Category: The Second City

Yeah I know it’s been a weird year, and yeah I get it’s totally OK of all you accomplished this year was staying alive, breathing and not murdering your roommate. I’ve been posting YIRs since 2016 and I’m not going to stop now. If there’s anything we’ve learned in 2020, it’s that among all the chaos, there’s still a whole lot to be grateful for and it’s easy to miss if you don’t take a second to appreciate it.

My lighthouse word for 2020 was NOW. I got into reading some Eckhart Tolle thanks to Pete Holmes and felt it’d be some super great reading for an improviser, an anxious person and for life in general. I think 2020 was the perfect year to have chosen that word, and that NOW couldn’t have come at a better time.

Here’s some of the good to come out of my many NOWs in 2020:

  • Ran two successful in-person editions of Guess Who’s Coming to Improv? & brought it back via Zoom just in time for its’ 6th anniversary.
  • My company held our first corporate events.
  • Continued teaching improv with The Second City Training Centre & successfully transitioned to doing so online since March. During his process, I taught my first Level D class, the highest level I’ve taught thus far.
  • Held my first table read for my sitcom pilot.
Improv Niagara team reading Brie's comedy pilot.
We had La Croix because this was a LEGIT writer’s room.
The cast of Improv Niagara and friends with Colin Mochrie.
Improv Niagara meets our improv hero Colin Mochrie
  • Continued seeing a counsellor to help manage my anxiety.
  • Performed in the Worlds Biggest Improv Tournament with Linda Julia Paolucci as Niagara Balls, and shared that one awesome night playing arcade games and eating garbage.
  • Auditioned a bunch in person, then sent out self-tapes galore.
  • Continued writing sketches with my Utilidors partner David Lahti, closing in on what will one day be an epic themed sketch revue.
  • Maintaining a 17-year tradition of interrupting my friend Curtis in the middle of the Super Bowl.
  • Held a short run of successful Improv Fallout shows at Mahtay Café before things closed down. (Bringing it back via FB Live in 2021!)
  • Held a short run of successful POPAGANDA shows at the John Candy Box Theatre before things closed down. Attempted one online version, which proved to be very complicated.
  • Performed stand-up comedy around the Niagara Region.
  • Recorded seven new episodes of The Constant Struggle Podcast with my brother Nick.
  • Performed many improv scenes and sets in Toronto & Niagara, including a set with the Second City Main Stage cast.
  • Performed in The Vagina Monologues at Camp Cataract (ICYI – I performed the The Woman Who Loved to Make Vaginas Happy monologue – that’s me to the right, in the pleather.)
The Women who performed The Vagina Monologues on stage at Camp Cataract in Niagara Falls, ON.
The incredible cast of The Vagina Monologues at Camp Cataract in Niagara Falls, ON
  • Participated in a Race & Theatre in Niagara workshop, hopeful more work continues on this front.
  • Premiered our pilot “Time Slicers” at the Toronto Sketch Comedy Film Festival.
  • Built up the courage to ask for something I really wanted.

And then, things happened. Life shifted. From home, I created different NOWs.

  • I binge-watched SO MUCH EPIC TV.
  • Many sweaty Sherwarrior workout sessions.
  • Performed many mini-online shows with Improv Niagara in the early days of the pandemic.
  • Began performing in Toronto-based online shows like Duo Derby and Connect 40, which did a great job of bringing the improv community back together in these tricky times.
  • Grew a vegetable and herb garden in my backyard.
  • Held my second official Writers’ Room. This time, digitally.
Zoom meeting of people's faces, reading Brie's pilot script.
Script Read-thru | Round 2
  • Participated in improv jams and classes with people from around the world from the comfort of my own home.
  • Participated in the virtual edition of In the Soil Festival with the women & enbies of Improv Niagara.
  • Held outdoor, socially distanced improv rehearsals in my backyard and in local parks.
  • Protested anti-black racism, police brutality & social injustice.
  • Spent a few weekends in London, ON working on an indie comedy about a cult.
  • Read 50 new, original Canadian comedy plays.
  • Began co-leading improv & mindfulness workshops with Stream Yoga + Meditation
  • Attended the Our Cities on Our Stages symposium online though Bad Dog Theatre.
  • Improv Niagara’s newest Kids’ Instructor, Simon, offered workshops with the Town of Pelham.
  • IN held a series of outdoor, socially-distanced improv shows at Camp Cataract for the summer.
  • Attended my first Zoom bris.
  • Was invited to guest on Tuong La’s Ranked podcast with Dan & Nick.
  • Celebrated 4 years of wedded bliss at the top of the Skylon Tower.
  • Learned how to grow and harvest cannabis.
  • Booked a role on a French web series for TFO & shot it in December (where I got my first swab.)
Selfie of Brie in full make-up, hair done, on set for the French webseries shoot.
On set as Mme. Gisèle.
  • Participated in an online version of Culture Days with Improv Niagara.
  • Participated in the Niagara Leadership Summit for Women and was reinvigorated by it.
  • Took an awesome workshop with my Chicago improv heroines Susan Messing & Rachael Mason.
  • IN participated online in Dunnville, ON’s River Arts Festival.
  • Improv Niagara wrote & performed a virtual sketch for Suitcase in Point’s Community Comedy Series
  • IN’s held our first ever student show, broadcast live via Facebook (because groups of 10+ were not permitted.)
  • Welland finally got a Starbucks
  • I stayed alive.
  • I breathed.
  • I Didn’t kill my roommate.

I’m thankful for all of the NOWs 2020 brought along and I do wish to continue working in being present and in the moment (luckily I’m in the right field for that.) NOW, my word for 2021 is very different. Stay tuned.

2019 | 2018 | 2017 | 2016

HAPPY 2021!

The loving clock

Clown College Instructor Confession

Sometimes, you teach a drop-in improv class, and a dude who’s never done improv before pitches to your class a “Loving Clock” (because that’s the nature of the game you’re playing – and that was the suggestion he received) – and for the rest of your week (and maybe life) you sweetly say:

“Babygirl, I love you!”

… every single time you check to see what time it is.

***

Have you heard an improv quote that’s either a) positively reinforced your attitude permanently or b) you’ve never been able to get out of your head? What was it?

I wanted to share this direct quote from a student of mine in this WONDERFUL Level A intensive I had the pleasure of leading this weekend. I think it says a lot about not limiting our own creativity and letting our own ideas shine. Here we go:

Why did I limit myself to (being) a bee? That guy was a fucking spoon!

Frig, I love teaching improv.

I normally think I’m pretty good at taking notes when it comes to new students. I’m teaching them how to be present in improv scenes, so I make it my goal to be super present when they’re telling me about themselves on the first day.

I went back to check the notes I took last night in class, and realized the notes I wrote for the last student were not especially helpful. I must have been in a hurry to get things started. The question I asked was: “why did you decide to sign up for an improv class?” and the note I took down for her response was: “improv things” and a squiggle.

Nice one Brie. Pretty sure everyone else signed up for “improv things” too.

 

Last weekend, my longtime best bud Dina and I took a road-trip down to Chicago. I’d wanted to see The Second City’s all-women “She The People: Girlfriends’ Guide to Sisters Doing It For Themselves” because:

  • it sounded like a cool show
  • I like the idea of an all-women cast
  • I wanted to go back to Chicago & Dina had never been to this city of wonders
  • Feminism.

The show was fantastic and the experience had everything I could ask for, including an uncomfortable middle-aged white man at my table unsure as to why his wife and daughter took him to see this particular show. (See “feminism.”)

For the record, the scene with the dinosaur suit was hundo p my favourite.

I don’t do this very often on WordPress, but I thought I’d post a few choice photos from my trip to Chi-town with Dina.

Traveling for improv is probably my favourite thing to do right now; and that I got to have this quick little trip into improv mecca (we saw a show at the iO! as well) with my Dina, (who I’ve know basically my entire life and who has recently agreed to start an improv company with me,) well that was just the icing on the cake. Or the cheese on the deep-dish, if you will.

I can’t wait to see where improv-travel will take me next. Or what all-women show I produce as a result of the burning hot lady-fire She the People lit under my ass.

 

 

3 minutes and 30 seconds.

That’s how long Eric took before he spoke a single word in his scene with Aimee at the last Popaganda I produced.

Many improvisers feel the need to fill every single silent second with words.  We forget it’s important to let some things breathe. You know? Like wine!

In this scene, for example, Eric stood downstage waiting for a bus. Aimee stood upstage, off in the corner whispering to him (but not to him, because they weren’t looking at each other) about how if he still loved her, he would catch her. She gave the impression she was going to run over to him a la Dirty Dancing and expected him to catch her over his head. (We’ve all seen the scene. We knew what to expect.) What we didn’t expect was that Eric would ignore her for 3 minutes and 30 seconds!

She kept whispering, as if it were an intention she was setting. As though she could will him to still love her, and catching her would be the ultimate sign of his devotion to her.

We, the audience, waited in eager anticipation for Eric to respond. You could feel the tension in the room when finally, after 3 and a half minutes, he revealed to the audience, and to Aimee that she was a ghost, that she’d  been dead for I don’t remember, months, years? Anyway, she was dead.

As the realization set in with the audience, an uproar of laughter began, and lasted a REALLY REALLY long time.

I know it doesn’t do much justice to explain an improv scene after it’s happened. I know it’s ephemeral. But for those of us in attendance, it was not only a delightful moment, but we also got totally schooled in the lesson of how patience begets payoff. 

It spoke to the amount of trust there was between these two players. The non-verbal communication between them. The quiet confidence of knowing, or maybe not knowing or discovering the precise and perfect moment when to drop the information that Aimee was a ghost. The excellent acting between the two which permitted for believability because as the audience, we were completely satisfied.

I found this list over at Jesterz Improv and thought it would be helpful to bring home the point:

Here are a couple of things that you create by being patient:

  1. Trust – Showing patience in a scene shows trust to your scene partner, your fellow performers and in improv as a process.
  2. Emotion – Patience allows you to discover what your characters true emotion is and it gives your scene partner time to discover what their characters true emotion is
  3. Anticipation – Anticipation can grow as improvisors are patient with the scene and explore what is already there, rather then inventing.
  4. Clarity – More often then not, when an improvisor isn’t sure what is happening in a scene, they panic and start to bend the rules if improv. Panic turns into denial and denial turns into a bad scene. (https://www.jesterzimprov.com/patience-proceeds-payoff/)

With that in mind, after the big reveal, the players seemed to have such a good time playing in the world where Aimee was a ghost and Eric was kinda fed up with her hanging around. But remember, not only was there the anticipation of when Eric would speak, but we were all still waiting to find out if he would catch her too. The stakes were raised, Aimee seceded that her ghost would leave Eric alone if he performed this one last action together; the catch. The lights blacked out on this beautiful moment that I’m so happy my iPhone was able to capture:

The bus arrived and Eric sat right down in the front row with the audience. A huge let-down for poor Aimee’s ghost.

ALL THIS TO SAY THE FOLLOWING. Take a breather out there. Look around. Take the time to discover.  STOP AND EXPLORE – that was the biggest note I got in Leslie Seiler’s Conservatory 1 & 2 classes. (That, and to shut up when the teacher is talking. Oh how I am being served some tasty irony on that front now that I’ve begun teaching.)

In true crassness, don’t blow your load within the first few moments of the scene. You’ve got some time up there. Especially in a duo scene. Why not discover things with your partner? Learn to trust your partner. And, in the words of one of my favourite Depeche Mode songs; learn to Enjoy the Silence. You might have to react to your partners’ for over three minutes if the scene calls for it.

 

 

A woman in my class this week told me that since our first class, where we learned what it means to “yes and,” she noticed the amount of times over the week that she had the tendency to write “but” in her text messages. She attempted to take the advice learned in class in order to make her text communications more positive.

In improv, “but” is basically the same as “no.” It’s telling your partner you’ve heard what they said (maybe); you don’t like their idea, you think you have a better idea, or more likely, their idea scares you and you’re worried about how to pull it off,  so you’re going to try to squeeze in your safer idea in the scene instead.

For example:

“Alright Mom! It’s time to go to the moon!” 

“Ok honey, but the moon’s too far away, so why don’t we just go to the grocery store instead?”

It might as well have been:

“Alright Mom! It’s time to go to the moon!”

“No. We’re going to the grocery store.”

It’s sometimes remarkable that people think they’re listening and responding positively, when they’re really steering the scene (or the conversation, or the making of plans, in a non-improv setting) to discount their partner’s ideas or wishes.

Maybe we could all benefit from my student’s exercise. For one week, notice how often you text “but”, use “but” in an email or say “but.” Reflect on it. Is that “but” necessary? Or are you using “but” to turn down someone’s idea or invitation because you think you have a better idea or because you’re afraid to know where theirs might take you.

All this to be taken as a reminder that it doesn’t take a hard no to refuse someone’s offers and ideas, onstage or off.

yes-but.png

If this blog post has opened up some bubble in your brain and you want to read more about “but,” in a context other than improv, check out this Fast Company article:

The One Word That’s Undermining Everything Else You Say

From the article:

“If you never used ‘but’ again, you’d be just fine,” she says. “It’s a conjunction used to marry two completely separate ideas. Why do that?” – Karin Hurt

(PS. they totally mention improv in the article)

On the first day of a new Level A term, I like to ask the students to tell me one cool thing about themselves, and to let me know why they decided to sign up for an improv class, because for a lot of people, a lot of thought has gone into the why. Some people have been waiting years to do it and have finally built up the confidence to sign up.

ANYWAY…I got an outstanding answer to both these questions today and it went a little something like this:

One cool thing about yourself? 

Student: “I’m an accountant.”

Why did you sign up for improv? 

“I want to be less like an accountant.”

***

I don’t encourage students to be funny, or clever when answering these questions. I’m just looking for something truthful, and in this very truthful answer, we all laughed our butts off.

It was so fun to get to interview my friend Daphney Joseph on Nick and my recent Constant Struggle episode. She and I have had some great chats in the past when we were NOT being recorded, so I knew be very valuable to have her come and chat to us in a conversation we could share with the whole world! (Or mostly Canada and the US, to be honest. Some people in the UK too…one or two Australians as well.)

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She and I are both French Canadian, but from two different francophone communities. Montreal and Welland are pretty much worlds apart in terms of French culture, but somehow the language has the ability to bring people together in this country.  So much so that we’re now both playing LNI-style improv with Les Improbables, the popular French-language improv group in Toronto. This style of improv is the first kind of improv either of us learned, since both of us went to French language schools growing up, and this is pretty well the most popular form of improv among French-speakers worldwide.

Check out what Daphney has to say about francophonie and SO much more in our latest episode of The Constant Struggle.

Download this episode (right click and save)

the constant struggle - chibbi (1)

Nick and I recorded another episode of our podcast last weekend while we were home for my Mom’s birthday. It’s been nice to have a regular check-in the help keep up accountable to the projects we hope to be creating.

I’m in a bit of a funk today. I’m letting things bring me down that I shouldn’t. I feel this weird anger because I can’t convey enough how important improv is to me and how crazy into it I want to get and be, but realizing how little that matters to any decision-makers at the  end of the day, even if they’re not the reason I’m as into it as I am. I feel I’m not prioritizing the right things. I feel the FOMO, or more specifically a FOBeingLeftO. I feel all the feels.

Nick recently got out of his bout of Writer’s Block grumpiness so I’m sure my weird state of being will pass too. But still. Bleeeeugh.

But if you’re so inclined, you can take a listen to the chat we had over the weekend, when I wasn’t being a grumpy bugger.

Enjoy!

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Click to listen!