// Classic Armando//

Some notes from learning the Armando via iO Chicago

The Classic Armando is an advanced long form where a Monologist acts as the Director who influences the theme, mood, cadence of the show. The Monologist and Ensemble work together giving and taking focus to create a show where the 4th wall is broken and reconstructed throughout.

• The Monologist

• The goal of the monologist is to deliver a true and vulnerable story.
• You are creating an honest moment with the crowd
• You are creating tension for the audience so that the cast can have fun breaking it
• The monologue should be specific and dig deeper into an emotional POV that can be explored. Detailed but unconnected, non-vulnerable stories will evoke similarly bland scenes. Raise the stakes.
• Traditionally, Monologist plays the GODFIGURE
• Usually 3 monologs, pull lights on the last
• Directs the show by injecting energy and inspiration when needed
• Plays the “Game Slot/Group Game” role

• The Ensemble

• The goal of the ensemble is to explore themes via scenes
• Character Pull
• Lead in Character: Wrap the theme up into a character’s behavioral trait rather than a premise or plot to fill in. Your scene will almost never play out the way you wanted it.
• Explore the genres or archetypes represented in the monolog
• Tangential Pulls
• Explore an interesting part of the story that wasn’t too detailed
• Exaggerate a specific from the story or a tic
• Disproving the Monologist’s Theory
• Flip the monologist’s P.O.V.  and explore the antithesis

// The Extended Sojourn//

Exactly 3 months ago, I landed in O’Hare and was met by a dull, gray and bitchy Chicago chill. Recalling summers in Chicago to be magically hot and humid, I packed 10 tshirts, 3 pairs of shorts and a pair of flip flops. “An ominous sky”, I thought. My improv brother and mysteriously diffident ladies man Chris Blair picked me up; we smoked and pontificated on how inspiring ‘Summer of 2012’ was going to be. I had no idea what was about to happen.

ACT 1: The Immersion

In attempts to horribly bore you with my improv indulgences, below is the training I maniacally crafted for my adult summer camp:

• Second City: Sketch Writing 1, 2
• iO: Musical Improvisation
• iO: Writing 1
• Kevin Mullaney: 8-Week Performance Workshop
• iO: Summer Intensive (1,2,3,4,4B),
• Annoyance (2,3,4,5)
• 1 Day Workshops: Miles Stroth, Dina Fackliss, Greg Hess, Jet Eveleth, Lyndsay Hailey

At one point I was improvising 11 Hours a day (including rehearsals for a one-act play in which I was lucky to be cast).

Serendipitously, I was assigned to a iO Summer Intensive section full of hardcore improvisers who were more geeked out about this than I was. Under the guidance of Lyndsay Hailey, we took leaps of faith with each other emotionally off and on the stage. We couldn’t wait to play together so we started booking and performing in barprov gigs, on two Second City stages and at the Del Close theater.  I was spending 6-9 hours a day with 13 other people who agreed to be shockingly vulnerable and unnervingly inspiring. Instantly, we became Visibly Tight.

ACT II: The Revelation

Something interesting happened as I clearly overdosed on my favorite drug this summer: Over the course of 24 hours a week for 5 weeks at iO, I received the same exact note over and over again: “Stop taking care of everyone else in the scene and have fun! Play the scene you WANT to be in”. I could not understand what these teachers were talking about. I WAS having fun. This was Summer Camp for adults! I HAD TO BE HAVING FUN!! Right?

I noticed that I was having fun when I initiated scenes, because I was so used to starting strong from training at the Annoyance before taking classes at iO. But when coming off a Harold opening or when my partner initiated, I was too busy looking for the “RIGHT” choice to make, instead of making the choice I found fun. We all say, “let’s have fun up there!” But what the hell does that mean? I realized that I haven’t been having fun with improv for a while now. I was faking it.

The impetus for creating EndGames in San Francisco was a desperate need to be a part of a thriving improv scene; one of which reflected the scene I fell in love with while studying at the UCB in New York. While I was building the platform for myself and other like-minded comedians to share our voices, the mountains of administrative work and the pressure of producing and promoting shows and classes became psychologically insurmountable. Being the first born son of poor immigrants and a classic Sagittarius (I think), I’m prone to lead, structure and make sure others are cared for. I lost my joy in doing the goddamn thing. It became work.

ACT III: The Return

EndGames approaches its 2 Year Anniversary in San Francisco (9/4)! And in that short amount of time, we’ve been so lucky to have graced the pages of SF Weekly, SF Gate, SF Bay Guardian, Bay Stages and have been named #1 Nightlife Choice on Yelp. Helping to build out the scene in SF has been an incredible journey and blessing that not many folks get to experience. I’m so excited for the launch of EndGames 2.0! What?

It’s been our tradition to make a mess and catch up to it, and every single time it’s motivated talented, hard working individuals to double down and commit to the scene and  I truly believe that’s made all the difference for us. That’s why we are moving into the StageWerx Theater in the Mission on October 11, 2012. 6 shows a week, Thursday and Friday nights. I have 100% confidence and faith that the producers and teams will shock the once sleepy improv town into a city buzzing of smart, subversive improv comedy.

And with that confidence, I’ve decided to move to Chicago and extend by trip for another year.

As the haze of the iO Summer intensive hangover slowly lifts, it’s clear that there’s no better time than this. I need to continue honing my unique comedic voice and follow the single advice every single iO teacher has told me: “Stop taking care of everyone else in the scene and have fun! Play the scene you WANT to be in”. Chicago is where I want to be right now. San Francisco is my end game. 

// Mullaney’s Performance Class #2//

As part of my Summer comedy geek out, I was lucky enough to get a spot in Kevin Mullaney’s Performance workshop. It’s a special 8 week class and 4 weeks of performance in which Mullaney hones 14 improvisers into polished performers. So far the class has been great and the best (and unique) part of this class is Mullaney’s thorough notes after each session. These have been super helpful and I hope you can glean some insights from it for own improv as well. Now go out and improvise!

More great work yesterday! I think we started out a little rusty at the beginning, but really hit a stride midway through the class. I’m seeing a lot of good stuff, but most importantly I see everyone working hard to process the notes and focus on the task at hand. That’s all I can ask from you. If you do that, you will get better. 

// Mullaney’s Performance Class #1//

As part of my Summer comedy geek out, I was lucky enough to get a spot in Kevin Mullaney’s Performance workshop. It’s a special 8 week class and 4 weeks of performance in which Mullaney hones 14 improvisers into polished performers. So far the class has been great and the best (and unique) part of this class is Mullaney’s thorough notes after each session. These have been super helpful and I hope you can glean some insights from it for own improv as well. Now go out and improvise!

// The Ultimate Harold Breakdown//

Took my first class at The Annoyance tonight with Lilly Allison. Saying she was “no nonsense” would be an extreme understatement. I was inspired by the obvious way she loved and respected improvisation as an art form, enough to slam most Harolds performed in Chicago, likening them to Jazz bands staging a cacophony of unrelated notes.

Lilly’s been improvsing since she was 14 and has played everywhere from iO, Second City TourCo and The Annoyance, where she calls home, so she knows this city, the scene and most importantly her shit. She broke down a lot of improv today like I’ve never experienced it before. Everything from making choices, awareness, patterns and the historical roots of improvisation. But what blew my mind was the way she broke down The Harold, in its ideal form, as your “6th Grade Essay”:

1. SUGGESTION (Title): “Halloween”
2. OPENING: (Introduction) The opening is used to brainstorm and communicate with the ensemble. This is where the many ideas are presented as a team and ideas are identified to be used as AMMO for your Harold.
3. ACT 1: (Body Paragraph 1) State your ideas and explore
1. SCENE (Supporting Evidence 1): “Dress Up”
2. SCENE (Supporting Evidence 2): “Neighbors”
3. SCENE (Supporting Evidence 3): “Candy Corn”
4. GAME: Narrowing of THEME. What did these disparate scenes have in common? What were some themes reflected? (“Youth gone by”)
5. ACT 2: (Body Paragraph 2) Repeat/Heighten your ideas and explore
1. SCENE (Supporting Evidence 1): “Dress Up”
2. SCENE (Supporting Evidence 2): “Neighbors”
3. SCENE (Supporting Evidence 3): “Candy Corn”
6. GAME: Narrowing of THEME. What did these 2nd Beat scenes have in common? What were some themes reflected? (“Disillusionment”)
7. ACT 3: (Body Paragraph 3) What are the natural connections/collisions in these worlds?
1. SCENE: “Dress Corn”
2. SCENE: “Neighbor’s Candy”
3. SCENE: “Dressed up neighbors”
8. CLOSING: (Conclusion) A group closing, a monolog, a phrase, a song, whatever that can restate our Thesis.

This might be a super wordy way to look at it, but it makes a lot more sense as far the Harold or any long form piece as being an improvised comedic exploration of a word and its associated themes. Until today, I looked at the Harold as a structure to perform improvisation within, instead of it being improvisation itself. The Harold is a Choice, Awareness of that choice, the exploration and heightening of that choice and repeat.