How to Choose an Improv Class
Note: This is a reprint of a previous Improv Illusionist newsletter. If you’re not receiving my email newsletter, you can subscribe here and get my “Learning the Improv Illusion” series as a bonus.
Welcome to another issue of the Improv Illusionist Newsletter, a monthly update from me, David Raitt, with a focus on the improv skills of environment, object work, and physicality in character and performance. I’m honoured by your interest.
Hi, how’s it going?
The Improv Illusionist book has been popping up all over the world! It’s kind of surreal to see it on bookstore shelves and hear it mentioned on podcasts.
As far as that goes, though, there’s still many people who haven’t heard about this project and our physical improv community.
If you could tell a friend, or share a link to the website, I’d be very grateful. Let’s get more physicality into all improv!
Now, on to this month’s big idea…
How to Choose an Improv Class
Some time ago, I wrote an article on How to Take an Improv Class. Since classes are so important to honing your improv skills, you want to maximize the value for your money and time.
Most improvisers have taken at least one “bad” improv class, where the teacher, students, or material didn’t fit with their needs or expectations. It makes sense to consider how you choose a class in the first place.
Depending on your experience level, or where you live, your choices may be limited. As a beginner, any and every training opportunity helps broaden your experience. Most theatre companies offer a basic improv curriculum, which you’ll have to complete before getting access to their “advanced” classes. At this level, choice doesn’t require much thought beyond considering the schedule and whether you click with one instructor over another.
As you grow, however, you may want to go deep into particular skills, and there are many options available. The rise of online improv has given every improviser more access to high-quality teachers and training. But more access also increases the chance of choosing a class that ends up as a negative experience.
So, here are some tips from my 25 years’ experience as a student and a teacher.
Round out your skill set
There are diminishing returns to practicing the same skills. If you’re already comfortable with one aspect of your improv, like physicality or character work, taking a specialty class in that skill may not help you all that much. This is especially true if it’s a large class, where your actual working time with the instructor will be less.
Instead, look at the areas where you lack confidence. (Improvised singing is a big one for me.) You’ll get much more out of a class that challenges your weaker skills. And it will make you a more versatile improviser.
Choose a good teacher
Especially for intro-level classes in the bigger training centres, you may not know much about the instructor until your first session. Try to find the teacher’s info page and study their bio.
How much teaching experience do they have? Do they perform too? Have they been in shows where the special skills they teach have been featured?
If you have a choice of different teachers, ask for recommendations around your community, including on social media.
Do you really need the “celebrity” teacher?
A class with a well-known “top” improviser can be very expensive. Working with your improv hero might seem like a once-in-a-lifetime experience, but not every celebrity performer is also a skilled teacher.
I once took a class with a very famous personality who spent most of the time telling stories from their career. This was exciting for the newer/star-struck students, but we did very little training.
If you enjoy a celebrity teacher’s work, it’s likely your style matches theirs. If so, consider how much you’ll actually take away from their class. Can their experience or approach teach you things you don’t already know? How much working time will you actually get with them?
Again, doing your research and asking around is a good approach.
(And please, don’t pad your performer’s resume with famous improviser names. “Worked with Patti Stiles” or “Studied under Dave Razowsky” are only valid credits if you’ve actually worked with them on shows, projects, or extended apprenticeships, not simply taken a one-off class. The same goes for your affiliation with the large theatres — if you took a class at The Second City, you’re a student, not an “alumnus.” Please be open, honest, and clear about your work experience.)
Read the class description
Pay attention to what the instructor or company writes in the class description. Do they outline their approach or objectives for the class? Do they have any special requirements for students? Try to get a sense of what you’ll actually be learning, beyond a list of skills.
Can you commit?
A class works best with motivated students who are prepared to work. Commit yourself to that attitude. Be aware of the class times and the possibility of homework – both should be in the description. If you know you’ll miss sessions, or will find it hard to prepare assignments, do everyone a favour and avoid the class until you can fully commit.
Look for performance opportunities
Performing in front of an actual audience is the best way to work your skills. Will your class get stage time? Find out when, if possible, and commit that date to your schedule.
Ask questions
Don’t be shy about learning the above information. Contact the instructor directly, or if it’s a company, ask the Training Centre director. Be sure the class is for you before dropping your hard-earned money on it.
Give feedback to the teacher and the company
When the class is over, take a moment to complete any surveys or feedback forms provided by the teacher or company. A good teacher commits themself to constant improvement, and they will appreciate your comments, positive or negative. Your feedback also helps future students with their choice of improv classes, too.
Going where the improv is
All the above tips become essential if you’re planning to travel to an “improv centre” to study. For example, if you want to visit Chicago, there are many styles and approaches that affect the classes you take. The Second City, iO, The Annoyance, and other companies are all very different. Do as much research ahead of time as you can. How well do your theatres of choice fit your goals and interests?
Learn the policies of the different companies. Do you have to complete their basic program before you can take specialty classes? Are there special requirements or pre-requisites? Do you have to audition?
Please share your tips and experiences in choosing improv classes. I’d love to chat with you about them!
Things to Try
Ideas for exercises or scenes to work out your physical improv skills.
- Following up on the article above: investigate whether your local improv company runs workshops on environment and physicality. A class will give you some great opportunities to try out what you learn in these newsletters.
- Whether you’re in the northern or southern hemisphere, this time of year is always a dramatic change in the seasons. Try an outdoor scene and really communicate the weather conditions.
- Holiday sales are coming up! Try a scene involving shopping. Maybe characters competing for the last item on the shelf?
- For short-form performers: Practice your scene setups! Be able to explain games quickly and get a starting suggestion without the energy dropping from your set.
More for the Improv Illusionist
The Improv Illusionist book – Preview and order info
Improv Exercises for Physical Skills
Improv Books — Reviews & Recommendations
Improv Podcasts — Reviews & Recommendations
News & Links
Keith Johnstone’s Improv Wisdom Lives On
A reminder of Keith’s best tips for every improviser. My favourite is “Be Naughty” (within boundaries, of course).
Not You
Vinny François attempts to answer a pressing Emotional Safety question: “What is and isn’t appropriate when playing characters?”
Question(s) of the Month
What’s your experience been like with your improv training? Do you have any stories or tips to share?
Hit Reply and share. I love to chat with readers, and it gives me ideas for future content to help the whole community.
Do you have any feedback about Improv Illusionist? Send me a message or just reply to this email. Seriously, I read and respond to just about everything.
I’ll be back with more on December 7th!
Ex nihilo!
—Dave
