Yes And ...

Every day of the week, performers and patrons gather at the Upright Citizens Brigade Theater (UCB) in Hollywood to watch and participate in live theater. This theater – founded by Matt Besser, Amy Poehler, Ian Roberts, and Matt Walsh – is one of the major comedy venues in Los Angeles and New York City. Hosting performances as well as a variety of classes including improv and sketch, aspiring comedians often spend years trying to make it onto a house team which performs an improv structure known as the Harold (and in the process, likely spend thousands of dollars on classes … but we won’t linger on that).

I have completed the UCB improv track, which consists of four main levels before moving on to advanced special topics classes. Joining my first class, I just thought it would help my writing and maybe allow me to make a friend. On the first day, I was assigned reading (The UCB Manuel, of course) and immediately thrown into scenes – because, by definition, that is what improv is.

Beyond classes, UCB offers students access to free improv shows, and in fact, attending shows is part of some classes’ curriculum and a vital part of learning the craft. When students attend shows, it’s an entirely different experience from a typical attendee. Students are expected to pinpoint improv techniques and UCB principles on stage, and of course, the act of watching live shows and hearing the crowd’s reactions is inherently bonding.

Most improvisers aren’t doing this to make it on stage or earn comedic clout – and those improvisers who are will not get as far or as much out of the program. UCB Harold team improviser Katie Nathan described the type of people that are attracted to this space.

“Creative brains work well together. A lot of comedians come from backgrounds that make them more open to building community and others’ ideas and point of views,” Nathan said. “You meet the most interesting people – people from a million different backgrounds, the smartest people, the most open and collaborative. It’s where my brain feels really happy.”

UCB veteran performer and teacher Frank Garcia-Hejl also discussed this community, comparing improv to “a fraternity or sorority system for nerds and outcasts who are smart, funny, and curious.”

Both Nathan and Garcia-Hejl speak about the improv community as inherently self-selecting; people who are willing and excited to get on stage with nothing prepared and simply have fun tend to be open and collaborative.

“For the most part, people who do improv want community; they want that collaboration in their life. The improv community is empathetic because you have to connect to people in the moment, and you are all sharing the same language,” Garcia-Hejl said.

Regardless of structure, listening is the backbone of the improv craft — every scene is built in real time, and performers must pay close attention to every detail said by teammates, find what is funny, and play based off of that. For that reason, Nathan shares that improvisers must be in tune with others.

“You can only go so far with improv if you are only focused on your idea … The best shows I have ever seen or done come from people not only listening, but hearing what comes before. Brick by brick, we are going to build and explore this idea together.”

In almost every class or team, performers will have to work with the occasional competitive person. While it may seem ridiculous to be competitive when you are an adult playing pretend, the comedy prestige and general desperation to get a foot in the metaphorical comedic door sometimes brings the wrong people. 

What’s the expression … “comparison kills the cat” (let me have this one) … is all too true for performers. I would be lying if I told you that I have never left class overanalyzing my performance, thinking about my classmates and all the things they were doing better than me. It’s easy to fall into that trap, but it will make the craft less fun, more isolating, and won’t help anyone improve their skills.

Nathan and Garcia-Hejl both discussed competitiveness as the antithesis to improv; it’s vital to the craft that performers not bring teammates down, but rather “yes and” each other to the fullest.

“I’m excited when my scene partner has a good idea because I can then jump in and help them build on it … [the spirit is] Let's all run and support this good idea,”  Nathan said.

Instead of focusing on performance and insecurities, improv garners a unique opportunity to stay in the present moment. In essence, the craft hinges on living in and appreciating the present moment, listening to others and acting based on their moves in a moment. It requires focus that does not easily drift to self-doubting questions like “Do I look dumb?” or “Am I the worst one here?” In order to do improv well, performers have to let go of control and appreciate the moment.

“What I love about improv is that it is immediate. Once it’s done, it’s done. There’s something really special about interacting with an audience about something that is made up on the spot and can never be replicated,” Garcia-Hejl said.

According to UCB performer and comic Deric Brown, comedy also inherently breeds community because of its vulnerability.

“It’s rooted in collaboration … and there’s also real emotional vulnerability in comedy. You’re putting your point of view out there, and it might kill or completely bomb.”

For every single improviser, bombing is the norm no matter the level. It’s unpredictable. The jokes that do land may be completely different than expected, or the audience will have their lips sealed at a moment the improviser was extremely proud of. Sometimes it feels like there is no rhyme or reason — and that’s the beauty of it. Improvisers must be vulnerable risk takers, putting their ego on the line in hopes that something might work. Especially in front of an audience, it’s terrifying.

That vulnerability is the reason improv brings people together. While you may never hope to experience this, it is extremely bonding to be involved in an all-around terrible scene. Often, performers will know it’s a sinking ship, but decide to commit to each other and sink together. In most activities, failure is not an advertising point. With improv, it has to be. 

All three professionals who went on the record here recommend trying out a class or seeing a show — for laughs, a new friend, or simply an opportunity to appreciate the present. On a personal note, I could not agree more (and it is indeed worth publicly admitting that you do improv). I also highly encourage everyone to support live performance and the people willing to let go of control and get on stage. It’s important, and it might just change your life.

As Brown said, “Don’t wait until you feel ready ... Even if you don’t have money, there’s always a way to get into comedy for free. Be okay with failing — that’s the hardest part, but it’s worth it.”

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