Fortunately, our lockdown still allows me the creative outlet of writing, and it’s made it easy to keep up with my ambition to post here every day. But otherwise, I’m stuck in the house with the dog, other than the weekly trip for groceries, and the very occasional side errand.
Did you know that health insurers seem to have an aversion to taking payment via any method but mailed check? It probably has to do with HIPPA, but it’s damn annoying. It means I have to find an open post office that also actually has an open slot to put the mail in. And no, I couldn’t tell you the last time I’ve spotted a corner mailbox anywhere around here.
Oh, and stamps. Still, at least it’s a stealth mission I only have to do once a month, and I can avoid people while doing it if I work it right. The same is true of the ATM. There’s a little-trafficked outdoor one down the block from me, and when I have run into people there, everyone has done an amazing job at maintaining distance and only using one machine at a time.
These withdrawals, though, have nothing to do with the title of the piece. The hard part is not being able to go onto a stage and perform in front of an audience right now.
As of this writing, it has been about seven-and-a-half weeks, or fifty-two days, since I’ve done improv in front of a live audience, and it is… difficult.
Yes, we’ve continued to do shows via Zoom, but that’s just not the same. It becomes more of an exercise in staying connected with the team, which is very necessary and helpful, but it’s not performing in the same sense.
At our last meeting, someone joked about adding a laugh track to the session, and I was tempted to pull out the sound effects machine and do it — although it wouldn’t really be the same.
There’s nothing like the thrill of experiencing an audience’s live and immediate reaction, whether you’re doing comedy or drama. For example, one of the most exciting experiences I have as an improviser is when we’re doing a rhyming game like Da Doo Ron Ron, where the first two players come up with a single rhyme each, and then the third has to come up with three on the same word.
It’s an elimination game, but here’s the fun part. When you’re down to three players left, the same person is going to get the triple rhyme every time, and I’ve gotten such a reputation at being good at the game that, more often than not, this is the point when the ref puts me in that number three spot.
And there have been times when I’ve made it through three or four rounds — maybe even five — without messing up, and in that case, every time around, I can hear the audience’s anticipation and excitement just crank up, especially when I pull it off. Then, when somebody with only one rhyme whiffs it, I can actually feel the appreciation that I made it through.
Of course, there are other ways to get a reaction from an audience, and one of my favorites came from the time I played a depressed, unicycle-riding bear in an adaptation of a John Irving short story. What? Like you didn’t think of his name as soon as you say unicycle and bear?
There was one long scene where most of us were standing upstage while two other characters were doing their shtick in front of us, and I’d been given license to do business by the director, since that scene was not terribly essential to the plot.
The actress playing the grandmother character was wearing this fur stole with glass grapes on it, and so I decided that the bear thought they were real. At one point, I went over and tried to eat them, and she whacked me away with her clutch.
But before I went for the grapes was when I got the big reaction. See, I’d figured out that if I put these little hard candies from Trader Joe’s in my mouth before the scene and just let them sit there, I’d build up a lot of saliva. So I’d eventually notice the grapes, then start to obsess on them, then kind of sniff at them, and when I sensed that I had the audience’s attention, I let my mouth open a little, tilt my chin down, and wham! Drool cascade to the stage.
This would elicit an amused but disgusted “Ew!”, at which point, I’d go for the grapes, grandma would do her biz, and the audience would eat it up.
Although I was also part of the human chorus in that show, the bear had exactly four words of dialogue, right before dying, but it always felt like I did so much more without saying a thing through the rest of the show.
That one was a magical experience.
Another role where I had about the same number of words (all in Spanish) but again got to play everything through energy and body language was as The Dreamer in Tennessee William’s extremely idiosyncratic and weird Camino Real, which I described at the time — I think accurately — as a ton of fun for the cast, not so much for the audience.
I was basically a leather-clad pseudo-Jesus in intense eye-make-up hauling around a blind Virgen de Guadalupe, fending off the forces of evil at the end, and intimidating the hell out of the audience with my eyes alone. Seriously — black eye shadow above, silver below, can turn your eyes into deadly weapons.
Bonus points: We didn’t limit our playing area to the stage for that one, so we were all up in the house. Like I said, a ton of fun for us, not so much for the audience.
But right now, I’d be grateful for any show to perform live for living people. Yes, it’s kind of ironic that my original trajectory was never supposed to be as a performer. Truth be told, I actually kind of sucked in my middle school drama class, which discouraged me until I basically got dared into it in college — see the above link.
At the moment, it looks like there will be at least two more weeks of this, if not more — and, honestly, I do expect more, at least in sane states like California.
At the moment, I’m reminded of some of my lines from that college play I got dared to audition for, and then cast in:
For ill or good, let the wheel turn.
For who knows the end of good or evil?
Until the grinders cease
And the door shall be shut in the street,
And all the daughters of music shall be brought low.
Stay home, stay safe, tip your server.
Image source: Ghost light at WildWood Arts Center, Little Rock, AR, by Jon Ellwood. Used unmodified under (CC BY-SA 3.0)