David Razowsky is a master improv instructor. He’s the former Artistic Director of The Second City Training Centre, a co-founder of The Annoyance Theatre, and the host and creative force of ADD Podcast with Dave Razowsky and Ian Foley. He teaches all over the globe, and has logged more flights than most airline pilots. 

Photo © Sam Willard

When did you first know you wanted to do improv/comedy/acting for a living?

When I realized that I could. Once you see that your skills are crystallizing and there’s a small call for them, you realize that call will get louder if you give it heat, warmth, air, confidence, and love. We all are born to successfully fill the position of who we are. We’re our job.

Who has had the greatest influence on your career, and why?

The greatest influence on my career are the actors who come to my classes. They inspire me, they look to me for collaboration, they show me where we can go, they take me to where they wanna go. They are my guide.

What was your first paid improv-related job? 

I was hired as an actor in Geese Theatre Company for Prisons in 1983 or ’84. We traveled across the country in a painted 1963 International Harvester school bus. We did non-comedic improv that focused on education, visits, communication. It was done in masks. It had a profound impact on my art.

How much have former instructors, coaches, and team members played a part in your career?

Michael Gellman continues to be a mentor to me. The late Martin deMaat continues to inspire me. Mick Napier is a guiding force both artistically and as a business owner (along with the great Jennifer Estlin). Rachel Hamilton reminds me that we are here to be present and to present the world with our skills and make a good living doing it. Second City taught me that great producing leads to great creative opportunities. Charna Halpern at iO taught me that your point of view is imperative.

Do you see improv as a means to doing other work, or an end in itself?

Both. Why must I choose?

When you hear the words “working improviser,” what comes to mind?

Forgive what might come off as snark, but the money that comes from being an improviser comes from the artist improvising her life. Transition, build, explore, push. Stop calling yourself a “starving artist.” You’re fucking it up for those of us who aren’t and you’re impeding your ability to manifest and grow a successful career.

Describe a typical day in your life.

I pour a cup of coffee that I set the timer to brew so it’s ready when I get to it. I go on line and answer follow-up messages from works-in-progress. I read news feeds on Zite, I cook oatmeal, I eat my oatmeal while reading a book. I do the dishes. I might have a podcast interview, and if I do, I’ll spend the hour discussing, we’ll take a portrait with my YashicaMat 120 camera, then a selfie. I’ll edit the selfie, put our watermark on it, the guest’s name, I’ll write a bio, then upload the episode to Ian Foley who will edit it, and post it on line. I’ve done almost 200 interviews, and I love it. I still haven’t figured out how to monetize it, but once I do, I’ll be really glad. The rest of the day is about marketing, raging about gun violence, stupid American voters, and ignorant politicians who don’t give a shit about their constituents. I’ll cook lunch, dinner, and start a cocktail of vodka on the rocks much later than most. I go to bed around 2 am, unless I have my gf over. Then…mmmm.

What’s the salary range for an improviser in your city?

I don’t know.

Improv has been steadily infiltrating corporate and popular culture. With all of the interest in improvisation, why is it still so difficult to get bums on seats at shows? (Or is it, in your experience?)

Improv’s got a shitty reputation because so many folks market poorly, don’t rehearse, aren’t professional, don’t promote well, and don’t see themselves as artists and business owners (they being the business). They sell themselves short, and it hurts the rest of us. We have an uphill battle. If you said to me that you were in a play, I’d ask about it and come to it. If you told me your were in an improv show I’d compliment you on your jacket.

What’s the best, worst, or weirdest improv gig you’ve done?

I’ve worked in prisons. Everything else is cake.

Do you think it’s easier to make a living as an improviser today than it was when you were starting out?

Yep. That’s the progression of an evolving entity. More people are learning, teaching, studying, working in front of people, more people are promoting, marketing, podcasting, taping, exploring. If you’re not, I hope to god you’re not bitching about “Where the fuck is MINE?” You want it? Make it happen. What you think it is isn’t what it is. You have no idea what it is until you do it. It’s a lot like improv because it’s improv.

Where do you see yourself 10 years from now?

Loving up People and Chairs. Just like now.