/Party balance. For each of our visiting guests, we offer professional development workshops during the day. These workshops help make the festival full for its participants. They are led by world-class instructors, on a variety of topics. My hope is that when you leave our festival, you feel that you have some new ideas or exercises to take back to your respective cities, so our festival is fulfilling professionally and artistically, as well as socially.

8. Pay people. Ideally, a festival should pay performers. Realistically, a festival should try to make sure performers don’t lose money by being there. I know paying performers is impossible for some groups, but I dream of a day where people don’t have to shell money out of their pocket to come to our festival. We are not completely there yet, but we are getting there. If you can get your guests to teach workshops for other improv groups in the city, do paid corporate gigs, or offer them travel honourariums from public funding or corporate sponsorship, then you are moving in the right direction. If you are making money on box office, your guests should be seeing results… in their pockets.

9. Fill your house. Occasionally, a troupe from Rapid Fire will come home from a festival and say, “It was fun, but we only had eight people at our showcase.” Infuriating! How is this possible? It is not the international group’s job to do their own marketing and promotion. It is the job of the festival organizer. If there are eight people at a show, you have failed. Especially if they are all improvisers. If you can’t fill a house for a visiting troupe, then maybe you are running too many shows, your festival focus is too broad, or you need to seriously rethink your marketing.

10. Prove you’re legit! If you’re a performer in addition to an organizer, make sure you have an opportunity or two to perform at the festival, or at least your company does. Your guests will be curious to see you perform, and, the harsh truth is, it will add legitimacy to your festival if your company’s performances are also good.

11.  Please don’t complain. Whatever it is. A showcase bombs. Someone needs to go to the emergency room. People get in a fight. Do not complain during your festival. Do your best to fix what’s gone wrong, and continue on. Save your negativity for a festival post-mortem with your co-producers, but never let the ire take over in front of guests.

12.  Take care of yourself. A happy organizer breeds a happy festival. I can only speak from my experience, but leading up to IMPROVAGANZA, I like to take a few nights off drinking, sleep more than usual, and stock my fridge with Gatorade. The last thing you should do is get sick at your festival, or worse, be cranky. And, when your festival is done, take a vacation! You deserve it!

Photo © Improvaganza

Follow

Get every new post delivered to your Inbox.

Join 72 other followers