Austin Improv

One thing that makes improv kick multi-level ass is the audience: they score scenes in Maestro, they spout out suggestions, they even play characters in more daring longform shows, and, of course, they volunteer to go on-stage.

However, there are a few types of audience volunteers that irk me...

1. Catatonic audience volunteers. They go up on-stage and are too braindead to do anything. They just stand around and giggle while they have a world of opportunity to kick ass and have fun with the performers. It could be that they're either scared (if they have a deer-in-headlights look) or just stupid (if they giggle like, you guessed it, an idiot). There are two possible cures I can think of: if they're just scared, tell them that there are no wrong decisions or perhaps tell them that they're a rockstar up there on-stage. If they're stupid, either become far less dependent on their (even if it means bending the rules of the game) or test them before the game starts.

Catatonic volunteers are the most common, as seen here (Game 5) and here (Game 9).

2. Audience members who have the energy to point at their friends and yell, "They'll go," even though their friend clearly doesn't want to go, and may even give into peer pressure and result in a catatonic audience member. The cure for these jackasses is simple: if they have the energy to point at their friend, they certainly have the energy to get up on-stage and perhaps even do a solo scene.

3. Undercover improvisers. Yes, I will admit I have volunteered back in my early days (back when I still had to pay to get into shows), but it kills the promise of an audience participatory experience if an experience improviser goes up there for a game of "Yes, Sounds Good to me, I'll go along with that" or "Moving Bodies". There's no excuse on the improviser's part (even if they never/rarely get casted for the show), but directors can further prevent it by asking for people with little improv experience.

4. Assholes. They just want to mess up the show. They go up and think it's funny to grab a performer's (insert body part here) and pretend it was part of the game, or they disobey the rules or make it extremely difficult for the improvisers to play their game, like twisting them in knots in "Moving Bodies" or saying obviously wrong words in "Word at a time Expert". The solution is simple: kick them out of the game and start over with someone new.

Any thoughts? Additions of bad audience members? Cures for bad audience members?

The best cure is to not pressure anyone and only take those that want to be up there.

When I direct, here are my rules:

1. Don't pick an improviser.
In fact, I usually call them out as such to prevent them from raising their hands again and to let the audience know precisely why I am ignoring the anxious kid in the front row.

2. Don't pick anyone pointed to by someone else.
At most, smile gently and ask the pointee once, and only once, if they want to come on stage. And don't turn it into a moment to harass the pointer, either. See next.

3. In general, don't pick anyone who hasn't volunteered.
Don't say "How about you!" because then you are asking unwilling people to be up there. The only exception to this may be a special case, like you know you have a birthday party or something and you do a special game for the honored guest. But even then, you have to be easy, gentle, and reassuring to them AND the rest of the audience.

4. Don't beg.
This should probably be #1 because it is my personal volunteer picking pet peeve.
Don't beg individuals ("we promise we'll go easy on you. It'll be OK, you'll see. C'mon. You sure? It'll be fun...") and don't beg audiences ("Anyone? Surely someone? You in the...no? Anyone else? We'll go easy on you..."). It is pathetic to watch, reeks of despratism, and slows the pace and energy of the show WAY down. If there is no volunteer, suddenly remember a different game and act inspired by it.

5. Take a volunteer early.
Throw one into Category Die, even, or some group game in Round one. It breaks the 4th wall before it can be established and sets up success for volunteers. If you set up the whole show as "we'll eliminate the weak players and the better will rise to the top," then wait to ask for a volunteer until round 4 and with no precedent, it's downright intimidating ("Get up there with the better players?") and it's no wonder no one jumps at the opportunity.
Also, make sure to praise them just right and give them that moment of applause. Andy is really good at coaxing a volunteer in the first few beats of a game with positive reinforcement ("Perfect!"). Seeing reward will make the next volunteer easier to come by.
See next.

6. Take volunteers at energy peaks.
Use the audience when they are hot, not in an effort to save the show when they aren't. When they are into the show, they'll more readily volunteer than when they are tuning out. Save the show, then use them.

7. Avoid drunks.

8. Don't say "We'll go easy on you."
Words work on two levels and these immediately set up a wall of fear and experience differential between the volunteer and the player. It sounds like you are helping, but you are not. You are subconsciously raising to the foreground the thought that they are not good enough to be up there and they'll look like a damned fool compared to the players. It's condescending to their potential ability.

9. Ask confidently and be strong.
The audience is constantly taking subliminal cues from you as a director. Give them postiive feedback. Give them confidence via your own confidence. You are influencing them, so influence them in the way you want them to be. Make gentle eye contact and smile with those you suspect might be wanting to volunteer but holding back.

10. Telegraph your intent.
I've seen directors say "We may take a volunteer this round, so get ready. In the meantime, can I have 3 players..." I think this helped ease the tension a bit because you told them you'll be asking for a volunteer, but you didn't put them on the spot right then to respond. You planted a seed and let it grow so that they could build confidence and didn't just turn around and say "someone, now!"

I'm glad you asked these questions. In a show like Maestro, this is definitely a good card to have in your pocket as a director, but not something most director's consciously think about.