billy-merritt

THE SECRET OF IMPROVISATION

When students walk into my class late I always pretend I’m in mid sentence and say “and THAT is the secret of Improvisation, I will never repeat it again”, everyone has a hearty laugh and we all move on.

Every now and then that late student will come to me after class and ask if they missed something, what was the secret? I tell them it was a joke, and hard work and practice is really the secret. I then see their shoulders slump and get sad. It would of been so much simpler if it was a one sentence secret that made them better.

I think to myself “Not only are you late to class, but you are lazy as well.” Congratulations! You have discovered how to be bad at this.

The secret of improvisation is everything, you have to do everything.

Show up on time for class and practice
See UCB shows
See Indy shows
See shows
Practice doing horrible bits with your friends
Practice having good conversations
Read everything
Watch everything
Listen to everything
If you don’t like a TV show or a genre of music, watch/listen to it twice and figure out why
Have opinions, but be willing to see the other side
Curb your judgment
Aggressively people watch
Take notes
Go on trips, journeys, and adventures
Learn one new thing every day

If you do all the work, you may not be good at Improvisation, but you will be a better person.

—  BILLY MERRITT (aka my improv teacher)
Kurt Vonnegut's Rules Of Writing (And Improv. Kinda.)

I generally try to avoid mentioning Billy Merritt by name. He’s like Beetlejuice, in that if you say his name three times he shows up at your house and gives away all your Zagnut bars to passing vermin. That having been said, a few years back he pointed out the following set of rules for writing from Kurt Vonnegut while coaching Sentimental Lady as bits of wisdom that need be adapted only slightly to apply to long form improv:

  1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
  2. Give the reader at least one character he or she can root for.
  3. Every character should want something, even if it is only a glass of water.
  4. Every sentence must do one of two things—reveal character or advance the action.
  5. Start as close to the end as possible.
  6. Be a Sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.
  7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
  8. Give your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

I quote rules 3, 6, and 7 liberally when I teach. Rule 6 (Be a sadist, for those of you who can’t be bothered to scroll upwards) in particular has been something of a driving force for me personally in scenes, as evidently I’m just an asshole looking for an outlet. It dovetails nicely with the emotional heightening nonsense I’m always going on about, and I enjoy watching scenes where characters are forced to deal with something that pushes them out of their comfort zone.

Starting Groups / Setting Goals

Billy Merritt subbed in to coach one of my teams a ways back and asked us something that had my head spinning for weeks: “What are your goals as a group?”

There was a lot of fumbling and mumbling and vague half-ideas, before he finally nodded a curt, “Ok,” as if we’d said all we needed to say by saying nothing at all.

When you practice with your group, what are you doing really? That is: what is the point of group practice? Don’t say to get better; you can do that in class.  Don’t say building group mind; you can do that at a Denny’s. 

Our group had no goals, other than to vaguely “get better,” so we did montages. Sometimes they were good, sometimes they were great, sometimes they were shitty, and the unstated goal was to “get better.”

This nagged at me. Our goal is to do better montages? Yeah, us and every other indie improv group.

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Listen

UCB Theatre LA Podcast

Join your hosts Billy Merritt & Casey Feigh as they take you backstage Los Angeles’ hottest comedy theatre. 

Episode 3

Andrew Daly (Eastbound & Down, Semi-Pro) recalls the early years of UCB, creating memorable characters and the struggles of making a movie in New Zealand. Then Jake Szymanski (FunnyOrDie, SNL) stops by to discuss directing, Internet videos & sandwiches.

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Lee Morgan: I Remember Britt

It’s amazing how little footage there is on Lee Morgan. This performance of Harold Mabern’s I Remember Britt come from a 1972 episode of Ellis Haizlip’s SOUL!, a series that ran for several years on public television in New York. The band consists of Morgan, Mabern, Billy Harper, Jymie Merritt and Freddie Waits.

-Michael Cuscuna



Follow: Mosaic Records Facebook Tumblr Twitter

stimpatch  asked:

What are the SU crew twitters so I can stalk em and keep heads up on things?

oh hm, well the ones I know of are (including people who don’t really update their twitters and people who have worked on the show at some point but don’t anymore)

Crew: Rebecca Sugar, Ian Jones-Quartey, Matt Burnett, Ben LevinLamar AbramsJeff Liu, Lauren Zuke, Amber Rogers, Katie Mitroff, Hellen Jo, Raven M. Molisee, Steven SugarDanny Hynes, Tiffany FordAleth Romanillos, Stu Livingston, Kevin Dart, Jasmin Lai, Kat Morris, Emily Walus, Angie WangAivi Tran, Surasshu, Aivi & Surasshu, Jeff Ball

Cast: Estelle, Michaela Dietz, DeeDee Magno Hall, Zach Callison, Susan Egan, Tom Scharpling, Dee Bradley BakerJennifer Paz, Shelby Rabara, Kimberly Brooks, Aimee Mann, Nicki Minaj, AJ MichalkaErica Luttrell, Charlyne YiKate Micucci, Matthew Moy, Atticus ShafferRegan Gomez-Preston, Brian PosehnJoel HodgsonBilly Merritt, Chris Jai Alex, SinbadCrispin Freeman, Mary Elizabeth-McGlynn, Toks Olagundoye, Godfrey, Kate Flannery

I’m probably missing some but yea

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Merritt Christmas!

Brooklyn Nine Nine “Johnny and Dora” (2x23) Press Release

JAKE AND AMY GO UNDERCOVER ON THE ALL-NEW SEASON FINALE OF “BROOKLYN NINE-NINE” SUNDAY, MAY 17, ON FOX

Kyra Sedgwick (“The Closer”) and Nick Cannon (“America’s Got Talent”) Guest-Star

Jake and Amy go undercover to catch Brooklyn’s most notorious identity thief, and the case brings them closer together – very close. Meanwhile, the entire precinct is caught off-guard when one of their own says goodbye to the Nine-Nine in the all-new “Johnny and Dora” Season Finale episode of BROOKLYN NINE-NINE airing Sunday, May 17 (8:30-9:00 PM ET/PT) on FOX. (BRK-223) (TV-14; D, L, S, V) CC-AD-HDTV 720p-Dolby Digital 5.1

Cast: Andy Samberg as Det. Jake Peralta; Andre Braugher as Capt. Ray Holt; Terry Crews as Sgt. Terry Jeffords; Melissa Fumero as Det. Amy Santiago; Joe Lo Truglio as Det. Charles Boyle; Stephanie Beatriz as Det. Rosa Diaz; Chelsea Peretti as Gina Linetti, Dirk Blocker as Det. Hitchcock, Joel McKinnon Miller as Det. Scully

Guest Cast: Kyra Sedgwick as Madeline Wuntch; Nick Cannon as Marcus; Ray Abruzzo as Michael Augustine; Ilana Guralnik as Lexi; Kevin Brown as Greg Gerg; Billy Merritt as Wayne Tercelle.

10 years

In September 2002, I took my first improv class at UCB. Months later, in March of 2003, I became an intern the same day we opened the 26th St theater. A couple months later, I became a tech intern. For the rest of 2003, I was both a tech intern and a theater intern. At some point, I ended up teching two nights a week. 

I worked odd jobs, mostly off of craigslist. I did whatever I could to pay rent and feed myself. By the beginning of 2004, I was running out of savings and didn’t have much lined up. I was thinking I might have to move back to my parents’ house in CT. My lease was going to end May 1st.

Spoiler: I didn’t move to Connecticut. 

I was offered a job at UCB as the Head Tech. I became the first person at UCB to be paid by the theatre to tech. I got to pick the tech interns, and eventually got to pick other people to be paid. I left teching in order to house manager in 2008, and came back to teching in 2011. A year later I became in charge of both NYC theatres’ tech people and came up with the title Technical Director. 

I want to thank Alex Sidtis for giving me a chance and letting me earn a living and stay in NYC. I want to thank Brian Waddell for training me and putting up with me. Thanks to Owen Burke, Anthony King, and Nate Dern for giving me awesome shows to tech. Thanks to Matt, Matt, Amy, and Ian keeping all of our dreams alive. Thanks to Chuck Dauble for being my friend and cohort and soundboard. Thanks to Billy Merritt and Kevin Mullaney for being my favorite improv teachers and mentors. 

Thanks to Jennifer Bartels, Chelsea Clarke, Fran Gillespie, Tricia McAlpin, Amber Petty, Craig Rowin, Mike Still, Sean Clements, Brian Berrebbi, Devlyn Corrigan, Paul Downs, Violet Krumbein, Joe Spellman, and Achilles Stamatelaky. Being on Harold Night for two years was a dream come true.

Thanks to Charlie Todd for asking me to be UCBW’s first referee, and thanks to Zach Linder for asking me to become a producer. 

Thanks to every tech intern, every paid tech, every volunteer at DCM. I’ll always be the self-proclaimed face of this department, but you all keep it going. Thanks to all the managers, bartenders, intern coordinators (Eli, Rachael, Claire), and interns. 

Thanks to the hundreds of people who have performed thousands of hours of improv, sketch, stand up, and storytelling with me in the booth. Thank you for taking my input, thank you for listening to me when I had to be the bad guy. Thank you for letting me black you out, give you the light, and hit every light and sound cue as best as I can. 

I’ve been a UCB Employee for 10 years. I don’t have much more to say.

CATHRYN MUDON

We’re doing a project where we ask people: what’s your UCB? We talked to Cathryn Mudon about Chris Gethard, ASSSSCAT, and doing experimental shows with Dreadnought.

LW: How’d you find UCB?

CM: I had some friends visiting in town and they were doing touristy things. I was working at J.Crew at the time and they were like, “Come meet us at this show! You camp outside on the sidewalk, we’ll get Chipotle and sit there for like three hours, but it’s super fun!” I was in such a grumpy mood after my shift and the last thing I wanted to do was go sit on the sidewalk, but I went.

That was May. I remember it because it was Fleet Week of 2007 and there were a bunch of naval officers everywhere. So we went and camped out for ASSSSCAT and got into the 9:30 show.

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