Final Preview (the final countdown)

Today is the final Preview for "The Lion, The Witch, and The Warhero; or is McCain Able" and that's strange. Usually you would think that there would be a thousand things to worry about, to deal with, to take care of... but I have been taking care of things and had a few sleepless nights over the past few weeks, and things are pretty well taken care of. The cast has kicked ass on the stage, the new monitors, and all sorts of stuff. Witht he help of Kyle and Max, the place has been painted, polished, cleaned, and is ready to go. I painted the stage, the floor, and the risers last week, although I might do some more work on that tonight.

Tomorrow is opening night, woo-hoo. I think this marks my 25th show with the BNW over the past six years. That's pretty awesome. I have a vision of wearing my BNW jacket into iO this winter and getting beaten up by iO students. But I think that I will instead beat the crap out of them.

I was supposed to play ComedySportz today, but I got Tim to cover my show. I just did not want that extra stress for myself or staff, and Tim owed me.

I had a crazy remote on Tuesday for CSz, ask me about it when you see me. I cannot put into words some of the stuff that happened or I will sound like a terible person.

The Improv Marathon

We just completed the 2008 Dudley Riggs Improv Marathon to benefit Gilda's Club Twin Cities

The mission of Gilda's Club TC is "Our Mission is to create welcoming communities of free support for everyone living with cancer - men, women, teens and children - along with their families and friends. Our innovative program is an essential complement to medical care, providing networking and support groups, workshops, education and social activities."
_--And that's pretty awesome.

So here's what we did, 35 groups performed improv over the course of 24 hours... I am a little tired-- there I said it. I am a little tired.

I had a great time, and I think I performed about 8 times, and I hosted for a few hours... I also ran tech and worked the bar.

I missed Fred and Melissa's housewarming party, but I guess that's ok since we raised a buttload of dinero for Gilda's club.

Here are the people I want to give props to:
Josh Kuehn-- he was there though it all, and got a little tricked out on Redbull. He probably should have taken a bit longer of a break.

Lisa Burton: Had Hamluke, performed several times during the marathon, and also worked the bar. Man, she rocks.

Melissa Roberts Beukema-- came in at 9:00 AM on a sunday after she had hosted her first big party at her new house. Wow.

Jill Bernard-- who performed, kicked ass, kept spirits high, and did a one person Drum Machine in the middle of the night to fill a slot.

Following my bliss right out of here... love the life you live.

Following my bliss right out of here... love the life you live.

This note is all over the place.

For anyone who doesn't know, I am moving to Chicago on September 1st.

For the past week or so, two phrases have been burning in my brain, "Follow Your Bliss" and "Live the life you love, love the life you live."

Last week I took the whole week off and spent time in Milwaukee and Chicago. I spent time on my farm with my family, time with high school friends, time with the horses and my dogs, time at Summerfest, time in my future home of Chicago.

When i got back I spent time at my Fraternity House with the "new kids," and I have been back at the Brave New Workshop since Monday interviewing people to take my job, I have been back to the grind with only seven weeks to go.

Since my drive back to Milwaukee and the farm I have had a thought in the back of my head about "Following my Bliss...." a phrase known to almost any of my theatre friends as attributed to Chase Korte and Joseph Campbell. Chase was following his bliss. And so many of us have continued to follow our bliss over the past 16 months, and he has been one of our muses. (I am thinking of Brant, Nick, 4 Humors, Nikki, Adri, and Toussaint here with your words, plays, and songs) We have all made tribute to him in our own ways. Through writing, through song, through plays, through improv, and through life-- and doing what makes us happy.

When I was at Summerfest this past week I bought a tee shirt from a vendor whose motto on all their gear was "Live the life you love, love the life you live." and when I asked them about the meaning behind their message it was the following emailed response, "We are all about inspiration and passionate living... it means anything you want it to. It is about following your dreams, finding your bliss, being who you reallky are and living life to the fullest. That is something different for everyone. We do take inspiration from many cultures, religions,nature, music and our family. But we by no means are we trying to "push" any one thing on anyone. To each his own. We are only trying to inspire positive living..."

These two messages ring so true to Improvised Theatre, I cannot stop thinking about them. They are so true to what think I am doing, I am amazed.

I am moving to Chicago for the next two years to do something. I am going to work hard and try to better myself in an art form that I love. Lisa, Tyler, and I (and the others who are going on their own) are laying it all on the line to take the jump-- because if we don't do it now, we might never do it.

I have been so lucky in Minneapolis. Between the U of M, Delta Kappa Epsilon, the Brave New Workshop,Comedy Sportz, the entire Twin Cities improv community, I have grown up and learned a lot.

The Brave New Workshop has been a constant for me over the past 6 years. For the past three years I have walked into 2605 Hennepin Ave almost every day--- and now I am leaving. It is so weird. I have been so lucky.

I am also freaked the fuck out.

There, I fucking said it. I am exited as all hell, and I know this is the right choice, but I am putting it all out there, and the logical side of me is saying that I shouldn't.

But I am trusting the improv side of me. I am not jumping without a net, but I am jumping. i am getting off the back line and starting a new scene. I have two great scene partners (lisa and tyler) and a great freaking audience of support in Minneapolis and Chicago. My body is twitching, and I know it's time to edit this scene.

In improv we are constantly changing, accepting new information, trusting our instincts, rolling with the punches, and working together towards an end that we do not know. That's what we do in life too. We are all improvisers. You accept the gifts that you discover in the scene, and you learn from ever improv scene you are a part of... the scene is gone instantly, but the information stays forever.

In Improv we trust our body before our mind because it knows better--- our instinctual nature knows better. If we think too long the moment has past. We trust that our scene partners will support us, and that we in turn will support them. That's what's great about improv, it's the mutual respect and trust that we are all working for something more. Improv is based on the innate facets of humanity that still bind with something animal and primal -- something within us that we forget about as we get older and forget how to be innovative and carefree--- creative. As we grow we train ourselves to forget that part of ourselves because we cannot nail it down-- as we get older we belive more in logic than in spontaneity.

Within improvised theatre we must retrain ourselves to trust those instincts again. Kids do this better than adults. It's not easy, every improviser struggles with it. They work to trust the process, their scene partner, the group, and themselves.

I am playing the good improviser by making sure to take care of my scene partner and my connections here. I never want to throw someone under the bus, and so I am serving the scene, my partner, and then myself.

Here's the thing I want to say here. I am going to miss everyone in Minneapolis, everyone at the BNW, at DKE, and I am going to rely on all of your strength and support as we go through this.

I respect everyone I know who have gone for something they love even when the logic of the situation was working against it. I want you all to know that I am doing this without ego, I think I am doing this for some other reason--- one that I don't know. I don't know what the end goal is... I just need to do it. I don't know all of my future scene partners, and I don't know where this is going to take me... but that's what's going on, and that's what's on my mind...

And if you were tagged in this message, then for some reason I identify some of this message with you-- probably because you have done something like this, and I respect you so much for it, or because you just might be somehow responsible for some part of this, thank you for that.

If you were not tagged in this but you read this anyway, you probably instrumental still, or connect with this still. Thank you for being a part of my development.... plus I reached my tag limit


Thanks for reading.

~~~~

"Live the Life you Love, Love the life you Live" ~ J. Sebastian Ystrom

"I say, follow your bliss and don't be afraid, and doors will open where you didn't know they were going to be.
~ Joseph Campbell

"....there's no freedom unless you're vulnerable first. So, I did it. Then I turned a corner. I realized that sharing something intimate or important to me or something that really matters to me doesn't necessarily have to be anything sexual or a profound weakness of mine or anything like that, it just needs to matter enough that I need to share it."~ Chase Korte

"Your work is to discover your work and then with all your heart to give yourself to it." ~ The Buddha

Yes, and....

The Last Few Days

I had a great trip to Milwaukee, the farm, Summerfest, and all the rest.

This is a shot of me heading into Chicago on Lakeshore Drive one last time before I came back to the Cities.

It's pretty nuts to think I will soon be living here.

I saw great concerts at Summerfest. I saw State Radio, OAR, Ari Herstead, OAR again... it was pretty awesome.

I got to ride horseback on the farm. clean stalls, work on the farm, that kind of stuff. I also hung out with Jess Schwab, a good friend, Michelle Kelly, and I saw Bonnie Davis for the first time in about 8 or 9 years. She's all married and has a kid... strange.

TCIF is over ;-(

So, the Twin Cities Improv Festival was amazing.

Jen and I had the sets of our lives on Thursday night... as you can see by these AWESOME photos that Mike Fotis took during our set.


I had an amazing time and got to talk to people from all over the country about improv. But now I am tired, and I deserve a little rest--- so I am going to do just that. A few days in Milwaukee, on the farm, at Summerfest, and Chicago is just what I need....

But first... Butch, Jill, you guys rock.

My staff rocks.

The BNW rocks.

Every set rocked this weekend.

And you rock if you were there


Good bye folks!

Improv+Shakespeare+Baseball=Steroids

mprov+Shakespeare+Baseball=Steroids

Saturday, April 26, 2008 at 2:17am

I was happy with the show tonight, I really was, but I learned that when doing a four minute Shakespeare Improv with the suggestion of Steroids does not really allow you to make the following references:

"A man with arms weak training in Left field"
"Four bases found and run around"
"No one in this land doth understand the infield fly rule"
"Take these pills and thy arm will send even the weakest ball over the Great Green Wall"
"This empire shall never be yours, it shall remain that of King Seilig"
"Look North toward Toronto and the Jays of Blue, and Look West toward that of the Cactus League"

If you like baseball and improv, you can see where these might be funny, unfortunately there are not many people who fall into that category.

I also made the whole thing seem forced.

Of course in a game of "Blind Line" an audience member wrote the line "You're killing me, Smalls." and that made me happy.

February 10th-- what a day

February 10th-- what a day

My Great Aunt, Sister Mary Jennings,
celebrating her 50th year as a member of the cloth in 2002

February Tenth, 1922 is my Grandfather's birthday, Judge David V Jennings Jr. He celebrated his 87th birthday this past Sunday in Naples, Fl.

January 22nd, 1995 is the day my grandmother, my first muse, and a loving woman beyond compare, left us. She embraced my creativity and loved every second she shared with her children and grandchildren.

February Tenth, 2007 marks the day Chase Korte, a college friend destined for greatness, left this Earth. Follow your bliss.

February Tenth, 2008 is the day my great aunt,my father's Aunt, Sister Mary Jennings, left this world after over 50 years as a nun, and nearly 90 years on this Earth. She is a Saint, a wonder, and has always been a breath of beauty and love within our family. She is a truely wonderful spirit, and now can keep watch over her kin, and everyone else.

These four people mean a great deal to me. My grandfather is loving and difficult in his own way-- he is hard to communicate with, but when he opens up I feel closer to a generation I never knew. My grandmother is with me every day in everything I do. Chase drives me to go further and work hard-- because he was more dedicated to his passion than nearly anyone else I have ever met. My Aunt Mary always accepted those around her as good people with positive intentions no matter the prejudice the era suggested-- she was a.

I have an unfinished letter to Aunt Mary in my desk in my bedroom, and I forgot to call my grandfather on his birthday. Please, let the people in your life know how much they mean to you.


It might be slightly fitting that I was onstage performing, improvising, and trying a new form, challenging myself and my scene partner to something new on Sunday night when all of this happened--- but don't ever get caught up in the moment so much that you forget to look around.

History of improv.... sort of

Although the following is very Brave New Workshop centric, it might prove helpful for people looking for info on the history of improv. The following is a piece of support material from:

A Survey of the History of Improvised Theatre

With Critical Examination of the connection between Commedia Dell Arte and the 2005 Production of Religious Pretense in the University of Minnesota Xperimental Theatre

For completion of a BA in Theatre

From the University of Minnesota

Department of Theatre Arts and Dance

2006

Dave Jennings


Timeline

The following timeline of improvised theatre is a combination of three sources: A timeline adapted from The Commedia dell'Arte: A Documentary History by Kenneth Richards, John Sweeney’s Innovation at the Speed of Laughter, and Stevie Ray’s History of Improvisation. It is not a complete record, but it should prove helpful in understanding the rich history of Improvisation, Commedia Dell Arte, and the impact on the Twin Cities Scene.

3rd c.B.C to early A.D. - "Fabula Atellanae", comedies and popular farces, parodies, and political satires featuring stock characters with large masks (Pappus, Maccus, Servus, Mandacus, and Dossenus, originated in Atella, south of Rome.

1268 . - Venetian Carnevale documents first use of masks.

1321 . - The Divine Comedy.

1450 . - Gutenburg Bible printed.

1480 . - Botticceli: 'The Birth of Venus'.

1500 . - Benvenuto Cellini born.

1507 . - First performance of Bibbiena's "La Calandria", based on Plautus's

"Menaechmi", in Urbino.

1518 . - Machiavelli publishes ' La Mandragola', one of the earliest plays with

commedia-like characters and plot.

1525 . - Pietro Aretino publishes "la cortigiana", his most famous comedy.

1528 . - Angelo Beolco, known as Il Ruzzante, presents a comedy in which each

character speaks a different dialect.

1532 . - Machiavelli's 'The Prince' is published (posthumously).

1545 . - The first contract for 8 artisans forming an Italian professional acting troupe,

at Padua.

1548 . - Francesco Andreini born.

1552 . - A.F. Grazzini refers to improvised playing at Florence.

1564 . - First record of an actress (Lucrezia Senese) listed with an acting troupe

1564 . - Shakespeare, Marlowe born.

1565-6 . - First references to commedia characters - e.g., Zanni and Pantalone - in

connection with acting companies.

1568 . - February: earliest surviving detailed description of an improvised

performance by Massimo Troiano da Napoli at Castel Trausnitz in Bavaria. This

indicates foreign touring by commedia troupes.

1568 . - First mention of the Gelosi Company in Milan.

c1570 .- paintings depicting commedia dell'arte.

1571 . - Gelosi Company makes its first visit to Paris, where it acts at the house of

the Duke of Nevers before Charles IV. Company of Zan Ganassa (Alberto Naseli) also in Paris this year. First illustration of Arlecchino.

1574 . - Zan Ganassa Company is in Madrid. Gelosi Company invited to Venice to

play for French King Henry III (the third son of Catherine de Medici) at his request. First record of Confidenti Company.

1574 . - Record of Italian performers in England at Windsor and Reading (did

Shakespeare see these?)

1576 . - Henry III of France requests the Italian company he had seen in Venice to

perform in Paris.

1577 . - Gelosi Company is again in France, protected from French Parliament by the

King.

1577 . - The company of Drusiano Martinelli performs in London. There is indication

that Italian comedians accompanied Queen Elizabeth on her summer travels.

1578 . - Gelosi Company returns to Florence, under the direction of Flaminio Scala.

1585 . - Palladio's Teatro Olimpico completed.

1587 . - Confidenti Company is in Spain.

1588 . - Gelosi Company returns to Paris, briefly.

1589 . - A great theatrical spectacle mounted in Florence to celebrate the marriage of

Ferdinand I and Christine of Lorraine, included a Commedia performance starring Isabella Andreini.

1590 . - First mention of the Accesi Company. Shakespeare's Romeo and Juliet

opens.

1599 . - The Globe opens.

1600 . - Accessi Company peforms for the marriage of Henry IV and Maria

de'Medici.

1601 . - Tristano Martinelli, celebrated Arlecchino performer, publishes

Compositions de rhetorique. Fedeli Company formed by G.B. Andreini (son of Francesco and Isabella).

1601 . - Shakespeare's Hamlet performed.

1604 . - Isabella Andreini dies at Lyons. Francesco Andreini gives up the commedia

and disbands Gelosi Company. Inigo Jones brings Italian stage scenes to England.

1605 . - Comici Fedeli formed, acquiring several actors from the Gelosi Company.

1611 . - Flamino Scala publishes Il teatro delle Favole rappresentative.

1611 . - Shakespeare's Tempest performed.

1613 . - Maria de'Medici invites Comici Fedeli to Paris, where they played off and on

until 1623.

1616 . - Death of Shakespeare.

1619 . - Flamino Scala's Il finito marito published.

1624 . - Death of Francesco Andreini.

1630 . - Death of Tristano Martinelli.

1634 . - Italian players perform in Warsaw.

1637 . - Domenico Biancolelli born.

1639 . - Racine born.

1640 . - Last mention of Confidenti troupe.

1642 . - English Parliament, influenced by the Puritans, closes theatres.

1658 . - Fiorelli-Locatelli Troupe shares the Petit Bourbon with Moliere's company,

the Compagnie de Monsieur.

1660 . - Restoration of Charles II. Davenant's and Killigrew's companies granted

patents (women included).

1661 . - Arlecchino, Domenico Biancolelli, called to Paris.

1664 . - Scaramouche, the most popular italian character, receives a pension of 15,000

livres.

1673 . - Moliere dies. His company and the Fiorelli-Locatelli troupe move to the

Guenegaud Theatre, where they play until 1680.

1675 . - William Wycherley's "the Country Wife" opens in London at the new Drury

Lane Theatre, designed by Christopher Wren, on the site of the old Drury Lane which burned in 1672.

1676 . - George Etherage's "Man of Mode" performed to great success.

1682 . - From now until 1697, the repertory of Italian comedy falls into two

categories: comedies of buffoonery, parades, parodies and satires, and nuanced character comedies similar to Moliere and Marivaux.

1684 . - Italians begin making changes with their dialogue,interjecting French

phrases and interpolating entire scenes into French.

1697 . - Italian players expelled from Paris because their scenario "La Finta

Matrigna" pokes fun at Mme de Maintenon, the mistress of the King.

The King authorizes Tortoriti (Pascariel) to form a troupe of his own, using some of the same actors, but they cannot come within 30 leagues of Paris.

1698 . - Jeremy Collier publishes "Short View of the Immorality and Profaneness of the

English Stage".

1716 . - Louis XV re-establishes Riccoboni's Troupe in the old Hotel de Bourgogne

Theatre, where they keep the spirit of the characters, but perform in French.

1723 . - Louis XV grants a subsidy of 15,000 livres to Riccoboni and his colleagues.

1737 . - the Stage Licensing Act passed in England.

1739 . - Carlo Goldoni becomes dramatist for Medebach's company.

1742 . - Antonio Sacchi, the great Arlecchino, forms his own company.

1745 . - Goldoni writes Servant of Two Masters for Sacchi.

1760 . - Carlo Gozzi attempts to revive improvised playing.

1762 . - Goldoni leaves Venice to work with the Comedie Italienne in Paris, where he

lived until his death in 1792.

1762 . - The Opera-Comique is amalgamated with the Italian comedy.

1780 . - The theatre of the Italian comedy assumes the name "Theatre des Italiens",

although there was not a single Italian actor left in the cast.

1897 The Moscow Art Theatre is founded by Constantin Stanislavsky and Vladimir

Nemirovich-Danchenko. Its work created new concepts of theatrical production and marked the beginning of modern theater. Rebelling against the highly stylized theater of the 19th cent., the founders set out to create instead a true ensemble theater based on a realistic method of acting and production. Their productions of Chekhov's plays, especially suitable to the company's subtle and intense style, brought fame to both Chekhov and the theater. Other memorable productions were Tolstoy's Czar Fyodor Ivanovitch, Dostoyevsky's Brothers Karamazov, and Gorky's Lower Depths.

1911 Teacher, Sociologist, and Educational Theorist Neva Boyd founds the Chicago

Training School for Playground Workers and begins developing her theories on creative game-play.

1921 Neva Boyd founds the Recreational Training School at Chicago’s Hull House

1923 Russian trained actor/director Richard Boleslavsky opens the American

Laboratory Theatre or “The Lab” in New York, NY. A member f the Moskow Art Theatre and Student of Stanislovski. His co-director Maria Ouspenskaya conducts rehearsals using improvisation for the first time in American Theatre. One student of the school is Lee Strasberg

1924-1927 Neva Boyd has Viola Spolin living in her home as a student. She teaches Spolin games, storytelling, and dramatics. These will become the basis for Spolin’s life work.

1931 Lee Strasberg, Harold Clurman, and Cheryl Crawford found the Group Theatre in New York. Basing their work on Stanislavski, they use improvisation to train actors. Strasberg’s work becomes known as “The Method.” New York continues to use improvisation solely as ab actor training tool, not as performance art.

1932 Dudley Riggs is born in Little Rock, Arkansas. He joins his family’s circus as a

performer at age five.

1939-1941 Viola Spolin is Drama Supervisor of the Chicago Branch of the WPA’s Recreation Project. She works primarily with illiterate immigrants, she develops theatre games out of necessity to unlock creativity and self expression. The first audience suggestion was used in 1939 in a public performance with a cast of actors all under the age of 14. The Chicago media headlined “Yesterday’s News is Tomorrow’s Play.”

1941 The Group disbands and Strasberg moves to Hollywood

1946 Viola Spolin moves to Los Angeles to form the Young Actors Company

1947 Strasberg returns to New York where he joins fello actor Elia Kazan at The Actors Studio; he later becomes director.

1948 Savern Darden and Paul Sills begin classes at Chicago University, home of the ad hoc theatre company, Tonight at 8:30. Sills becomes director in 1950. Sills also eventually starts teaching Spolin workshops at the theatre. Sills is Viola Spolin’s son.

1950s The advent of television causes the attendance of live performances to wane.

Dudley Riggs and some of his fellow circus performers bring a new act to New York City, incorporating “audience input” into parts of the show for the first time. Calling themselves the “Instant Theatre Company,” the group brings the show to Chicago, Washington, D.C. and Burbank, California, before settling in Minneapolis.

1952 David Shepard, with $10,000 inheritance, hitchhikes to Chicago with a dream tp

open his own theatre based on the work of his idol, Bertoit Brect. He comes fresh from studying caberet theatre in Europe. He wants to open a cabert-style theatre that could be “replicated in every community around the globe.”

1953 The Playwrights Theatre Club opens in Chicago. Paul Sills had the actors, Dave

Shepard had the money, and Eugene Troobinick had the car. It was to be a professional repertory theatre. To avoid city ordinances they sell membership by subscription. Actors include Zohra Lambert, Ed Asner, Elaine May, Mike Nichols, and Barbara Harris.

1955 After bribing nearly the entire city government, the Playwright’s Theatre is closed

by the fire inspector. Sills rents a theatre at the University of Chicago for classes.

1955 On May 15th Roger Bowen debuts his first scenario play, “Enterprise,” at the

Reynolds Club at the University of Chicago. This is the first modern long-form improvisation, a cornerstone in Shepard’s style. Shepard continues his quest for a ‘theatre for the people,’ running ads in New York newspapers reading: “Wanted: Ten scripts for popular theatre opening in Chicago. Prefer Brectian fables and political satires, plays on famous modern events, cabaret material. Will correspond with wood-be playwrights.”

1955 On July 5th, Fred Wranovics, a former bartender, takes over the bankrupt Hi-Hat

Lounge on 55th Street. He knows shepard and Paul Sills from the Playwrights Theatre Club. They team to open the Compass Tavern. The Compass Players perform in a back room, and they make improvised scenarios the basis of the theatre. Shepard introduces “The Living Newspaper,” improvised scenes based on newspaper stories of the day.

1955- November 1st, The Compass Players have been kicked out of the Tavern because

bar sales are more important. They move to The Dock on South Lake Park Ave, owned by George Schall. The actors are all members of equity. Shows run Wednesday through Sunday. They rehearse 2:00 to 4:30, run home to change, return to socialize with the audience at the 5:00 cocktail hour, and the curtain goes up at 8:30. The show is primarily improv at this point and made up of audience suggestions tat are compiled and discussed over a 15 minute break before the improv set.

1956- A man named Keith Johnstone was commissioned as a playwright by the Royal

Court Theatre. This eventually led to a position as Associate Artistic Director, working as Play-Reader, Director, and Director of the Writer’s Group. He used improvisatory (his term) techniques to develop creativity, spontaneity, and narrative skills. The exercises were such a success in rehearsal that the company decided to try demonstrations in schools and colleges across England. It was met with such success that The Theatre Machine was founded to perform Impro.

1957 Ted Flicker opens the St. Louis Compass Players with actors Nancy Ponder, Jo

Henerson, and Del Close, They live in the mansion of Fred Landesman. In July Ted Flicker and Elaine May spend every day for two weks in the third floor kitchen of the mansion developing what would become known as the “Westminster Place Kitchen Rules.” These rules were as follows:

1) Whatever verbal or pantomimed reality that is brought to the stage by one player may not be negated or denied by another.

2)While improvsing, a player has infinite opportunities for choice, and it is better to take an active rather than a passive choice. Try to take the “unlikely choice.”

3) In an improvisation, where there are no lines, or given characters, or dramaturgical ‘spine’ to set a character in motion, you are your character, although not one called by your name. All characterizations, or acting, comes from an exaggerated or intensified rendition of yourself called by another name.

4) All improvisations require the discovery and development of three elements; place, character, and circumstance (the where, who, and why) wherein a need for each other between the characters is expressed.

5) Since neither doing business (buying or selling), nor arguing are dramatic transactions, they should be avoided.

1958 Dudley Riggs brings his “Instant Theatre Company” to the Café Espresso on

University Avenue in Northeast Minneapolis. His café/theatre houses the United States’ first espresso machine west of the Mississippi. After years of battling the audiences, Dudley decided to incorporate them into the show. He began asking the audience for their input, “Who do you hate in this town?” When the audience shouted, “The Mayor,” the troupe would perform an instant sketch about the mayor. At the time, the word “improvisation” was a term used primarily by jazz musicians. Since Dudley had great respect for jazz, he avoided the term “improvisation” and dubbed his new art, "Instant Theatre." Later, in a New York Times review, a critic dubbed Dudley’s art, “Word Jazz.”

1959 On December 16th the Second City is opened in Chicago in an old Chinese laundry

and adjoining hat shop by Paul Sills, Roger Bowen, Eugene Troobnick, Dave Shepard, and Bernie Sahlins. The name comes from an article in The New Yorker by A.J. Liebling where he claims that Chicago always wished that it was like New York.

1960 November 22, 1960, New York: After interviewing 3,000 actors, Ted Flicker opens

‘The Premise’ in Greenwich Village. To avoid a theatre license it is registered as an “exhibition of mental ability.”

1961 At the Brave New Workshop, the current style of comedy satire/satire revue

shows is established, and the name “Brave New Workshop” is added for the first time.

1961 Paul Sills opens The Second City in Los Angeles and New York.

1962 The first improv classes are taught to high school students at the Brave New

Workshop.

1963 The first edition of Improvisation for the Theatre by Viola Spolin is published.

1965 After mounting productions in the Café Espresso on University Avenue, then

moving to 207 East Hennepin Avenue, Dudley Riggs and crew follow the muse to 2605 Hennepin Ave-nue on November 30, 1965, making the former bike shop into their permanent home. The ticket price of a Brave New Workshop show in 1965 is $2. Current owners John Sweeney and Jenni Lilledahl are born.

1970 Brave New Workshop International Touring Company is formed to take the

Brave New Workshop style of improvisation to college campuses and outlying

Minnesota communities, as well as to other states and countries.

1971 Dudley Riggs opens a second theatre, the Experimental Theater Company (ETC),

at 1430 Washington Avenue in the Seven Corners area of Minneapolis. This theatre and café become home to other Brave New Workshop productions, as well as stand-up comedy and variety acts. The 2605 Hennepin location continues to be the theatre’s main stage. Dudley Riggs operates the ETC until 1991, when he consolidates his operations back to the single 2605 Hennepin -location.

1972 In San Francisco the Groundlings is formed

1970s The Brave New Workshop International Touring Company expands to in-

clude performances at conventions and for private businesses. This is the first time the Brave New Workshop crosses over from stage to boardroom.

1975 The fourth annual New Year’s Eve Party at the Brave New Workshop features a three-and-a-half-hour satirical comedy focusing on the low points of the year, as well as a buffet for the grand price of $8.50.

1984 Dick Chudow creates ComedySportz in Milwaukee based on the format of Keith Johnstone’s TheatreSports, creating an international franchise.

1985 Viola Spolin publishes “Theatre games for Rehearsal: A Director’s Handbook.”

1990 The Brave New Workshop celebrates twenty-five years at 2605 Hennepin by reducing ticket prices to the 1965 price of $2.

1997 John Sweeney and Jenni Lilledahl purchase the theatre from its founder, Dudley Riggs. The name of the historic theatre changes slightly to “The Brave New Workshop, founded by Dudley Riggs in 1958.”

1997 The Brave New Workshop signs a seven-figure contract to be the official comedy provider for the new Disney Cruise Line ships, the Magic and the Wonder.

1997 The Brave New Workshop decides to aggressively expand its corporate services division, developing new corporate entertainment and training products and increasing its scope from less than fifteen events per year to more than one hundred.

1998 The Brave New Workshop celebrates its forty-year anniversary by opening a new space for the theatre’s main stage and offices at 3001 Hennepin Avenue in Calhoun Square.

1999 The Brave New Institute grows from seven students to a school hosting more than two hundred fifty students each week. It now has eleven teachers and fifteen sections of class per week.

2000 The Brave New Workshop produces “Flanagan’s Wake,” an interactive Irish comedy at the 2605 Hennepin location. This production is in cooperation with the Noble Fool Theatre of Chicago.

2001 The Brave New Workshop reaches another milestone when, for the first time in its history, it opens a theatre in a location other than Minneapolis. The Brave New Workshop renovates the historic Palace Theatre at 17 West Seventh Place. In January 2001, the Brave New Workshop opens that space with the Irish comedy, “Flanagan’s Wake.”

2002 The Brave New Workshop moves its main stage operations back to the 2605 Hennepin Avenue theatre, once again establishing this location as its historic home. ComedySportz Minneapolis moves into the Calhoun Square.

2003 “Flanagan’s Wake” closes after a successful two-year run, making way for “MN: It’s Not Just For Lutherans Anymore!” which opens in the Palace Theatre space.

2003 The University of Minnesota’s Improv Group is Founded, an ‘open gym’ is held every Monday night at the U of M’s Rarig Center

2004 Religious Pretense is first performed at the Minneapolis Fringe Festival

2005 Religious Pretense is performed as part of the Xperimental Theatre Season at the U of M

2005 David Shepard appears at the 8th Annual Chicago Improv Festival.

Castle Crumble

hursday, March 15, 2007

Castle Crumble When I was a kid I used to have a few repetitive dreams that I have been thinking about lately again. I have not been having them again, thank god, but they are still fresh in my head even though they stopped about 15 years ago…. I used to have this one dream where I was playing in my sandbox and at my swing set all alone, slowly all the evil characters from "Pete's Dragon" (http://en.wikipedia.org/wiki/Pete's_Dragon ) start to appear. They oozed out of the sand, the popped out from behind trees, and they were all around me. My mother was suddenly there, but she was frozen stiff, and couldn't do anything. Some times I would beat up the Gogan Family before they could take me away, some times I would fall victim to them, and other times I would just wake up. Another dream that I used to have involved my father getting remarried. My parents are still married to this day, very unhappily, but they are still married. When I used to have this dream they were still happily married. I had to build my father and my step mother a castle on the top of a hill before their wedding, and I always did it…. I don't know how, but I did. It was always after the castle was built that I would be sitting on a wrought iron bench at the bottom of the hill. It is a beautiful day, almost magical and cartoonish how perfect it is. There is a pretty girl at the other end of the bench, and we are making eyes at each other, but we never get the chance to speak, both of us are far too shy. I turn my head and look down to see a perfect little daisy at the foot of the bench, I reach down to pick it for the pretty girl, and as the stem of the daisy snaps, the ground starts to shake. A tremor rushes all over the hill and the castle starts to shake. I hear my "stepmother's" scream from inside the castle as the castle crumbles into a pile of rock. I hear my Father scream my name so loud that everything in the world shakes, and as I turn to the pretty girl, she too is screaming, but the only sound is that of my father's voice echoing and shaking. This dream never had a different ending, and there was never a way to break free from the dream even when I knew it was not real.

Yesterday was a good day...

Sunday, November 05, 2006

Yesterday was a good day... Current mood: happy Yesterday was a great day. First of all, I don't blog, but I feel like this is a good way to get out some things. Yesterday I watched the Homecoming parade at the U. Homecoming is always great, I saw good friends, had a good time, and I was very proud of Deke, the members, the alums and of course the pledges. I feel honored to be their New Member Educator. Last night was closing night for the Brave New Workshop fall show, "The Left, the Right, and the Ugly; or Blue State Blues." Several of the FOH staff and myself messed with the cast a little. Needless to say, I was shirtless in front of 200 customers including my staff, my students, my coworkers, and my bosses. It should have been grounds to be fired, but at my job I was 'Yes, anded…' and it wasn't until afterwards that I thought about the fact that I could have been fired for it. I will never do something like that again, at least I don't think so. See, while it was funny, it was kind of screwing over the scene. And I don't like that. It was funny, but I walked a very fine line. At the end of the show I was awarded a gift for my years of service to the BNW. I got a BNW letter jacket, which is awarded only to people who have either gone through the entire mainstage process of writing and performing an entire show or to those who have worked in admin for several years. I never bought my letter jacket in high school, but the black and red I got last night means a lot more than the black and orange from Cedarburg High, or the maroon and gold from the U of M. Getting that jacket was very humbling. I have wanted that jacket for a long time, but when I was pulled up on stage by John and Jenni, I never felt less deserving of it, because I now feel like a member of an elite group of dedicated individuals, and I am honored to have been included. My life is centered around only a few things right now. Those things are my family and friends, my work, my fraternity and ties as an alumni of the University. Most of my friends are tied to me through work and the U, and they are like family to me. The Workshop is like that too, except that it is a job, a job I respect and enjoy, with people I respect and enjoy, and I want to go to work every day. For a time, things were kind of messed up in my life, but over the past week a lot has come together so I feel like my life is back on track. Now it's back to me to jump on board and keep things going. Good things are yet to come. Yes, and.