Grats to all who got on a UCB-NY Harold / Lloyd team! Good on ya!

For the rest who didn’t get on a team, how was your audition?
Awesome! WTF?
Terrible. I expected not to get a callback.
Terrible. At least I got a callback.
Awesome! But my callback was awful.
So so.
What just happened?

Don’t beat yourself up
It’s really not worth it. Ok. Beat yourself a little bit, then snap back and realize that you live in NY and you have time to do one of the coolest hobbies ever. Improv. Or, if this is your career choice (improv performer, teacher, coach, actor), this is just one more step toward your awesome journey.

If you’ve been doing this a long time (like me) please don’t take it personally.

My last UCB Harold audition was here in L.A. I thought I had it in the bag. I didn’t even get a callback. I cried my damn face off, curled in a fetal position, eating chocolate, which smeared all over my face and frizzy hair till I was blue. Then I chilled the eff out and realized, “I've been having an awesome year. Why do I care about this?” I care because it’s not just about being an actor, I care because it’s hanging out with people I know and like and to have a blast being funny. I didn’t get on a team or a callback because I was not what they were looking for, or my timing was just not on at the audition, or because the some of the judges have no idea who I am, or something. Who the hell knows. And that’s just it. Like ANY audition, you will never know. EXCEPT know that they ARE rooting for you. They ARE your fans.

Let’s be real. I was upset. I wanted to know why, especially since I had really good friends on the judges side rooting for me. So I asked why?

Because they’re looking at 100’s of people and you have to shine to get noticed.

You don’t have to make uber magic, but you do have to stand out. Think about it. There’s 5-20 judges watching maybe 10-20+ hours of improv of 300-500+ people. In a row. Barely any breaks. You know who they’re going to remember? Those people who stuck out. They might get bummed if a friend or intern or someone they really like didn’t shine. I have no idea if they give second chances to those folks. If it’s anything like casting a commercial (I worked in advertising), then no or rarely. That person better have a really good name and track record to be called back from a bombed or so-so audition.

On a scale from 1-10, I thought my last audition was about a 6.5. I think you’d need a 8+ to get called back. But this was my best audition. My first scene killed (and my scene partner got on a harold team. Yay!). My second scene, bleh. I should’ve been able to save that bleh and turn it into a Woot! But whatever. I can’t get stuck in the past and neither should you!!! It’s done.

Now ask “Why do I do this?”
I really really really love making people laugh. It’s my favorite thing ever. I love that I’m always discovering something new in my classes, teams, and shows. I love that it makes me a better actor. I love that improv introduced me to acting. I love that my best friends are improvisors (and some former improvisors). I love that I get to play on stage and it’s seen as something awesome and brave. I love that I get to be creative all of the time. I love watching my friends succeed on stage, TV, and film. I love that this is so much damn fun and this is my job. How does it get any better than this?

Just like a weird or mundane character in an improv scene that we feel stuck in, ask why. And then ask, "What’s right about this I'm not getting?" It’s not good or bad that you’re not on a Harold team, it’s just something that’s happened. You’re not a good or bad person for not getting on a Harold team, it’s an experience you had that you get to chalk up to another moment in life.

Stay in the now. Keep hanging out with your pals. Without hurting yourself or others, have a drink or eat a bunch for one night. Then puke it up and live on. You never know what else is possible.

Practice group: a group of 6-16 people who come together once a week with a coach to practice improv
- these groups are good for improvisors starting out in their first year
- these groups can be formed after level 1 or 2 
- it’s advised that most improvisors be a part of at least 1 practice group or indie team to get more practice
- get more “improv reps” in; also know as scenes
- play with more people
- it’s a good way to work on your individual strengths/weaknesses
- the opportunity to possibly to learn different/more improv tools from your coach verses your current teacher
- this may turn into an indie team with the possibility of performing-
 have fun, you’re paying money to do this in your free time

Please don’t (you can, but please don’t):
- stay in a group you don’t like to play with
- give each other notes
- get in your head

PLEASE:
- HAVE FUN!!! :)  (seriously)


Indie team: a group of 1-8 people who perform independently of a theater
- depending on the experience level of the team, the team may come together 0-4 times a month to practice with or without a coach
- the team performs at various improv venues
- these groups are good for improvisors starting out in their first year
- these groups can be formed after level 1 or 2, but usually solidify after level 3 or 4
- get more “improv reps” in; also know as scenes
- play with a core group of people

**It’s advised to play with people you LIKE!!! I know this sounds stupid, but I’ve seen a lot of groups that have formed that don’t play together that don’t really like how each other improvises. Do what you sense is good for you. If you’re miserable in a team, leave it. Yes, easier said than done, but your body and mind will thank you for taking out of a spot you didn’t like. Also, it’s a lot of fun to eff around on stage with your friends. Form a group with people that you like to hang out with. A huge reason is that if you’re having fun, the audience is having fun.

- you’ll get a better understanding of Group Mind (especially if you’re playing with friends)
- it’s a good way to work on your individual strengths/weaknesses
- the opportunity to possibly to learn different/more improv tools from your coach verses your current teacher
- this is a great way to get better and to prep yourself for being on a house team at a theater...sometimes these indie teams become house/harold teams at a theater
- have fun, you’re performing for free and in your free time

Please don’t (you can, but please don’t):
- stay in a group you don’t like to play with
- compare how good your team was verses other performance teams
- give each other notes
- rank how your show went if you didn’t have a coach to come and give you notes
- beat yourself up if you had a “bad” show
- get in your head

PLEASE:
- HAVE FUN!!! :)  (I’m not kidding)


Coaches:
- Pay them. Wherever you live.
- Highly advised for practice groups.
- Advised for indie teams that are new (or with players who’ve been doing improv under 3.5 years).
- Advised for indie teams who have been learning improv from a book or from individual members going to workshops/classes then coming to the team to “teach” improv to the group.

Your agent told you to sign up for an improv class. You did improv in college or high school. You’re broke and really don’t want to do another class.

Go sign up for UCB level 1. UCB is hot right now and you’ll learn some basic improv skills.
(Please note that this is true for today, 2012. Another school may be hot one, two, three years from now.)

iO west is the bomb. Go here if you want to strengthen your improv and acting chops.

Groundlings also still has a name, but you’ll learn more short form and characters.

If you’re in NY, talk to other actors and casting directors and see if they also recognize The Magnet Theater and the PIT, which are also good improv schools.

If you want to take a lot of improv classes but don’t have the money, contact the school and find out if they have an internship program and apply.

Please be respectful and don’t call yourself an improvisor after only taking level 1 that one time 2 years ago. 

Don’t be a little brat and have a fit if you don’t get on a Harold team after your first audition. It takes a lot of time (usually) before anyone is placed on a team at any theater.

If you really want to be good at auditioning for commercials, go take Brooke and Mary (NY) or Killian’s Workshop (LA) and consistently be in an improv class/group with practice once a week.

Improv is an improvised scene study. You will gain very similar tools that are taught in scene study classes. I know. I’ve been in both traditional acting classes and improv and they say the same dang thing. Improv will strengthen your acting skills as well as your “life” skills (like being yourself when you walk in a room; dealing with high pressure performances; saying “Hi” to a stranger). Don’t shortchange improv. Explore and heighten.

First. Please read this by Anthony King:
http://theanthonyking.com/post/18958200344/harold-auditions

What is a Harold audition:
It's an audition to be on an improv team that performs the form the "Harold"

Who has Harold auditions:
UCB (NY/LA)
iO West
Second City
Magnet Theater
The PIT

Why do you want to be on a Harold team:
***This might be the best question of all*** 
Make sure you ask yourself this question. Jot down some thoughts.

Here are examples of reasons WHY you want to be on a Harold team:
Status in the improv community (let's be real. this is usually a big reason for most)
Proof that you are funny
Proof that you are a great (not just good) improvisor
To be seen by agents, casting directors, writers, the industry
The opportunity to play with other kick-ass (or "approved" kick-ass) players
The opportunity to perform a lot
The opportunity to perform on the main stage of a respected theater
Networking opportunities

Think about why you're auditioning.
Try not to take things (like, ah, not getting on a team) personally.

I am going to speak more about not getting on a UCB Harold team because it is the most competitive audition for a Harold team at this time.

Here's a bit about me:
I was on several "Harold" (or performance) teams at the Magnet theater from 2006-2009.
I have never been on a Harold team at UCB.
I have auditioned for UCB-NY Harold teams 3 times and UCB-LA Harold teams 1 time.
I have never had a callback for a UCB Harold team.
I am funny. 
I perform all the time. 
I have both a commercial and theatrical agent.
I network with casting directors, writers, producers a lot.
I'm currently on 2 indie teams and was on at least 1-3 indie teams when I was in NY.
I was even performing improv for the short time I lived in San Francisco.
I have performed with a lot of kick-ass performers.
I currently perform with a lot of kick-ass performers.
I'm in commercials, indie films, web series, sketches, you name it.
I believe in myself and I know I will succeed at every goal I set for myself.
I have fans and friends at UCB, iO West, Magnet Theater, and The PIT.

My point is that YOU make your life what you want it to be. 
A Harold team (no matter where it is), will not.

Audition advice:
Be yourself. Be real. Don't think.

Now go live life for you.

I’ve been getting this question a lot recently:
When is a good time to start coaching improv?

Answer:
When people start asking you to coach. 

If you want to start seeking out coaching gigs, I would advise that you can start coaching after you’ve been doing improv steadily for at least 2 to 3 years (ideally 3 years). Meaning, consistently in class and performing. If your goal is to become a coach, I would take a TON of notes in classes and rehearsals to see how your teachers/coaches are setting up rehearsal time and breaking down each session. Think about what it takes to be a coach and not to show off you’re improvisor skills. Keep in mind what the goal of the group is as a coach.

I personally love it when coaches come in with a game plan for the team. This, to me, means that the coach is investing time and energy to figure out what is best for the team and the individual players. A coach needs to think about group mind and how each member can grow with that group. Each person learns improv differently and a coach should take each individual player into consideration and find what style of notes work for each person. I think a coach needs to be more specific with each team and the members than a teacher, because teacher should focus on classes that contain lesson plans for a given class.


Again. Broken down into bullets (because I like them):

• start coaching after doing improv consistently for 3 years
• take tons of notes in classes/rehearsals
• coaches focus on group mind; aka-what works best for each team
• coaches think about individuals and how each person learns improv within a team
• come in with a game plan for each rehearsal

I saw this image on some folks facebook wall:

The thing that bothers me that it is focused on L.A., which is complete ignorance. I would get it if it only read, “Oh, you took a level one improv class?” That makes more sense to me because people think they take one class in improv and they’re masters at improv. I abide by the Gladwell idea that you put in 10,000 hours to master a skill.

The flaw in the idea that you “will not learn good improv in L.A.” is proven by the fact that a ton of old-school Chicago improvisors teach at iO west and a ton of NY improvisors teach at both iO west and UCB. To name a FEW: Billy Merritt, Anthony King, Chad Carter, David Harris, Joe Wengert, Shulie Cowan, Craig Cackowski, Brandon Sornberger, Dave Razowsky, Seth Weitberg, Eliza Skinner, Eugene Cordero, Suzi Barrett, Susannah Becket, Julie Brister, Jill Donnelly, Tricia McAlpin...and tons more.

There are also good teachers in L.A. that I have yet to take that have produced L.A. improv talent that I admire like Betsy Sodaro and Rene Gube. 

There are also GREAT classes in L.A. for actors who are much more timid about approaching improv at Carolyne Barry and Second City.

Please educate yourself before reposting something like this, or rewrite it better.