Austin Improv

I'll try and keep this short.

I look for:

competent improvisers
people who play well with others
promising students/recent grads who seem ready to tackle more
people who can at least hit the right 'tone' of whatever show we're going for.
people who who have a good look for the show.
people who take direction well
people who look like they want to be there.

I'll admit that my brain doesn't really work in thinking about overall ensembles. The closest I get to a big picture type thing is in shows where I know we're going to need some young, fresh faced folk, and some older folks. Then I'll keep that in mind as one of the factors. But mainly I trust that if everyone seems like generous, cooperative players, they'll play well together.

A couple of other notes:

It's a requirement of The Hideout that mainstage directors hold auditions. They're allowed to invite people, too, but they have to cast some people at least from the auditions.

Hand-in-hand with that, is that if someone doesn't want to be in the show, I don't want them in it. It seems obvious now. But it used to be that I'd think "Oh, we HAVE to have so-and-so in the show", but time has taught that if someone doesn't really want to be there, it's a DRAG... not to mention unfair. Plus, we have so many awesome people around now, that we can afford to pick only people passionate about a project.

i chiefly look at commitment and gamesmanship. who's willing to get up there and commit to something even though its difficult or they're not totally comfortable with it?
i look for someone who takes direction. i like redoing an exercise after giving some notes and seeing if people listened and can deliver or at least consciously try to deliver the second time around.
i also look for variety, as far as playing styles, backgrounds, experience levels, points of view.

these are the hardest things to direct out of people, i have found. so, i like turnkey actors who are up for anything, will buy into the vision, and are a black, jewish girl in a wheelchair who has taken no classes.

you can faster get to the meat of rehearsing the show if you dont have to worry about those first two.

also, who is the funniest guy with the funniest shirt making sure everyone knows he's there? that dude gets cast immediately.

I need an actor, an improvisor, a glue, an extra girl, a hungry rook, and a wack-a-doo. They all need to be able to take direction and agree. And because I'm me I look for characters too.

jillybee72 wrote:I need an actor, an improvisor, a glue, an extra girl, a hungry rook, and a wack-a-doo. They all need to be able to take direction and agree. And because I'm me I look for characters too.

I think you've described Coldtowne's student troupe decision making process except there has to be 10 instead of 6.

B. Tribe wrote:

jillybee72 wrote:I need an actor, an improvisor, a glue, an extra girl, a hungry rook, and a wack-a-doo. They all need to be able to take direction and agree. And because I'm me I look for characters too.

I think you've described Coldtowne's student troupe decision making process except there has to be 10 instead of 6.

Pretty much. Except we're instituting a no wack a doo rule.

Jastroch wrote:

B. Tribe wrote:

jillybee72 wrote:I need an actor, an improvisor, a glue, an extra girl, a hungry rook, and a wack-a-doo. They all need to be able to take direction and agree. And because I'm me I look for characters too.

I think you've described Coldtowne's student troupe decision making process except there has to be 10 instead of 6.

Pretty much. Except we're instituting a no wack a doo rule.

Dammit, Jastroch, you just made Brett cry.

I find I have a lot in common with the other directors. Here is my short list.

• -Enthusiasm for the project
  -Supportive (cast of 8 = initiating 1/8 + supporting 7/8)
  -Ability to take direction
  -Ppl who play well together
  -Gender (I try to split my cast 50/50 men:women)

...AND a knack for puppeteering. I can teach you what you need to know if you're willing to learn and practice. But it helps if you're willing to give yourself to the puppet.

listening, support support support, are they a good fit for the team, etc.

also, i ALWAYS look at what you're doing on the sides. say we have you do a run through in the audition. when you're on the side, are you watching the scene going on? or are you standing there with your arms folded, staring at the ground, wondering what YOU'RE doing next?

i always appreciate and take note of people who are actively engaged in what other people are doing rather than being lost in their own bullshit.

edit: i just want to post again what shannon said, because it's so good: To that end I feel like I'm looking for players who can play without an ego. I also like feeling that each individual person brings some unique intangible to the group, that would make the group poorer if they weren't in the show.

scook wrote: or are you standing there with your arms folded, staring at the ground, wondering what YOU'RE doing next?

Rafe Chase once said that this was the one behavior from improvisers that he could not abide. It kills your ability to play well.

Interesting. I always thought those guys were listening intently. Like, they're so professional!! One day I will be so good I will just stare at the ground with concentration and complete confidence.

Jastroch wrote: Pretty much. Except we're instituting a no wack a doo rule.

hogwash!
wack-a-doos all the way!!

In addition, I cast to the needs of the show at hand, obviously. And man, I'm a sucker for agreement and big choices.

shando wrote:

scook wrote: or are you standing there with your arms folded, staring at the ground, wondering what YOU'RE doing next?

Rafe Chase once said that this was the one behavior from improvisers that he could not abide. It kills your ability to play well.

Sometimes that pose means I'm intently listening. I look off to the side when I'm planning my next move. DIRECTORS BE AWARE!

Jastroch wrote:

shando wrote:

scook wrote: or are you standing there with your arms folded, staring at the ground, wondering what YOU'RE doing next?

Rafe Chase once said that this was the one behavior from improvisers that he could not abide. It kills your ability to play well.

Sometimes that pose means I'm intently listening. I look off to the side when I'm planning my next move. DIRECTORS BE AWARE!

yeah, not so much looking at the ground, but kind of a "middle distance" soft focus stare with my arms crossed (often, i've been told, chewing the inside of my cheek) means i'm listening and trying to take in all the pieces in play. i'm planning my next move if i start positioning myself offstage ("i'm going to enter through the door next! i want to cross down stage right to make a pretty, pretty stage picture!").