Geoff Grimwood
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Bossypants? One, Because the Name Two and a Half Men Was Already Taken
Acknowledgments I would like to gratefully thank: Kay Cannon, Richard Dean, Eric Gurian, John Riggi, and Tracy Wigfield for their eyes and ears. Dave Miner for making me do this. Reagan Arthur for teaching me how to do this. Katie Miervaldis for her dedicated service and Latvian demeanor. Tom Ceraulo for his mad computer skills. Michael Donaghy for two years of Sundays. Jeff and Alice Richmond for their constant loving encouragement and their constant loving interruption, respectively. Thank you to Lorne Michaels, Marc Graboff, and NBC for allowing us to reprint material. Contents Front Cover Image Welcome Dedication Introduction Origin Story Growing Up and Liking It All Girls Must Be Everything Delaware County Summer Showtime! That’s Don Fey Climbing Old Rag Mountain Young Men’s Christian Association The Windy City, Full of Meat My Honeymoon, or A Supposedly Fun Thing I’ll Never Do Again Either The Secrets of Mommy’s Beauty Remembrances of Being Very Very Skinny Remembrances of Being a Little Bit Fat A Childhood Dream, Realized Peeing in Jars with Boys I Don’t Care If You Like It Amazing, Gorgeous, Not Like That Dear Internet 30 Rock: An Experiment to Confuse Your Grandparents Sarah, Oprah, and Captain Hook, or How to Succeed by Sort of Looking Like Someone There’s a Drunk Midget in My House A Celebrity’s Guide to Celebrating the Birth of Jesus Juggle This The Mother’s Prayer for Its Daughter What Turning Forty Means to Me What Should I Do with My Last Five Minutes? Acknowledgments Copyright * Or it would be the biggest understatement since Warren Buffett said, “I can pay for dinner tonight.” Or it would be the biggest understatement since Charlie Sheen said, “I’m gonna have fun this weekend.” So, you have options. -
Rob Reese Playwright
hellorobreese.com ROB REESE [email protected] Playwright /Librettist Musical & Opera (representative): Murder In the Key of Death (librettist) Opera On Tap New York, NY Miranda (co librettist w/ Kamala Sankaram) HERE Arts Center New York, NY Yahweh’s Follies (Book & Lyrics) Ars Nova New York, NY Theater (representative): 101 Reasons to Thank God for Donald J Trump, The Brick Theater New York, NY Vladmir J Putin, & My Dad Who’s a Dick. The Black Hole The Flea Theater New York, NY Survivor: Vietnam!* ‡ The People’s Improv Theater New York, NY Keanu Reeves Saves the Universe The Basement Theatre Auckland, NZ Keanu Reeves Saves the Universe The Red Room New York, NY Frankenstein** ‡ The Actor’s Studio Kuala Lumpur, MY Frankenstein**‡ Pelican Theater New York, NY Tad Granite: Private Eyeball – The Radio Plays The People’s Improv Theater New York, NY Invasion of the Yellow Menace Stir Friday Night Productions Los Angeles, CA Pantheon of Convenience B.S. Int’l Improv Fest. Austin, TX Birth of the Yellow Menace Stir Friday Night Productions Chicago, IL Return of the Yellow Menace Stir Friday Night Productions Chicago, IL The Game The “O” Theater Chicago, IL The Camp Strawdog Theatre Chicago, IL Television / Video / Short Film Make Your Move Phoenix Public Television Phoenix, AZ Sundays @ The Parkside Online Serial Amnesia Wars: Small Content Video Projects Small Content Video Keanu Reeves Saves the Universe: Special Reunion Special Short Film Publications: ‡Indie Theatre Now: Frankenstein and Survivor: Vietnam! each available on-demand at http://www.indietheaternow.com/ **Playing with Canons: Explosive New Works from Great Literature by America's Indie Playwrights Anthology includes Frankenstein *Plays and Playwrights 2004 Anthology includes Survivor: Vietnam! Awards / Grants: Miranda received the 2012 Innovative Theater Award for Outstanding Production of a Musical. -
The Harold: a Revolutionary Form That Changed
THE HAROLD: A REVOLUTIONARY FORM THAT CHANGED IMPROVISATIONAL THEATRE & AMERICAN COMEDY A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By MATT FOTIS Dr. M. Heather Carver, Dissertation Supervisor MAY 2012 © Copyright by Matt Fotis 2012 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE HAROLD: A REVOLUTIONARY FORM THAT CHANGED IMPROVISATIONAL THEATRE & AMERICAN COMEDY Presented by Matt Fotis A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Professor M. Heather Carver Professor David Crespy Professor Cheryl Black Professor Cornelius Eady ACKNOWLEDGEMENTS This dissertation would have never happened without the help, support, and encouragement of numerous people. First and foremost I want to thank my committee— Heather Carver, David Crespy, Cheryl Black, and Cornelius Eady—for their guidance, questions, epiphanies, and good humor, without which I would not be writing this thank you. I want to thank Ann Haugo, John Poole, and Liz Mullenix for first beginning this journey with me. Of course many thanks go out to Charna Halpern, Ted Flicker, and all the generous improvisers who agreed to be interviewed for this project, as well as the countless improvisers who simply took the time to informally discuss improv with me. I would be nowhere without the teachers that taught me how to improvise and the students who continue to teach me. My beautiful wife, whom I first got to know through improvisation, thank you for your love, support, and patience…and for usually laughing at my jokes…and for telling me when I’m not funny. -
Bossypants - Tina Fey.Pdf
Acknowledgments I would like to gratefully thank: Kay Cannon, Richard Dean, Eric Gurian, John Riggi, and Tracy Wigfield for their eyes and ears. Dave Miner for making me do this. Reagan Arthur for teaching me how to do this. Katie Miervaldis for her dedicated service and Latvian demeanor. Tom Ceraulo for his mad computer skills. Michael Donaghy for two years of Sundays. Jeff and Alice Richmond for their constant loving encouragement and their constant loving interruption, respectively. Thank you to Lorne Michaels, Marc Graboff, and NBC for allowing us to reprint material. Contents Front Cover Image Welcome Dedication Introduction Origin Story Growing Up and Liking It All Girls Must Be Everything Delaware County Summer Showtime! That’s Don Fey Climbing Old Rag Mountain Young Men’s Christian Association The Windy City, Full of Meat My Honeymoon, or A Supposedly Fun Thing I’ll Never Do Again Either The Secrets of Mommy’s Beauty Remembrances of Being Very Very Skinny Remembrances of Being a Little Bit Fat A Childhood Dream, Realized Peeing in Jars with Boys I Don’t Care If You Like It Amazing, Gorgeous, Not Like That Dear Internet 30 Rock: An Experiment to Confuse Your Grandparents Sarah, Oprah, and Captain Hook, or How to Succeed by Sort of Looking Like Someone There’s a Drunk Midget in My House A Celebrity’s Guide to Celebrating the Birth of Jesus Juggle This The Mother’s Prayer for Its Daughter What Turning Forty Means to Me What Should I Do with My Last Five Minutes? Acknowledgments Copyright * Or it would be the biggest understatement since Warren Buffett said, “I can pay for dinner tonight.” Or it would be the biggest understatement since Charlie Sheen said, “I’m gonna have fun this weekend.” So, you have options. -
The Edge of Spontaneity
The Edge of Spontaneity: An oral history of New York long form improv By Colleen Goodhue Description and Acknowledgements This is an oral history project, a collection of seven interviews conducted in October and November of 2017 of improv performers who live in New York City. These interviews have been edited for clarity and space. I want to offer a sincere thank you to the interviewees for this project, for their time and for sharing their stories, thoughts, and opinions. I would also like to thank Drs. Myrna and Harvey Frommer for their guidance throughout this process. Lastly, I want to thank my partner Dave for his endless love and support and his gift for feedback. Introduction: Improv is… A live theatrical performance without a script. Spontaneous. Created on the spot. Only happens once. – Kevin Scott It can happen anywhere; a proscenium staged theater, the basement of a bar, a fluorescent lit office space, in a car, on a cruise ship. And since at least the mid- 1990’s, it has been happening in New York. Some theaters and training grounds have come and gone, some are facing the currents of change, and doubtless new ones will spring up. Students become performers who become coaches and teachers. Styles and formats will change, but through these interviews we see what lasts: passion, freedom, and creativity. CAST OF CHARACTERS (in order of appearance): Kevin Scott Improviser and educator. Studied improv in Chicago before moving to New York in 1995. Member of improv groups Bang Bang, Burn Manhattan, and Centralia. Geoff Grimwood Improviser and educator. -
Someday We'll Look Back on This and Laugh
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-13-2019 Someday We'll Look Back on This and Laugh Ben Masten How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/352 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] HED: SOMEDAY WE’LL LOOK BACK ON THIS AND LAUGH DEK: Life in the “benign pyramid scheme” of an improv theater SYNOPSIS/BLURB: The People's Improv Theater was an oasis for young New York comedians. Its own success-- and a volatile owner-- changed that. SOCIAL MEDIA COPY #1: Improv theaters are a "benign pyramid scheme," except when they're not so benign. Inside the rise of New York improv theater The PIT. SOCIAL MEDIA COPY #2: NYC improv fixture The PIT preaches utopian values and the importance of community. Why are the performers there so unhappy? 6,483 Words By Ben Masten th Mustang Sally’s usual crowd was commuters. The bar on West 28 street would fill up between 4 p.m. and 6 p.m. as sweaty office workers in rumpled suits tanked up on cheap beer before heading home on the Long Island Railroad from Penn Station, just a few blocks north. But If you walked into Sally’s one Saturday evening in January of 2008 you would have seen a different clientele. A few dozen twentysomethings nervously cracked jokes with each other, while all of them seemed distracted, keeping one eye on the cell phones they had parked on the tables in front of them. -
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Improvising Humor: An Ethnography of Comedy Theater Nathan Dern Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Nathan Dern All rights reserved ABSTRACT Improvising Humor: An Ethnography of Comedy Theater Nathan Dern This dissertation is a qualitative sociological account of how adults involved in the play of improvisational comedy theatre use gender in their performance. I take play seriously as an important frame of social life where culture is actively maintained, created and put on display. My approach is a micro-interactional one analyzing moments of humor dealing with social categories via video recordings. As my case study I use performances of improvisational comedy theatre at the Upright Citizens Brigade (UCB) Theatre in New York City, one of the world’s premier improv comedy theatres, to observe adults actively engaging in play with each other, a space where men find disproportionate institutional success. Building on the frame theory of Cecilia Ridgeway, I look at when gender stereotypes are invoked in creating spontaneous scenes of human interaction, and in so doing, to what extent performers are able to work through “straitjackets” of social conventions, focusing on the distinction between scenes making fun of sexism verse scenes that are merely sexist. I look at the ways that though people occupy a role, there is room for them to improvise within that role, adopting different strategies for comedic success. To this end, I conclude by comparing Shamus Khan’s range of masculine expressional opportunities theory, as presented in his work Privilege, with Robb Willer’s account of the masculine overcompensation thesis, arguing that the way in which male presenting improvisers are able to adopt the comedic strategies of minority groups under the guise of irony, thereby securing that the number of expresional opportunities available to them is greater than other groups, ensures the continuation of their dominance.