Photo © The Assembly

After just over a year in existence, The Assembly Toronto is already home to sixteen teams and a roster of A-list instructors. And now it’s breaking new ground with the opening of The Assembly Mexico.

The company will be headed by improviser and arts educator, Sara DeLille. In a city dominated by stand-up, her focus will be on developing the long-form community through classes, coaching, showcases and workshops featuring Mexico City’s and Toronto’s best talent.

For more info, visit (Spanish) or (English). Si y!



If you’re doing an improv show and the only reason you take suggestions is to prove to the audience that you’re improvising, you must not have much faith in your improvising.

Everything I need is in my partner, on my partner, around my partner. The way she sits/stands inspires me emotionally. The way she gestures or walks across the stage makes me want to respond to her emotionally. Whatever she says has a tone I’m emotionally reading.

Emotions are at the core of all we do, not how well you can describe something/set up plot. When I gift you with an emotion I cast you. I also cast me. I am in constant response to your emotions.

A suggestion more often than not sets us up to tell the story rather than be the story. It also boxes us into a scenario we later might find doesn’t work or doesn’t surprise or doesn’t have tension.


For years, Cameron couldn’t leave our home without having a panic attack. When you’re anxious, your comfort zone gets smaller and smaller, and so does your world. Thankfully, improv changed all that.

The BBC interviewed Cameron recently about how improv helped him overcome anxiety, and how it can help others do the same. There’s a video, as well as a radio interview that goes more in-depth.

If you or someone you know is interested, click here or here to sign up for classes, or check your local listings. There are now “improv for anxiety” classes available in cities across Canada, the U.S., England, and Australia.

Happy new year! Hope you had an awesome holiday with friends and loved ones.

2017 was a difficult year for a lot of people. It’s hard to stay positive when so many things seem beyond our control. And yet, that’s one of the basic tenets of improv. To let go, and be fully present to what is happening.

To help you bounce back in 2018, Cameron and I have launched a new project called 365 Days of Play.

So many of Cameron’s students have said, “Improv’s great, but how do I play when I’m in ‘the real world’?” This is his answer.

We hope you’ll play along with us. You can follow on Instagram at playwithfireimprov

Photo by Peter Glaser

Live From The CenTre is back…in Pod form. The satirical web series is now an improvised podcast starring Adam Cawley, Rob Baker, Dale Boyer, Chris Earle and Brian Smith.

The CenTre revolves around a non-profit incubator for small and socially progressive businesses. It’s the perfect platform for some of Canada’s funniest improvisers to unleash a plethora of hilarious characters. Think Comedy Bang! Bang! with a social conscience.

You can listen to the latest episodes here.

Photo © Live from the CenTre

One year ago today was my final day working at my dream job. I left without having anything lined up. For 13 years my role within that company defined who I was. It became time for me to define who I am on my own.

This year has been a challenge. Notable highs and lows. I definitely made more money for charities through fundraisers I produced than I did for my own bank account. Yet somehow, a couple of weeks ago I found myself at a dinner party with great friends popping a beautiful bottle of Ace of Spades Champagne. It was a thank you gift from Roxy Bar last year.

I kept waiting for the perfect moment to pop it. Who should be in the room? When should I do it? Should I organize an event around it (guys – it’s a $300 bottle, it’s a BIG deal). Then finally I realized what I realized when I was reluctant to accept that it was time to leave Second City. “What am I waiting for?!”

Now is the time to celebrate. The current moment that you are in. Always. Even if it’s a shitty one, because something can always be learned from it.

Of course there are thoughts that have entered my head that I haven’t done enough, I’m not where I want to be, I need to be making more money. Then I look around at my INCREDIBLE friends, family, and of course Mat, sip a sip of champagne and say to myself, “Nah, I got this.”

Erin Conway is the Executive Director for Big City Improv Festival. Other ongoing projects include Comedy Trumps Hatewhich has raised $11,000 for Planned Parenthood (follow @comedytrumpsh8), and The Diva Cup Fundraiser for the 519 Community Centre (on Instagram @Divacupdragshow).

It’s an eerie feeling, scrolling through Facebook and seeing blank avatars where profile pics used to be.

This year a number of prominent improvisers were fired, resigned, or banned for sexual harassment or assault. They were teammates, teachers, Artistic Directors. People we looked up to. And it happened not just in one city, but at theatres across North America.

Their silhouettes are a ghostly reminder we need to do better. To listen, believe, and take action when action is necessary. To not be “friends” with everyone.

But they’re also a reminder that change is happening.

This is a chance to rebuild our community. Give women and diversity more representation. And let people who’ve been relegated to the sidelines step forward, take focus, and be heard.

In improv anything’s possible. Let’s make it happen, for real.

Can I get a relationship? Yes. Can I get a room in the house? Yes. (Other than bathroom?) Sure. Can I get a number between 1 and 10? (As long as you don’t mind someone yelling out 11, yes, you can.) Can I get an occupation? Other than proctologist? Pause. Okay, I’ll take gynecologist, but they won’t be at work in my scene, that’s fine.

Can I get an era in history? Can I get a new invention, a director, a colour in Canada, a color in the United States, a strange dress code, a rule of thumb, a day of the week, your favorite film director, an expression, your favorite spelling of favourite, flavor, flavour, neighbour or neighbor, a word you don’t know the meaning of, the name of a real or imagined arch nemesis, a time you got stitches, an object you made for somebody, a reason to be happy, to be sad, to be angry, to lose your job, to vow vengeance on a bird or a reason to give up on Tinder?

Ask me for any of those things, but please, improvisers, I’m begging you… stop asking me and our audiences for a “non-geographical location.”

The terms “non-geographic” and “location” cancel each other out. It doesn’t make sense.

Plus, I have yet to have seen any instance of this ask being employed where any audience member (who is not an improviser and thus immune to nonsense by now) doesn’t pause and have to think hard about what you just asked. Which kills the energy in the house. Which kills the momentum of the show. Which leads to you, the improviser, having to then follow up with “Yeah, you know, like a room in the house, or… a… country… ” Psst, hey, you: all those things are geographical if they happen on a planet, an alternate dimension or the head of a pin.

You can’t blame the audience. The “ask” requires them to go “Huh? What?” and then they give you an actual geographic location no matter what they give you. Even “deep space” or “inside a thought” can’t really be proven to be non-geographical, because the scene has to happen somewhere, even if the “where” they give you is “nowhere.” It has a location, a point where either one entity/nonentity or being has a moment and/or experience for the audience to witness.

The only right answer to “Can I get a non-geographic location?” that I can come up with is “A non-geographic location!” Or maybe “Nowhere!” or “Nothing!” which are actually still states of being or places, in which case the only right thing to do then is to bring the lights down for three minutes and nobody goes up and you just let the audience think about that till the lights snap back up, blinding everybody.

Like a sound that needs a medium to travel in, the scene you do for the audience must take place somewhere for it to be a scene. In that case, your “nowhere” has to be “somewhere” for there to be anybody in it. Unless there’s nobody in it. Which really leads me to my real point, I guess.

Please be in your scenes.

To sum up, once upon a time there was an improviser named Marcel who was getting really annoyed at hearing lazy, incoherent asks from his fellow improvisers that they had been taught by lazy, incoherent coaches who weren’t really thinking Marcel would ever make it “a thing.”

Thank you.

The end.

Photo © Tim Leyes

Marcel St. Pierre is an improvisor, actor, producer, and author of the Amazon #1 best-seller, Vengeful Hank & Other Shortweird Stories

Photo © Corbin Smith

Ever since I was a kid, I’ve been a compulsive note taker. Whenever I’m excited by new ideas, trying to figure something out, or struggling with a big choice, I put it all on paper. I scribble down thoughts in a notebook so I can get them out of my head and reflect more easily. It’s a huge part of my life, so naturally I’ve done the same with my improv. After classes, shows, or whenever I feel like refreshing my improv brain, I’ll pull out a piece of paper and give myself a prompt. Here are five ways I use journaling for improv most often:

  1. Use stream of consciousness writing to jumpstart your creativity and to practice improv when you’re alone.

For five minutes, don’t stop writing. No matter what. Even if you have to write “I have no idea what to write,” keep going. This exercise will prime your subconscious mind to keep making choices and embrace the process of not knowing. You can give yourself a suggestion to start the writing, or you can try writing with a goal in mind like playing a POV, connecting to an emotion, or solving a made up problem.

  1. Before a show or practice, dump out your thoughts onto paper so you can focus on the improv.

Brains are weird. They love to obsess over the smallest things, even when thinking isn’t helpful. As improvisers, our goal is to “get out of our heads,” and one way to do that is to write down everything your brain is thinking about so that you can come back to it later. It’s a weird quirk of psychology, but it actually helps us relax leave our baggage at the door.

  1. When you’re feeling off about your work or want to connect better with your scene partners, use gratitude journaling.

You’re great, and your scene partners are great, but sometimes we can forget that. If we forget how brave and inventive we can be as improvisers, we will hold ourselves back and let fear dominate our scenes. If we forget how valuable the gifts our scene partners give us are, we lose touch with our ensemble and stop listening to each other. One remedy for both of these problems is to write down the brilliant little moments on stage that we appreciate. Taking a moment to express gratitude for ourselves and our team is vitally important.

  1. To get out of your head and into this moment, practice mindfulness journaling.

Take a few deep breaths, settle into your seat, and begin to notice the sensations around you. Write down what you see, hear, feel, and any thoughts that you notice coming into consciousness. This kind of approach isn’t for everyone, but for some mindfulness is a great way to practice the present-state awareness needed for good improv.

  1. Lastly, try keeping a weekly record of your thoughts about improv.

If you’re passionate enough about improv to have read this far, then you’re probably in this for the long haul. You want to get better, and see yourself growing and changing as a performer. One way to do that is to write down a few notes every week about where you’re at and how you feel you improvised this week. This is really important so that when you feel stuck, you can analyze what got you here and whether that feeling is actually justified.

I found journaling prompts to be such a useful tool that I complied 40 of my favourites into a guidebook for improvisers— a book called The Yes And Journal. After reviewing my 20+ old improv notebooks, I wanted to share the most useful exercises and ideas I discovered along the way. You can find out more about the book and read the first section for free at

Matthew Beard has been performing, teaching, and writing about improv for five years. He has performed and trained in Ottawa, Toronto, Guelph, and Niagara. Matt is the founder of the improv blog

Ryan Millar is a Canadian-born improviser, writer, and comedian living in Amsterdam. With almost 20 years’ experience teaching, training, and entertaining, he’s now put all that knowledge and experience in book form. 

Photo © Ryan Millar

P&C: How is Take It Easy different from other improv books out there?

RM: I think mostly just because it’s written from my point of view. It’s a personal book, with lots of anecdotes and reflections based on my experience performing and teaching all around Europe and North America. And I tried to write it as I teach, so it maintains that perspective throughout.

Also, Take It Easy isn’t an improv manual. Although I love teaching improv fundamentals to absolute beginners, I had no desire to write a book of improv basics for newbies, or even a book of “rules.”

This was partially because I wanted to speak to the core demographic of improvisers – people who are improvisers already, and love it, but are looking to elevate their game. Why else are they reading a book about it?

The other reason I didn’t write a book for beginners is because that area is so well covered by other texts. There was no need for me to retread an area that’s already so well-served.

P&C: How does your approach apply to different styles of improvisation?

RM: When I say, “Take It Easy isn’t a new way of doing improv, it’s a mindset that can inform your performance and approach to improvisation,” I mean the book is designed to help the individual performer, no matter where they’re at, or what aspect of improv attracts them most.

I guess I was looking to tackle something that I found universal: there’s a core of good improv habits and practice that will make you a better player, whether you’re doing shortform, longform detailed genre shows, fast-and-loose jams, or something else entirely. These core elements were the thing I wanted to focus on.

P&C: Who are your improv heroes, and what’s the most important lesson you learned from them?

Oh man, there are so many people who’ve influenced me in my improv journey. I’ll just mention a couple.

Keith Johnstone taught me a weekend workshop when I’d only been improvising for a few months. And the words “Make sure your partner is having a good time” really resonated with me then, and still do.

Alistair Cook was and is an improv pioneer and good friend. He really pushed both the artistic and organisational bounds of improv in Vancouver when I was coming up. He taught me to always value the work onstage, and build a good atmosphere offstage.

When I first moved to Amsterdam in 2003 (to do a student exchange year), I got a part-time job doing corporate shows with Boom Chicago. I had spent the early part of my improv career being patient, exploratory and nuanced. Now there was no time for that! Scenes had to be fast and funny, no exceptions. I don’t play that way all the time, but doing speed reps in their sharp performative house style has been a big influence on how I continued to develop and play (even if it is quite contrary to the ideas in Take It Easy).

P&C: Take It Easy is for teachers, as well as students. What are some of the things you’ve learned through training others?

RM: Being a great improviser doesn’t necessarily mean you’ll be a great teacher, and you don’t necessarily need to be an incredible performer to be a great teacher.

But what I’ve really noticed from teaching – which is why I started writing this book in the first place – is that a lot of students and performers were really trying hard. It makes sense: they love improv and want to get better, so they put in a lot of hours and effort. But that very impulse to work hard was getting in the way of their success.

Just before finalizing the book I found this great Bruce Lee quote: “The less effort, the faster and more powerful you will be.” When I read that I was like “Yes! This is what the book is about!”

Of course, the truth is more complex than that, but the essence of the quote – that only by trying less (by “taking it easy,” if you will), can you truly excel. That paradox becomes especially interesting when trying to teach.

Some things I learned through training others:

  • Take nothing for granted. Things that a more experienced improviser may think are obvious or facile can still blow a newbie’s mind.
  • Never stop taking workshops. There’s always more to learn.
  • Improv can be transformative. Enjoy helping people find those Aha! Moments.
  • Commitment is everything. If you don’t put yourself into the work, you won’t get much out of it.

P&C: Improv is such a group-oriented art form, but it’s also fun to do on your own, even if you never perform solo. You’ve included solo games and exercises in Take It Easy. Could you give us an example?

RM: I have a series of exercises in the book, that I think partially come out of the Canadian Improv Games handbook. One I really like, that is actually a series of connected excercises, is What it is.

In What it is, the participants roam the room pointing at objects (not people), confidently (and loudly) proclaiming what they are: “chair,” “water bottle,” “notebook,” “backpack,” “door,” etc.

The goal is to move quickly, observe lots, and be confident in your words.

I use this in other workshops I teach (such as Public Speaking), but I developed a later round of What it is, called What it is, specifically, which I think really gets at the heart of how to Take It Easy. In this version, you point at things and, rather than just shouting out what they are, you actually describe them, and find inspiration in what you see.

So it might go something like this:

“A theatre seat with a ripped corner, a three-quarters empty water bottle with a peeling label, a pair of New Balance sneakers that have spent a lot of time in the mud…” and so on.

Another related version is called What it is like, and can even involve more interpretation, speculation, simile and other forms of freedom to depart from what is actually seen.

So this round could go something like:

“A theatre seat that has a corner ripped out from the great CATS riot of 1987, a water bottle containing about 80 ml of the precious liquid so prized in this post-apocalyptic world, New Balance sneakers worn by a dedicated ultra marathon runner, before their knee injury…” and so on.

What happens in both What it is specifically and What it is like is that people realise checking stuff off a list isn’t nearly as rewarding as paying attention to what’s there in front of them, and then pushing their imagination to be fired off objects that might seem mundane. Using what you have to create a rich detailed world is classic Take It Easy.

I frequently play some combination of these when warming up for a solo set.

P&C: You blew past your Indiegogo goal for the first print run. Congrats! Will there be more soon?

RM: Thank you! The response to the crowdfunding campaign absolutely blew me away! I’d been planning crowdfunding for this book for a long time (years, even). I spent some of that time doing a lot of preparation and reading, and that certainly seemed to pay off.

Also, a lot of my support came from people who aren’t improvisers. Friends and family and even extended network and strangers, all of whom I presume are both supportive and will be interested in reading what I wrote, even if they’re not improvisers. I think there will be enough in this book to keep them reading. I sure hope so.

I’m not sure about doing more crowdfunding campaigns, but I’ve got a few more ideas for books (and some of those are further along than the idea stage).

So once I get this book printed and sent out to the backers, and listed on Amazon (and learn all the lessons about independent publishing that I’m currently learning), I think there will be more books.

So, short answer: Yes!

For more info, check out