Long Form Improv
Long form improv is becoming more and more popular. Improv Long for formats range from free-form as in the “Un-Structured Harold.” Others are more structured as in “Spontaneous Broadway.”1
The rehearsal process is the time to learn what skills are necessary for the cast to embrace the long form format and prepare it for a paying audience. But how do you prepare the cast the night of the show? The cast needs to feel confident, grounded and connected. They donât need to be worked into a frenzy or pre-loaded with ideas for the performance.2
I asked my friend Shana Merlin to share her thoughts about Long Form Warm-ups and she sent me the list of things they do before they perform their very popular Twilight-inspired Long Form Improv format called “Dusk.”3
Warmups for Dusk: Improvised Tween Erotica
Soul Train
Form an alley between two rows of people facing each other. Turn on a soul/funk song and have people one at a time dance down the aisle with everyone clapping, hooting and cheering them on. Once everyone has a solo, they can take a turn down the aisle as a part of a pair.
Shana adds, “After a while, let it open up in to a free dance. I want coming to the theater for the show to feel like coming to a killer dance party. People are energized, connected, flirty and playful.”
Improv Tongue Twisters
Start with several commonly known tongue twisters led in a call and response. Then, begin to improvise tongue twisters in a call and response format.
- Unique New York
- Red Leather – Yellow Leather
- The tip of the tongue, the teeth, the lips
Character Walk around
Walk around the space and then someone initiates a physical change accompanied by a sound or vocal offer. When this change is perceived the rest of the cast respond by accepting the transformation and joining in. (In our show, there are vampires, werewolves, teens, and slow motion action. We want to be able to key in quickly on what people are initiating. Maybe hissing for vampires, growling for werewolves, giggling for teens, and speaking/moaning in slow motion for action).
Story Spine
Basically we take the “Story Spine” (Kenn Adams) and “The Heroâs Journey” (Christopher Vogler’s/Joseph Campbell), and adapt it to our genre. And we circle up and review it, each person adding a step. For us, it’s something like:
A new girl comes to town.
She meets lots of people in this town.
She has a strange encounter with a mysterious boy.
Somewhere else in town there is a murder.
She gets put in danger and this mysterious boy saves her.
And so on…
Notes and reminders about the Long Form Improv format
Circle up to review notes from the previous show. Remind each other of what you want to focus on in this next show, forget about what might have gone wrong in the last show. This is a time for positivity and setting intentions. For example, Shana adds, “we might reaffirm that we want to start with energy and volume, to repeat names when they are introduced, and remind ourselves that anything could happen in the show tonight and have fun.”
[Williamâs note: This is also a good time to ask the players open-ended questions about the format. For example: What do we know about this format? This empowers the players. If they donât cover everything on your list you can add it in as a participant. The closer you get to the performance the more you want to drop your role as âdirectorâ.]
Combat Round Robin
Shana did not go into detail about this section… but itâs fair to say if youâre doing a format with improvised violence you want to be careful that the signals between the actors are clear so that no one gets injured. My advice about improvised violence: Slow-motion keeps it at a safe speed and audiences accept it as real.
Movement Run Through
Work the choreographed opening with the tech improvisers.
[Williamâs note: Often Long Forms will have a choreographed opening and/or ending and a moment to get a starting suggestion from the audience.]
Character Names in Pairs
If time after the run-through, form pairs to generate ideas for character names.
Shakeout
Circle up and while maintaining eye contact shake each limb counting out loud backwards from 10. After finishing the last limb, the cycle repeats counting backwards from one less (from 10 to 9 to 8 etc) until reaching zero.
Break Time:
Give the actors 10-15 minutes to freshen up, do their own thing, before a general cast meeting in the green room. Sometimes cast members will initiate warmups they need during this time, put on lipstick, or have a sip of water. It’s also the time when we get the lead male all sparkly for the show. [William’s note: Remember this is a Twilight-inspired format.]
Shana adds, “When planning the warmups, I’m trying to have activities that are both energizing and relaxing, silly and grounded, verbal and physical, connecting and inward focused. I try to put them in an order that keeps a nice variety and doesn’t tire out or bore the players. After break time, we do a last pep talk and shakeout before the show.”
Long Form Improv Footnotes
1 The Harold is a format developed by Del Close while working with The Committee in San Francisco. In an âun-structured Haroldâ each performance discovers itâs own tone, rhythm and path. The Harold is often called the grand daddy of long form improv. “Spontaneous Broadway” was developed by Kat Koppett and New York Theatresportsâą as a âbackers auditionâ and Broadway opening for a new musical.
2 If you are rehearsing a genre format and you brainstorm character names during the warm up it would be temping to use those names later in the show. Some groups may see this as acceptable and others would see it as âcheatingâ the promise of creating something onâthe-spot. Shana adds: We learned that if we did anything in the warm-ups that was too close to what happens in the show, we would get confused during the show. (What was her name? Are they in Arkansas or Oregon? Which scene was in warm-ups and which was in the show?)
3 Shana Merlin is an improv performer and teacher in Austin, Texas. Her friendship is one of the benefits of improv. Shana and I have taught together at the University of Texas in an MBA program and performed together at the Hideout Theatre in Austin. She brings joy, curiosity and passion to all of her improv.