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Posts from the Live Shows & Festivals Category

On March 28, improv powerhouses Mantown and Notorious (featuring Ashley Botting) come together to use their power for good, with a hilarious night of comedy to benefit Haven Toronto, a drop-in centre serving homeless, marginally housed, and socially isolated men age 50 and over. Producer Mat Mailandt described his experience working with the men from Haven:

“Every day I walk by homeless people. I never know what to do or say. Do I make eye contact and smile? Do I apologize for not giving any change? Do I ignore them completely? I’m confronted on a daily basis by my privilege, and saddened by their lives. Generally I feel hopeless and overwhelmed; truthfully, these interactions make me very uncomfortable.

It was with this sense of discomfort that I visited Haven Toronto for the first time. I’d arranged to train some of their guys to improvise. Walking in, I was incredibly nervous. I didn’t know what to say, if I’d act in a way that would offend someone, or if the men would be open to doing improv.

The second I walked, everyone turned and looked at me. I clearly stood out. Someone said ‘You look like a lawyer!’ I replied, ‘I’m not, but I’ll take that as a compliment.’ I smiled, took a deep breath and reminded myself that everything worth doing is scary.

The first class started like any other: chairs in a circle, eye contact, introductions. I expected the process to be difficult; I figured these guys would have built up some walls, understandably. I thought some of them would get up and leave the workshop with no warning.

What I discovered pretty quickly was these men were some of the most open, kind and supportive students I’d ever worked with. Within minutes we were laughing and cracking jokes. They all entered into exercises with enthusiasm, took feedback well, and told stories about their lives. They shared things they loved, like one former truck driver who missed meeting women on the road, especially in Kansas. Another guy talked about his struggles trying to find an apartment amongst the waves of Syrian refugees looking for the same thing. These men seemed to have so little, but they still have an incredible ability to create. Their perspectives were diverse, touching and shockingly, full of hope.

Now I’ve completed my training sessions with them. On Tuesday, they’ll perform in a fundraiser show for the organisation that supports them. I’m excited to raise some money for a worthy cause. But equally important is that these guys are going to get the chance to get onstage. Our goal is to shine the light on elder homelessness. And we’re going to do it. Literally.

A friend of mine told me we’re all one life event away from being homeless. That really resonated with me. For most of my life I’ve felt sympathy for those less fortunate, but basically I’ve done nothing to help. My excuse was always that I’m broke and so what could I give? I can barely pay rent, let alone donate to charity. What I now realize is that I do have time. And I know how to listen.

The whole experience at Haven was less about improv and more about sharing. I shared my expertise and time and they shared their experiences, their struggles and their joys. What I realized is that in that room, the one with the most walls was me. The hardest part was walking in the door. The rest, I improvised.

About the event:

A night of improv to benefit Haven Toronto, featuring top Canadian comedians and a very special performance by Haven members. Hosted by comedic duo and real-life bothers Freddie Rivas (Rapp Battlz) and Miguel Rivas (The Beaverton).

Tickets are $20, available here. For more info visit: www.notimprov.com

March 28, 8:00 p.m., Comedy Bar Cabaret, 945 Bloor Street West

 

You’ve trained. You’ve rehearsed. You’re ready to rock’n’roll. But where?

In the past, improvisers performed where they studied, or looked for existing shows to be part of. Now a new breed of players is getting creative in the ongoing pursuit of stage time.

Pop-Up Improv

Image © Countdown Theater

Image © Countdown Theater

Retailers have pop-up spaces, why not improvisers? The idea “popped” in my head last year. But while I was still musing, Kelly Buttermore was making it happen. Countdown Theater is a pop-up improv space in Williamsburg, Brooklyn. (Could it be any cooler?) It opened February 1st this year, and closes April 1st. In her words, it’s “an ephemeral space for an ephemeral art form.”

Do what Kelly did: keep your eyes peeled for potential locations, then get in touch with the landlord or lease holder. Invite other teams, and maybe even collaborate with other artists in your community (musicians, dancers, painters, etc.) It’s a buzz-worthy way to showcase talent, and who knows where it could lead? To learn more about Countdown, click here.

Podcast Your Passion

There’s a podcast for practically everything nowadays, from modern love to mental health to mostly made-up movies. Most podcasts are two people and a mic in a basement, but why not do it in front of an audience? Here are three podcasts that do just that.

Improv Nerd is a show, a podcast, and an improv master class rolled into one. Host Jimmy Carrane has interviewed and performed with the cream of comedy, including Key & Peele, Scott Adsit, Rachel Dratch, TJ & Dave, and The Improvised Shakespeare Company to name a few of his over 200 guests. If you can’t make it out to a live show, you can listen on iTunes.

Comedy Bang! Bang! The show that launched a thousand catchphrases, Scott Aukerman’s Comedy Bang! Bang! has been making fans laugh with improvised nonsense since 2009. While it started on Earwolf and later aired on TV for five seasons, the core players have also performed live. Last year they toured North America, as well as four stops Down Under. Regular cast members include Paul F. Tompkins, Lauren Lapkus, Jason Mantzoukas, Andy Daly, Ben Schwartz, Matt Besser, and Bob Odenkirk. All joking a salad, we heart CBB. 

Illusionoid Nug Nahrgang, Paul Bates, and Lee Smart have been bringing their brand of sci-fi comedy to audiences for almost a decade. Past guests include Colin Mochrie, Sean Cullen, The Templeton Philharmonic, and Scott Thompson.

According to Nug, “The show is like Twlight Zone or Tales from the Crypt. There’s a host, and it’s this man from the future, the last surviving human, and he’s sending these stories backwards in time in hopes that we’ll prevent these horrible things from happening.” (We can think of something we’d like to prevent, Nug…)

They’ve just signed with Antica Productions, the folks behind Gord Downie’s Secret Path. If you can’t catch the show in person, subscribe here.

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If you really want to think outside The Harold, go beyond improv and appeal to a whole new audience. Abra Cadaver met in the Second City Longform Conservatory program, and have gone on to perform for packed houses across the city. We asked them about their signature show, Bunz Live.

P&C: Your show is called Bunz Live. How did you come up with it?

Molly: Cameron Algie was our coach at the time–

P&C: Terrible.

Molly: (laughs) He was really encouraging us because we’re a very theatrical group, to kind of use our bodies because we’re all really comfortable “movers,” to try and find a form that would encapsulate that. And there’s also this burgeoning community called Bunz. It’s an online platform where you can trade items for anything. Like, if I have an extra shoe, I can trade it for some ramen noodles.

Robbie: Of all of the examples, that was not the most amazingly descriptive example, but…

Antonis: Let’s say this: someone can teach you piano, but they won’t ask for money, they’ll ask for a sofa because they really need a sofa.

P&C: That’s one of the things about Bunz, no cash is allowed, is that right?

Molly: Yes, exactly. No cash, only item for item.

Robbie: Side note: it ends up being a lot of people asking for tokens and beer, and subway tokens are kinda funny because it looks like money, people treat it like money, so why don’t they just give each other money?

Antonis: Plus it has an exact monetary value.

Robbie: Maybe they haven’t heard of this thing called “money.”

Dana: Another interesting thing in coming up with the form was that Cam kind of wanted to expand us to the idea of thinking outside of just the Conservatory. Thinking like, OK, if you’re gonna take the time and you want to explore something and make a show, really think about, “What’s something that hasn’t been explored in Toronto?”

That was something we weren’t necessarily thinking of when we were making our form. It [went from], “What hasn’t been done [in long form]?” to “What’s happening right now that hasn’t really been explored, that might have an audience?” And there’s a huge Bunz community.

Molly: I feel like we got lucky. In Toronto there was this online start-up company, and we were like this online improv company (laughs) no, live improv company. It just kind of worked; we were both coming up at the same time and a lot of people we knew were also involved in that community. And it was an audience outside of the comedy audience.

P&C: That’s what’s so interesting. As you know, improvisers often end up performing for other improvisers. We’re always asking “How do we get people from outside the community to come and see a show?” Especially when the players are at a certain level, performing to a handful of people, you think, “Aaaaahhh, if only more people could see this!” Get more people into the cult. (laughs) And I find the vibe in the room can be really great when there’s new people.

Molly: Absolutely. We’re just starting out, but even connecting with the Bunz team at their headquarters was so great to say, “We’ve got an idea, we’re trying something new. You’ve got an idea, you’re trying something new.” It’s awesome.

P&C: So how did you approach Bunz?

Molly: I’ve played in bands in Toronto, and I had played with Emily who started Bunz in a new year’s show at the Silver Dollar. She played in a band called Milk Lines. I was friends with her on Facebook and then noticed that she was starting Bunz. So when we started playing with the idea, I got in touch with her and it kinda went from there.

P&C: You said you’re a theatrical group. What do you mean by that?

Antonis: We all have differing backgrounds, in theatre, in film, in dance. I personally started in music theatre, I have a lot of dance background, and I try to bring that out in my comedy. I think that’s something about Abra Cadaver and Bunz Live that is really fun, is that we all have diverse talents and we all work hard to bring those talents out.

Dana: It’s all about becoming those objects or those people, so when we all started doing it together it was so wonderful to see other people jump into the form and really do it.

P&C: You’re a very physical team compared to “stand and talk” kind of shows that are more common. As an audience member it’s very cool to watch.

Robbie: All but one person have some kind of theatre background.

Antonis: That’s Jason, and he works at a museum, so that’s equally as fascinating, so I feel like his frame of reference is huge.

Robbie: And we need that difference. Also Jason’s a physical actor.

Antonis: He’s a very, very funny guy.

Molly: He’ll be an actor when we’re finished with him. (laughs)

Catch Abra Cadaver (Kate Fenton, Molly Flood, Robbie Grant, Ross Hammond, Leanne Miller, Dana Puddicombe, Samara Stern, Jason Voulgaris, and Antonis Varkaris) at Bunz Live, SoCap Theatre, Monday, March 13. Admission: $5, or bring an item to trade and enjoy the show for free! 

Photo © People & Chairs

Photo © People & Chairs

Click here for Parts One and Two of this series.

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Photo © People and Chairs

Last night something huge happened, and no, it wasn’t the Jays game (boo-urns): Toronto’s Big City Improv Festival opened with the motherlode of great line-ups.

Fan faves and natty dressers Bonspiel got things rolling at 7, followed by an all-star Catch-23 featuring Office Funeral (Jason DeRosse and Stacey McGunnigle), Just For Laughs Montreal Quebec (Kirsten Rasmussen and Matt Folliott), and headliners The Boys a.k.a. Susan Messing and Rachael Mason (as if we needed to tell you).

The Boys took the stage again at 11 pm with a no-holds-barred long-form set that encompassed “womyn’s” stand-up, a testosterone-fuelled locker room rant, abandoned children, and a recovering alcoholic Santa.

Tonight features another stacked line-up of A-listers: That Moment When, Ze Jonas Brothers, Sex T-Rex, Yas Kween, 2-Man No-Show, and Mantown. Tickets are available at the door, or buy here, before they sell out.

Huge props to Mark Andrada, Brendon Halloran, Norm Sousa, Erin Conway, Mat Mailandt, Sam Roulston, Kevin Whalen, Samantha Adams, Martha Stortz, Nelu Handa, Adrianne Gagnon and all the volunteers behind the scenes who’re making this 5th anniversary the best BCIF yet. You done made this city proud.

The Boys, Photo © People and Chairs

The Boys, Photo © People and Chairs

(Oh, and ladies? If the election doesn’t go the way we’re all hoping, we’d love to have you.)

When one of Canada’s longest-running improv teams-slash-shows makes changes, it’s big news.

When one of those changes involves adding more X chromosomes to a show called Mantown, it’s even bigger.

Founded in 2006 by Adam Cawley, Jason DeRosse and Rob Norman, along with former Big City Improv Festival Artistic Director, Bob Banks, Mantown has been hosted by Rob Baker for the past seven years.

Now some of Toronto’s rising stars are joining in the debauchery: Sharjil Rasool (Second City Touring Co), Andrew Bushell (Bamboo Kids Club, Fake Cops), Carson Gale (Moist Theatre), Leanne Miller (Bae Watch, Abra Cadaver), Geoffrey Cork (Orson Whales) and Noemi Salamon (Chakra Khan, Orson Whales).

We trust that they’re all legal drinking age.

You can enter the city of Mantown the first Friday of every month, 10:30 pm at Comedy Bar.

Image © Mantown

Image © Mantown

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“You’ve gotta learn to love the bomb.” – Stephen Colbert

It’s been 10 years since I performed for the first time at Second City Training Centre. I was on stage for all of three minutes, dry-mouthed and sweaty-palmed while I tried to remember what comes after “B” in the Alphabet Game.

Since then I’ve had various anxious moments, but rarely does my adrenaline spike like it did in that first year of improvising. Which is why I was intrigued (and terrified) by the notion of Bombbaes. I asked the show’s co-creator, Rob Norman, to explain.

P&C: What is Bombbaes?

RN: Bombbaes is designed for good improvisers to do something that they’re not good at: either stand-up, solo sketch, clown, a character piece, magic tricks… It really could be anything. You could write something and read it out loud.

P&C: What made you decide to start doing it?

RN: It comes from the idea of, improv is based on risk and danger, and if we’re not doing something that’s risky and dangerous then we shouldn’t be improvising. Every time we step into a scene there should be some kind of risk. And so for me and Adam, the other co-creator, co-producer, we were feeling very comfortable in improv, and so we wanted to do stuff that made us feel very uncomfortable.

There’s also a selfish element for me. I’ve been doing improv for a long time. I improvise with Adam in Mantown, I improvise with Adam in RN & Cawls, I have a podcast with Adam… It’s a lot of me and Adam in partnership on things.

[An improviser] came up to me the other day and said, “Hi, I know you’re Rob and Adam, I just don’t know which one you are.” I said, “I’m Rob.” Every time we see her she’s like, “You’re either the Rob or Adam, I don’t remember.” And so there’s this kind of pairing that happens in people’s minds, which is awesome, but I think as you get a little older too you wanna be able to say, “This is me, this is my voice, this what I do.”

And so the big push for me in Bombbaes has been developing some kind of stand-up act. I didn’t feel comfortable doing it in the stand-up community, just because of the way I’m wired and the way the stand-up community is. It’s a very harsh place and you have to have a very thick skin, and I do not have one, so Bombbaes is a good place for me to get good and figure things out in front of other improvisers who are going to support me before I get good enough to go out into the real world and suffer criticism.

P&C: And how’s that going?

RN: I just did my first stand-up show with a regular audience at Mullet’s Night Show on Thursday, and it was so weird for me.

Before I was always doing shows where people in the audience knew who I was; maybe might even be excited about [seeing] me as an improviser. So when I was doing stand-up, there was a little bit of protection I guess, because people knew who I was. So when I made a joke that tested some boundaries people were like, “Oh man, I know who Rob is, he’s pushing boundaries but I trust where he’s going.”

At [Mullet’s] I did five jokes and three of them were great, but two of them… This one woman in the audience called out and repeated back premises to me: “Where are you going with this?” “What are you saying?” “Are you a monster?!” And I was like, “No, no, wait for the punchline please!” So that was like a whole other world for me. I was out of my safety zone; no one knows who I am, nobody cares what I do, and so I’m kind of back to basics.

P&C: For anyone interested in taking part, Bombbaes is a solo show?

RN: Because improvisers work so well in ensembles and duos, the thing that most people are most excited about doing or trying is solo pieces. So there’s no rule about doing more-than-one-person stuff, but I think we’ve only ever had one person do a duo. Everyone else has done solo pieces.

P&C: And what’s the coolest or most memorable act you’ve seen?

RN: The best, weirdest thing I’ve ever seen at Bombbaes is a woman who was an owl for seven minutes.

P&C: Wow…

RN: There was no comedic element to it. She’d taken a clown class and wanted to experiment with something, so she was just an owl and she just interacted with the audience.

P&C: That’s incredible. And is seven minutes the average stage time?

RN: It’s five to seven minutes.

P&C: Awesome. Well, I guess now I’ll have to find the courage to try something.

Bomb Baes happens every other Tuesday, 9:30 pm at SoCap Theatre, 3rd floor.

Be sure to check out Rob and Adam’s improv podcast, The Backline, and Rob’s book, Improvising Now: A Practical Guide to Modern Improvisation.

Photo © Robyn Bacon

Matt Stone and Trey Parker worked on The Book of Mormon for seven years. One Night Only: The Greatest Musical Never Written achieves greatness in one night – with no script, no pre-planned choreography, and no clue what the show will be about until the audience tells them.

Created by Alan Kliffer and directed by Melody Johnson, One Night Only is the most ambitious improv spectacle I’ve seen in a decade. When cast member Jan Caruana nudged an audience member who was slow to give a suggestion, saying “It’s a two-hour show,” I thought she was joking.

As the show progressed – the night I went was dubbed “Nerd Alert: The Musical” – it seemed impossible that they could keep the energy, laughs, and all those improvised balls in the air for a second act.

How wrong I was.

The talented cast of Ashley Botting, Jan Caruana, Reid Janisse, Carly Heffernan, Ron Pederson and Alex Tindal performed like a well-oiled machine: one that was being built right before our eyes.

Unlike most improv shows where everything’s mimed, the characters were enhanced with a few well-chosen props. My favourite was Reid Janisse’s fluttering lace fan – a hilarious counterpoint to his Randall character’s menacing megalomania.

The story revolved around Caruana as Linda Johanssen a.k.a. Debbie Dynamite and Pederson as her long-lost love, Gavin. Botting and Janisse played Equestria and Stable Boy (a.k.a. Randall), Dynamite’s rivals who eventually leave show biz for horseplay of a different kind.

Scenes were punchy and playful, culminating in a show-stopping number where all six players came together for a song called “More,” made all the more awe-inspiring for its on-the-spot harmonies.

Special props must go to the orchestra. With back-up vocals from Kevin Vidal and Miriam Drysdale, musicians Ewan Divitt, Jake Koffman, Dave Stein, and Justin Han were every bit as (forgive me) instrumental in the creation of what happened on stage.

Besides their musical chops, they knew just when to cue the next number, and were clearly having fun with the cast. While Ashley Botting’s pipes never fail to astound, it was Ron Pederson who stole show after being badgered into one more solo by the band.

One Night Only has been playing to packed houses, and runs until February 14. Avoid disappointment; book now.

We’re huge fans of Jimmy Carrane’s Improv Nerd podcast, and this season is no exception.

The line-up includes Saturday Night Live writer Katie Rich, Second City Mainstagers Scott Morehead and Rashawn Nadine Scott, iO Chicago teacher Jeff Griggs, Jorin Gargiulo of Revolver, and Rush Howell of 3033.

Jimmy will also be doing a special interview with Jeff Bouthiette, head of the Second City Training Center’s music program, at the first-ever Chicago Musical Improv Festival.

Since 2011, Jimmy has interviewed more than 130 guests, including Key & Peele, Bob Odenkirk, Broad City, Jeff Garlin, Andy Richter, David Koechner, Rachel Dratch, Tim Meadows, and Scott Adsit. If you’re in Chicago this summer, it’s one show you don’t want to miss.

SCHEDULE

All shows will be held at Stage 773, 1225 W. Belmont Avenue in Chicago.

June 20 – Katie Rich, 4:30 p.m. (as part of the Women’s Funny Festival)
July 5 – Scott Morehead, 4:00 p.m., Jorin Gargiulo, 5:00 p.m.
July 12 – Shithole’s Kevin Gerrity and Zach Bartz, 5:00 p.m.
July 19 – Rashawn Nadine Scott 4:00 p.m., Rush Howell, 5:00 p.m.
July 26 – Jeff Griggs 5:00 p.m.

TICKETS
General admission: $10, $8 for improv students

Call Stage 773 at 773.327.5252 or purchase online at http://www.stage773.com/

Jimmy Carrane headshot

Photo © Julia Marcus/Zoe McKenzie Photography

Combustion Festival kicked off this week with some sizzling performances at Toronto’s Bad Dog Theatre. Fan favourites The Sunday Service and Crush Improv were joined by new faces Dark Side of the Room, Big Ol’ Show (with returning Dad’s Garage alum, Amber Nash) and The Amie & Kristen Show.

If you missed the fun, don’t worry: all the teams will be performing again, along with more fantastic improvisers from far and wide. The festival runs through Saturday, May 30. Check the schedule for details.

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Photo © Eric Logan

Fans of unscripted theatre, rejoice: the 2015 Combustion Festival is here, and it’s gonna be smokin’.

Toronto’s Bad Dog Theatre is bringing together some of the hottest talent from across North America in this week-long celebration of comedy. The line-up includes such diverse acts as Crush, Junior Varsity, Folk Lordz, The Sunday Service, and Dark Side of the Room, to name a few.

In addition to shows, there’ll be workshops by instructors from Atlanta, Buenos Aires, New York, Montreal, and Vancouver. There’s even a series of $5 drop-ins every night of the fest.

Check out the full schedule, and buy tickets and festival passes here.

Combustion+Web+Banner

Most live theatre is aimed at stand-up, sketch, improv, or concert audiences. Live From The Annex combines all of them – with a side of hummous – in a series of shows the first Tuesday of each month. We spoke with Artistic Director Brian G. Smith and Programmer Sasha Wentges about the project.

Photo © Robert Trick Photography

Photo © Robert Trick Photography

P&C: Tell us a little about Live At The Annex; how it came about and what the audience can expect.

BGS: Well first of all, Sally, it’s called Live FROM the Annex, and so now I’m pissed off. Nice start: you made a middle-aged, single father cry. Way to go.

SW: Live From the Annex grew out of a class that Brian was teaching at Annex Improv. Laurie Murphy (LFTA co-producer) and I were both students in the class at the time. We pitched the idea of doing live performances in a cabaret setting to Brian at our local watering hole after class one evening. We planted the seed. He watered it and out grew Live From The Annex.

BGS: It occurred to me that if we created a third level to the Annex Improv program (Performance Ensemble), and gave it an on-camera element, that would help make the idea of producing a cabaret justifiable business-wise for me. ‘Cause I needed another thing to do every month like I need another three-year-old who won’t eat anything but pizza and who takes 20 minutes just to get his goddammed shoes on. Seriously, I’m so busy with that shit already it’s insane. But another revenue stream for the school seemed like a good idea.

SW: So Brian created another level to his classes with the understanding that whoever was in that class would get a chance to perform in the monthly cabaret series. The 12 of us drank a bunch of beers one night after class and came up with ‘Brunswick Stew’ as the name. They would become the ‘host troupe’, and we rounded out the evening with a guest musician; a sketch troupe and some audience participation.

BGS: I hired Lisa Merchant to teach/direct the Performance level. She’s a kick-ass teacher, and that’s what they needed to get in shape for a show of this calibre. She focused intensely for six weeks on ensemble character and relationship work, ’cause apparently I suck at relationships, so what did I have to teach them. That’s why I’m picking up endless Spiderman shit by myself day in, day out.

P&C: Live From The Annex combines theatre with an online streaming component. How do the two relate to each other?

BGS: I have been working at finding a way to bring Toronto improv to another (audience) level ever since the days of Bruce Hunter’s Workshop at the Second City Tim Sims Playhouse in the late ’90s.

I would go home after watching those shows and think: “How can this amazing, world-class, local comedy talent get out to a bigger audience?” When Livestreaming became a thing, I bought a bunch of HD gear and started to do that around town (e.g.  Pat Thornton’s 24 Hours of Stand-up for Stephen Lewis, and Streamfest).

SW: Brian decided that he really wanted to have not just the studio in-house participation, but also the live-streamed audience participating through twitter feeds etc. We launched a ‘pilot’ version on April 7th. Audiences can expect a well-crafted show with some top-notch performers and a live ‘visual classroom’ with Brunswick Stew – and of course, free hummous!

BGS: Also, Lisa and I came up with a super-cool idea to make the Brunswick Stew portion of the show a visible classroom, where she would not only side-coach to help them out if they got in trouble, but also to point out shit that was really working – so that the audience would get an education about improv strategies while they enjoyed the show. Then Lisa fucked off to do a gig in England, and so I have to do it. Relationships, am I right?

P&C: How do you choose the acts for each show?

BGS: That’s Sasha’s baby.

SW: I tend to go out to see a lot of stuff in the city. I’m restless that way; I choose from whom I like and who is available at the time. Then Brian and I look at our options and put together the best combo for variety and overall excellence.

P&C: Brian, you’ve been involved with the Centre for Social Innovation for some time, filming, teaching improv, and now with Live From The Annex. What’s different about CSI than most other venues?

BGS: CSI Annex is a very cool place with a culture all of its own. NFPs, charities and tech start-ups mixing and connecting with each other. Over the last couple of years, I’ve outfitted one of CSI’s big flexible meeting rooms (The Garage) with a stage, lights, etc. It’s become a 75-seat cabaret theatre and we’ve had a bunch of parties and shows and video shoots down there for all the CSI members and guests. I charge them SO MUCH MONEY! I’m telling you, I’m rolling in it – shooting fish in a fucking barrel.

SW: I think the main message at CSI is the art of collaboration. Just as the three of us, Brian, Laurie, and Sasha are collaborating, so is CSI collaborating with us.

BGS: That’s a better answer. Please don’t print my last bit.

P&C: As improv continues to grow in popularity, do you find audiences are no longer just improvisers performing for each other?

SW: Having other elements in the show (e.g. music, CSI member profiling) exposes all our acts to potential new crowds.

BGS: My goal is to get as many people as possible to watch the shows on the www. Laurie has worked hard to pull together all the social media clout of our partners and sponsors (100s of thousands) to drive traffic to our livestream: Dailymotion.com/YouAndMedia. I want to disrupt the notion that improv and live club comedy doesn’t translate to the screen. I think you just have to serve it up in a way that’s palatable. And that starts with really good audio. Then add three-camera live switching. Then really good Toronto comedy, which we have in spades.

Catch Live From The Annex starting tomorrow, Tuesday, May 5. Doors open at 7:30 pm. Featuring Colin Sharpe, The Templeton Philarmonic, Dr. Ew, Brunswick Stew and host Brian G. Smith. With talent like this, it’s just a matter of time before they get Sabra to sponsor.

Photo © Robert Trick Photography

Photo © Robert Trick Photography