Alice Garriga

I sit down with Alice Garriga, a performer in the Atlanta improv scene and a member of the indie team French Improv. Alice takes us through her journey from comedy classes at the Alliance Theater in third grade, to a professional play in eighth grade, to performing arts high school, to joining the improv troupe KISS at Kennesaw State University, where she jumped straight into long form narrative under the coaching of Andy Cohen.

Alice opens up about graduating into the pandemic and losing improv for three years, and how taking a level one class at Dad's Garage pulled her out of a dark place and reconnected her with community and creativity. We talk about why every person needs a creative outlet and community to feel whole, and how improv is essential to our humanity.

We get into the full story of how French Improv was born, from KSU alumni rehearsing in living rooms and sunrooms to landing a free weekly show in the hallway of a coffee shop bar in Little Five Points. Alice shares what it takes to run a sustainable team, from Google calendars to the tough conversations that keep friendships and improv groups alive.

Alice and I also have an important and honest conversation about keeping women safe in improv spaces. She shares a personal experience of being called a slur on stage at a jam and what it felt like, and we talk about whose responsibility it is to step in, how to check in without speaking on someone's behalf, and why setting the tone at the top of every jam and class matters more than most people realize.

Links:

@frenchimprov

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Email any questions or ideas to joel@thejoyofimprov.com

Host: Joel Camargo - Insta - @joelc1225
Audio Editor: Matt Issacs - Insta - @mattisaacs20

Transcript

Introduction

Joel 0:02

Hey everybody, thanks for joining me for another episode of the Joy of Improv Podcast. Today's guest is the lovely Alice Garriga. Alice is a performer in the Atlanta community. Alice is a part of an indie team called French Improv that does a lot of great community shows. They're free. They bring out other indie teams to open for them and play with them. It's a really, really cool show. Alice has a very deep and rich performance background starting when she was really young. We talk about Alice's journey to discover improv through high school and college, where she joined the improv troupe at KSU called Kiss, K-I-S-S. Alice talks about how she loves long-form narrative improv. We get into Alice's experience on French and how they coordinate their rehearsals and how the creation of that team came about. And Alice and I have a deep and important conversation around how to keep women safe in improv environments and in the improv scene. Alice and I talk about how important it is to find community and community in general, not just improv community, but how improv is so connected to finding our own humanity. It is such a cool and deep, meaningful conversation. I'm excited for you to listen to it. It is packed with so many great things. Here's the episode, and here's Alice. Welcome everybody to the Joy of Improv Podcast today. Today's guest, I'm so excited to introduce Alice Garriga.

Meet Alice Garriga

Alice 1:42

Hi! Oh, this is so exciting.

Joel 1:44

This is so exciting. I'm so excited to have you on here. A neighbor from down the street. Yeah, literally. So fun. Ugh.

Alice 1:50

Neighbors.

Joel 1:51

We got a cool little improv community over here. Well, Austin Austin Combs just moved away.

Alice 1:56

I still claim him as our neighbor.

Joel 1:57

Yeah, I still claim him as neighbor. Steven um Michael, Michael Smith is moving away, also. Oh my gosh.

Alice 2:03

And Cosmo's right down the street, too.

Joel 2:04

Cop is down the street. There's a few. This is a great area. I love where we're at here.

Alice 2:07

And Alyssa and I live together famously.

Joel 2:10

So yeah, we we're gonna claim this area as just the improv. Yes. As the improv hub. Um, I'm so excited to have you on. Thank you. And just to nerd out about improv, I feel like we do that occasionally when we're hanging out anyway. Yeah. So let's just record one. Let's record a nerd out session. Yeah. And have fun. And let's let I want I want Atlanta to get to know you as an improviser and performer.

Alice 2:33

Cool. Hey Atlanta. No, thank you for having me. I'm really excited. Me too. I love to gab. I love to gab.

Joel 2:39

Let's gab it up. Let's gab it up. Um, I'm so eager to hear how everyone's journey starts with improv, and I want to hear about how you came to improv.

How Alice Found Improv

Alice 2:48

Yeah. Um, when I think back to like my genuine first experience with it, it's probably in third grade. Um, when I took comedy classes at the Alliance Theater.

Joel 3:02

In third grade?

Alice 3:03

Yes. I've always been like a theater silly kid. I remember when I was like barely conscious, like five years old, being at a magic show, um, and the magician asking for volunteers. And I was like determined. I was like, oh my gosh, me, me, me, me, me. And um, my mom and dad, they're both famously, incredibly introverted. And my mom like Famously. Famously, no, that they're so introverted. We can get into that later. Um, but having an as extroverted a daughter as me was interesting. I remember my mom pulling me aside and being like, if you raise your hand, that means you have to get up in front of everyone. And I was like, I know, I want that. Um, but yeah, no, my first experience, I didn't know it then. I didn't know really what improv was until college. But I remember being in this comedy class and I look back and we were just playing improv games, little improv warmups, like modern. No, not at all. It was just a way to keep me busy during the summer. And uh boy, did I love to do things, any kind of side quest activity, a hobby. I if I could try it, I wanted to. Um, I I wanted to do everything, and so it was hard to zero in on a few things to actually do.

The Performer Urge Was Always There

Joel 4:23

Yeah, that performer, though that performer urge was already there at a year age.

Alice 4:26

Yeah. I got the theater bug very young. I did my first professional play in like eighth grade at Georgia Shakespeare. Um, it was a Christmas story, and that was very magical. What makes it professional? You said professional. Yeah, like I got paid. Like I auditioned for a theater, like, yeah, like that that's what I mean by professionalism. Like they paid like eighth grade me to say seven lines and be a snooty little know-it-all kid in this adorable Christmas play. That's incredible. Yeah. Um, and that's like what really solidified, I think, my love for it. That's what led me to go to performing arts, um, high school to Cab School the Arts. Um, and I was heavily involved with theater and improv there. Again, didn't really understand the name for it. Um, we would have fundraisers for us to raise enough funds to go to Thesscon, um, which my Georgia Theater nerds, where are you at? Did you also go to Thespian Conference in Columbus, Georgia? Comment below.

Comedy Combat and Theater Sports in High School

Joel 5:28

Yeah, comment below on wherever you're listening to this.

Alice 5:32

Um, it was a huge deal for us to go. And we would put on a show every year called Comedy Combat, where we would literally just get two groups of students and one teacher each, which was always really fun. Um, and we would basically do uh like theater sports at my school, um, but on like a you know high school level. We would just play improv games back and forth, we'd choose a winner, the points didn't matter.

Joel 5:58

Was it like the licensed theater sports or was it comedy sports?

Alice 6:02

It was like, I don't think it was the licensed one. We we just called it I I don't know.

Joel 6:07

You called it something else, it was like a competitive improv

Joining KISS at Kennesaw State University

Joel 6:10

and yeah.

Alice 6:10

We called it comedy combat. Um so that was like my first like like time doing it in front of an audience, you know? Um and then in college, uh I went to Kennesaw State University uh and as a freshman I saw this group there called Kennesaw Improv Society Stupid or Keep It Simple, Stupid. Both of these are acronyms for KISS, and that was the theater and performance studies uh group of like improvisers, and and it wasn't just theater students, like there were students from other majors who participated in the group as well. It was Kennesaw's improv group and they were amazing, and I was lucky enough there like for whatever reason there was an opening my freshman year. Um and I auditioned. I had been to like one jam, and I was like, this terrifies me. I want to do this, I want to get good at this so that one day this doesn't scare me. That was like my whole reason for doing it. Um and somehow I got in.

Joel 7:15

Wow, and so somehow this prof by this time we've already been in a professional production.

Alice 7:21

It's different though. I think like acting and improv really lend themselves to each other, but they are like different, you know? And and I know some actors who hate improvising, and I know some improvisers who hate acting, and so I think they both benefit each other.

Acting and Improv: Adjacent But Different

Joel 7:37

Yes, they so they are adjacent. And I'm I'm minded. But I know it's not everyone's cup of tea. Sure. And when you when I hear you say you don't know how you got in, I think about you've already been performing since third grade. Yeah. Or in this production. So uh what comes up to mind to me is stage presence.

Alice 7:59

Yeah.

Joel 8:00

And I that stands out so much. Watching improv, I can tell who's done theater.

Alice 8:06

Uh right?

Joel 8:07

Yeah. Like you can tell by the way someone's standing or by the way someone's emoting.

Alice 8:12

Yeah. Oh, that person's no, it's ingrained into you, like stage presence and like how to hold yourself, how to carry yourself, how to breathe. You know, it's like, yeah, it's ingrained in you by that point. So yeah, I guess you're right. I remember at the time being like, huh? That's amazing. Like, how did this happen? But you're right, looking back, like

Stage Presence and the Theater Advantage

Alice 8:31

it makes sense.

Joel 8:31

Yeah, I'm sure you auditioned and everyone was like, holy shit.

Alice 8:34

Ha ha.

Joel 8:35

I don't know about that. Oh my god, this Garica?

Jumping Straight into Long Form Narrative

Alice 8:39

Oh gosh. But it was it was definitely like a huge learning curve. Like I got in the group and um our group at Kennesaw, we were huge nerds for like long form narrative. I remember joining, and that was like just what everyone was starting to learn was how to do a long form narrative set, like a 45-minute to an hour-long narrative. And I it was like jumping in the deep end. Like I barely had any time to work on short form. I it was just like that. Um and at KISS. At yeah, at Kennesaw State with KISS, yeah. Okay. And we were very lucky. Like we have a great relationship with Dad's Garage, and so dad's garage instructors would um teach classes or workshops with us on occasion.

Joel 9:23

Nice.

Alice 9:23

Our long-term coach when I was there was Andy Cohen, and that is the man that taught me improv. Uh I owe so much of it to him. He taught me so much, um, and was just such like a positive, brilliant influence. Um, I'm very I feel so lucky I got to work with him. Yeah, he's awesome. Yeah. He's awesome. But yeah, it was it was definitely jumping in the deep, and I didn't get into improv in the traditional way that I think most people do, which is short form, then long form. I went in long form first and then figured out short form later. Because as a group, we would perform a lot during the school year. We had shows where we would do more short form games, more long form things. Um, and that was like where I kind of learned it was when we were prepping for those shows. We would work on games and then I I I would uh learn the game of the game, and you know. But most of what I spent my time on at um in KISS in college was like narrative structure. We were really fixated on doing like movie formats. Uh Marvel movies were super big when I was in college, so we definitely did a few like superhero themed ones. We did horror movie ones.

Genre-Based Narrative with Coach Andy Cohen

Joel 10:39

Uh just hitting all the genres. All the genres.

Alice 10:42

Yeah. Andy, he was he's known for genre properties.

Joel 10:46

Oh, yeah. I remember in Conservatory he when he dropped in to teach.

Alice 10:49

Oh, he's brilliant with it. And that was like a heavy influence in our narrative for sure. Was like if you could find a genre, like really honing in on it. That it was such a guiding light, you know.

Joel 11:00

Oh, I love that. So would you say that the way you learn long-form narrative at with KISS at KSU was through this coaching?

How KISS Learned Long Form

Alice 11:10

Yes, a hundred percent. We would meet with Andy, I think like once or twice a month, um, or more, but we would rehearse at minimum twice a week. That was something that was really important for us.

Joel 11:24

Right with no coaching, right?

Alice 11:25

Like um, no, we would we we would rehearse with a coach and then we would either rehearse on our own or we cycled through hosting um jams at the college for the students. Cool. And that was really pivotal too in me understanding improv and like solidifying the lessons I was being taught, was then immediately having to regurgitate it and teach it to students. Because we all had to do our our due diligence and like host the jams. It wasn't like one person's duty. We all had to do it, you know, it was just part of being in the group. Um and that was really helpful. I I don't know about you, but I'm such like a kinetic learner. I I I it's best if I'm like talking it out and doing it. And so getting to talk about something with someone and then having to teach someone that or regurgitate it is like the best way to get it to stick in my

Teaching to Learn

Alice 12:20

mind.

Joel 12:20

100%. I feel like since I've started teaching improv, I've become a better improviser because of how often I'm having to recite these practices and what I'm seeing um in classes, and yeah, 100%.

Alice 12:36

Yeah. Uh so that was really cool. And like, I think I I think back to just like all the things that were just so important. We would we would hang out all the time too, like as a group, group bonding and like being close with each other was really important for the group then. Um, and it was also fun because you're in college and oh nice. I have this built-in group of best friends. That's awesome.

Group Bonding and Chemistry on Stage

Joel 13:01

And that shows on stage too. That chemistry shows on stage.

Alice 13:03

It does. I think it really matters. And so, like, I I carry that into what I do today. You know, like those are the fundamentals that I feel like really worked for me. And I and I I still try to do all those things today with my current group.

Joel 13:16

Yeah, with your current, which we'll get into French, your current group with a lot of these college buddies.

Alice 13:20

I know, yeah.

Joel 13:22

Uh the long form narrative that you learned at KSU with Andy, did y'all go through story structure, like story beats?

Using a Whiteboard to Track Narrative in Rehearsal

Alice 13:29

Yes, we definitely went through the save the cat structure, um, beats. Oh, a whiteboard was huge for us. Uh like writing it out. Um, I remember when we were learning how to do long form, we there would be so many characters. Um, we would run off stage when we were rehearsing, write names down, um, maybe draw a line to who they're connected to, and then run back on just to be in the wings, ready to go. But just doing that little bit in rehearsal was so helpful for like being on and not dropping stuff when it came like game time for shows and things. That was really important.

Joel 14:05

That's interesting.

Alice 14:06

So during rehearsal, you'd have a whiteboard near you all during during a 'cause we rehearse in classrooms after school, you know, like seven, eight o'clock at night, and we're just in one of the lecture halls. Um, so yeah, there'd be a whiteboard there and we'd be working on stuff, write stuff down, go back to it. Um mid-scene? Uh yeah. Well, not mid-scene. Like, let's say we open up uh a set and we we meet our main character and his love interest and his mom. You know, we after that scene wraps, one of us who has time, who doesn't think they need to be in the next scene, would write the names down, cool, maybe draw a line between him and the mom, a heart between him and the love interest, if we had time. Yeah. Sometimes it was just writing the names and getting to the next beat. Yeah. You know. Um, and we didn't do that all the time, but oh, it was it was so helpful for me.

Joel 14:59

There's something I do like about that in a learning environment.

Alice 15:02

Yeah.

Why Teaching Story Structure Is So Hard

Joel 15:03

Um, because teaching teaching narrative is tough. Teaching story structure is tough. Oh my gosh. For those who don't already have a theater background, if like um getting like someone through the improv track, the regular improv track to learn narrative and story structure. Yeah. It's such a new muscle to flex and learn.

Alice 15:22

Oh my gosh, you're so right. In theater, especially like I I got my degree in theater and performance studies. We're talking about the hero's journey constantly. We're talking about like beginning, middle, and end, climax, resolution, like all that stuff in so many different ways and formats all the time. Yeah. You know, so coming into that without a theater background, oh gosh, you know, you're completely rewiring your brain. Yeah.

Joel 15:46

You know, truly, truly. That's what I try to keep reminding my students in intermediate and advanced musical improv because we're trying to improvise a musical with a story structure and it's also long form, yeah. Yeah, and it can be tough. I I say it all, I say it that hey, this can some of these scenes and shows, these sets can be uncomfortable because you're feeling you're in your head trying to figure out these plot beats.

Learning Narrative Beats in Musical Improv

Alice 16:10

Yeah.

Joel 16:11

But once they're in your bones, it'll just it'll feel more. It's a new skill. It's a completely new skill that's hard to learn. You just gotta like, you know, muscle through. But I'm thinking hearing you talk about the whiteboard makes me think like, should I bring in a whiteboard to class during sets?

Alice 16:25

And oh, absolutely.

Joel 16:26

So that's like a little nugget for the case.

Alice 16:28

So the more like visual like people and like kinetic people again, like me having to write it down. Oh, it just helps so much. And I don't do it now. Like in rehearsals for my group now, we don't do that, you know. But as a student, like learning the fundamentals and like structures and all of that, it was so helpful. Okay. Yeah.

Joel 16:45

Okay. Noted. Okay, so you're you're at KISS.

Alice 16:49

Mm-hmm.

College Improv: Shows, Late Nights, and the College Improv Tournament

Joel 16:50

What's what's post-college? What's post-KIS? Or is it is there anything more in the college adventures, improv adventures?

Alice 16:57

No, not really. We just had so much fun. We we were perform we were lucky to get as many chances to perform at our at KSU as we did. Like as we were doing.

Joel 17:08

How often was that?

Alice 17:09

We would have like a big showcase at the end of each semester, and um, we could have like smaller shows leading up to that as well, more short form-based. Sometimes we would get lucky and get to do a late night show, and we could curse. Whoa! Oh my gosh. And play sex with me. Ooh. Oh my god. So scandalous. Um and we would we competed in the college improv tournament, um, CIT. Um, cool. Yeah, and that was colleges. Yeah, with other colleges.

Joel 17:39

Oh, that sounds pretty cool.

Alice 17:41

So I had the opportunity to see other Atlanta improvisers that are my friends now, like improvising and then and be my rivals, you know. Oh, wait, at one point.

Joel 17:52

Wait, you got to play with friends, people that you're friends with now then. But compete with them.

Alice 17:56

Yeah. So how it would work is they would get all the college improv teams of Atlanta or nearby states. Like I know sometimes Florida universities would drive up for it, or vice versa. If it was in Florida, we would drive down sometimes. Um but yeah, like it was KSU competing with UGA, competing with Georgia Tech, competing with uh FSU, like all that stuff. So the rivalries are real, not just in football, but in improv, ladies and gentlemen.

Joel 18:26

Yeah, I can it was there was there improv shit talking? No. You're gonna get I'm gonna zip zap zop your head.

Alice 18:35

No, everyone was so kind and nice. I feel like no, it always tracks too, I guess. We we did have like our our rivalries, you know, like ah UGA with their herald. God, they were always so killer. And I I remember seeing them come up and I'd be like, damn, shit, I'm worried.

Joel 18:53

The heralds were good. You're saying.

Alice 18:54

Oh, absolutely. UGA swipe swiped the floor, wiped the floor. They they cleaned house often. Yeah, they're a very talented group. But so is Georgia Tech. Like Georgia Tech is where I saw Lucas Isabel um compete at CIT for Georgia Tech's team.

Joel 19:11

Wow, that's so cool.

Alice 19:13

Oh my gosh, they were so good. They did um some sort of narrative like sci-fi adventure form like uh story, and I just remember being like riveted by it. I was like, dang, they're so good. And then years later, like seeing Lucas again at Dad's Garage, I was like, oh my gosh, this is crazy. Yeah, you know? Ugh, so yeah.

Joel 19:35

That is so cool. Um, this has been coming up a lot and with guests, and also the podcast that I listen to, improv podcasts, like um Suzy Barrett's yes, also. Oh, fantastic. When guests mentioned that they started doing improv in high school and college, man, I'm so jealous. Yeah. That sounds so just getting getting those reps, that head start of the everyone talks about reps, reps, reps, reps. And to have a start in high school and college is like such a a gift.

Alice 20:05

It's I I feel so lucky for it because it it's it's so it's such a core part of who I am, which I didn't realize until much later in life, you know. Until I I wasn't doing it for a few years and I was like, why what's missing? Yeah, you know.

Graduating into the Pandemic and Losing Improv

Joel 20:20

Why am I feeling so sad?

Alice 20:22

Yeah, well, it was sad, you know. Um, because like after college, I graduated into the pandemic. Like I graduated December 2019, you know, and I thought I was gonna be a completely I thought I was gonna be on a completely different career track than I am today. You know, I was ready to do acting and like really hustle and hit the ground running and do a bunch of residencies in different states and all this stuff, and and that wasn't what I was able to do.

unknown 20:54

Yeah.

Alice 20:54

Just because of like life and circumstance and um finances, you know. And I took the time I needed to make sure I was like safe and stable as a person.

Joel 21:05

Yeah.

Alice 21:05

I had like enough money and you know, resources to keep myself afloat. And then once I got to like a more stable place again a few years later, I was like, oh I feel such an emptiness in my heart, you know? And that's when I started taking classes at dads again. I I took level one improv in like 2022 just because I missed it. And like I uh because of KSU's uh relationship with dads, I didn't have to take level one. They were very sweet and would offer us level two if we wanted to take it because of our like relationship with them and our experience. But if I just felt so after, like you said, getting the reps in, having it be such a consistent part of my life for so long, to have it just be completely void of it for three years, I felt so Disconnected and out of practice with it. And that class, like it pulled me out of like a very

Taking Level One Again and Finding a Lifeline

Alice 22:08

dark place.

Joel 22:08

And you said you put you signed up for the a level one?

Alice 22:11

Yeah.

Joel 22:11

Yeah.

Alice 22:12

And it was wonderful. It was so nice. And I have I have I know I'm getting misty eyed just talking about it.

Joel 22:20

That's beautiful.

Alice 22:22

Yeah. No, it was it was a lifeline for me for sure. And I realized I was not only missing that creative outlet and that art form, but also community. Yeah. You know, it was just kind of like eat, sleep, work, eat, sleep, work. Yeah. See friends when I can for so long.

Joel 22:41

It's miserable that that the eat, sleep, work routine.

Alice 22:44

Yeah.

Joel 22:44

And so many people are stuck in that routine, not realizing that oh man, life is meant to be enjoyed.

Alice 22:53

Yeah.

Joel 22:54

And to have fun and

Creativity and Community Are Essential to Our Humanity

Joel 22:55

be playful.

Alice 22:55

And we are meant to do so many more things than just that. I think every single person on this planet needs to have some sort of creative outlet and community. Community for sure.

Joel 23:06

Truly.

Alice 23:07

Um, but creativity I think often gets overlooked. I feel like some people don't feel like they're allowed to be creative or they're able to be. And I firmly disagree.

Joel 23:19

Yeah.

Alice 23:19

I think it's like something every human being needs. And creativity, that kind of outlet looks different for everyone. But I think it's essential to I don't know, just feeling more whole, you know.

Joel 23:32

I think it's essential to our humanity.

Alice 23:34

Yeah, that's a great way to put it.

Joel 23:35

I think it's essential to feeling alive and fulfilled as a human being.

Alice 23:40

Yeah.

Joel 23:41

Tapping into a creative outlet.

Alice 23:43

And for me, like that was that was improv. That's what brought me back. Um and it was wonderful. I took level two. I was about to take level three. Um, and then dads launched their conservatory program. Um, and it was brand, brand new and sparkly. Um, and I was like, well, that sounds cool. And I I know some people at dad's, they know me. Um, because oh gosh, I completely overlooked this. Um, it's not necessarily improv, although there were improv elements, but in college, I had the absolute joy and pleasure of being an intern at dad's garage. Oh, nice. Yeah, when they did when they put up Wicket, uh a parody Star Wars musical for the first time around like 2017, 2018. I was an intern for that, and I did that um for a few months, like in the summer and then like beginning of school. Um and it was fantastic. But that's how I really got to know people at Dad's. That's how I met people like Karen Cassidy, you know, and Travis Sharp. Oh my gosh. Um, just like absolute wonderful, amazing people for one. But two, just such like improv powerhouses and getting to work on them with Wicked was so eye-opening and cool because it was a new work. They were still figuring it out. And I remember watching, like in rehearsals, like Karen try out bits and things like that during scenes, like they were still working out how like certain scenes were gonna go or what moments were working, what weren't. So it was cool to see improv be such a tool in that creative process because we were doing a scripted musical, but we were writing but Travis was still writing the

Interning at Dad's Garage During the Creation of Wicket

Alice 25:31

script.

Joel 25:31

Oh, interesting, you know?

Alice 25:32

So it was really cool to get to be a part of that.

Joel 25:35

Oh, so they were improving some of the scenes to inspire the written material.

Alice 25:39

Yeah, yeah. Just like how I think a lot of people use improv to uh generate ideas for sketch and things like that can be used for so many things.

Joel 25:48

I hadn't thought about yeah, I've heard about improv to sketch that I haven't thought about improv to like screw something like a scripted musical.

Alice 25:55

Yeah, I can't speak for every new work at dad's, but yeah, I think it would be silly not to utilize that skill with so many amazing talented improvisers at their disposal, you know? But that was very cool and it helped me get to know a lot of really amazing people at dad's and just have like more um people to look up to, you know, role models and things like that in the improv world. So fast forward. Yeah, 2023.

Joel 26:23

Without bridging back, yeah, you're back out at level one, level two. We're about to do level three, heard about shiny new conservatory program.

The Conservatory Program and Finding Community Again

Alice 26:30

Heard about shiny new conservatory program, and I felt, and we love a callback, you know.

Joel 26:35

You do we love a callback?

Alice 26:36

I felt that same feeling of oh, that scares the shit out of me. I feel so out of practice, like I haven't been doing this for a while, but I miss it so much. And how fun would it be to get to immerse myself in it again and immerse myself in this community that I'm just getting to know? Like I ha I hadn't been to a jam yet. I had been too nervous to go. I was just going to my classes, you know, and and I auditioned and I got in. And I had like such an amazing year because of that. Truly. I went in it fully with the only my only goal going into it was to become a part of the community, yeah. And and hopefully, like, you know, beef up my improv in the meantime. But truly, I was just looking for community when I joined. Um, and I found that my conservatory group was so sweet. I uh have made so many friends from it. Um and and even outside of it, like getting to meet people at jams, uh like I'm meeting you. I I'm pretty sure we met at a jam.

Joel 27:42

Yeah, through improv for sure.

Alice 27:43

Yeah, through improv for sure. Um yeah, it it filled that void that I was looking for. And I'm so thankful for it because yeah, uh, it it was just it was something that was missing, you know? And having that little missing piece click again after so long feels so good.

What Makes the Atlanta Improv Community Special

Joel 28:03

Yeah, there's something about um when we talk about fulfillment, I think community is a big piece that that people forget. Not not just creative, yeah. Um, definitely creative is an element to feel fulfilled, but community. Community. Yeah, having community, yeah.

Alice 28:21

It was something I was really lucky to have in college in my theater major. Our major was very small, it was in one building, so we were just on top of each other all the time. And so I had community in that and in my improv group, you know? But graduating college, it bam slam into a pandemic. You kind of lose all sense of that. Bam slam right in there. Well, as everyone says, you know.

Joel 28:52

You know, people are gonna hear this episode and come up and be like, bam, slam. I'm starting something. Starting something new.

Alice 28:58

No, please don't. I can do better, guys. But yeah, it's like it was so lacking for me, that community. And I didn't realize how big and beautiful one could be. Yeah, like I'm so happy to be a part of the Atlanta improv scene. Everyone is so kind and nice. There's so many nice little like subsects of it too. Like getting to have our little conservatory alumni group of people and seeing that grow each year is so lovely. I love all of the women uh comedy events for improvisers in Atlanta. Those are so sweet. Yeah, like it's just oh, it's so nice. It's beautiful.

Improv as a Team Sport and Why the Community Is So Kind

Joel 29:37

It's beautiful. There's something, there's something unique to about the improv community because I feel like these are individuals. There, there I feel like there's this running joke, a comparing stand-up community and improv community, yeah, where like they're night and day are kind of vibes, vibe-wise, or whatever that the improvisers are always so nice.

Alice 29:58

I don't know. I've met some nice stand-up communities. Oh 100%.

Joel 30:01

I know. This is just like I'm a fan. Yeah, 100%.

Alice 30:04

I'm a fan of those guys.

Joel 30:05

Um and there's this like trope of like improvisers being so, so n overly nice and kind and kind. And uh I feel like the art form lends itself to building that type of community. Yeah. Because improv in and of itself, this yes and mentality, literally being open to anything, to conversation, to connection. Yeah. It like it helps, like this is such a unique group of people to connect with. It makes it so much easier to make friends, to connect with people, to hang out.

Alice 30:40

Well, it's in the name of the game, you know, support. You have to support each other on stage and off stage as well. I think, yes, no, everything you're saying, I a hundred percent agree with. I think improv has the luxury of being more of a quote unquote team sport, you know. With stand-up, I feel like it can feel very competitive, even though I don't think it has to be.

Joel 31:02

It doesn't have to be, right?

Alice 31:03

But I understand audiences seeing one comic after another, after another comparison is gonna happen, and it is something I I think stand-up is so freaking cool and vulnerable and amazing. Hell yeah. I'm terrified to do it, I never will. Um, but it makes me have so much respect for it, you know. Um but with improv, you have to support each other on stage if you want to have a good set, if you want to make something, you know. And I think that just translates to the community as well. The better you know people, the better improv you're gonna do is a is a philosophy of mine.

Joel 31:46

100%, you know. And knowing each other as a as people, and also you learn each other's unique playstyles too.

Alice 31:54

Oh my gosh, yeah.

Joel 31:54

The group mind of it all the group mind of it all when you when you know the exact setup to give to your scene partner, then you know you're gonna slam dunk it, yeah. You know, with a you know, such a cool

Atlanta Needs More Teams Rehearsing Together

Joel 32:05

feeling.

Alice 32:05

I love Atlanta for so many reasons, and something I would love to see happen more is uh like a drawing towards of more like groups rehearsing. I love these rotating casts, and those are so fun and electric and exciting, but there is such a profound joy in getting to perform with a group you know very well and feel so safe and supported with. Because and that's one of the things that makes rotating casts so exciting, is because people are playing together for the first time or like they don't understand each other's playstyles at well. So the magic really comes in seeing those people build something amazing, you know?

Joel 32:51

100%.

Alice 32:52

But I think there's just as much magic in really knowing someone.

Joel 32:57

We do need more teams.

Alice 32:58

Yeah, we need more teams rehearsing, rehearse, guys, hang out with each other, get breakfast. Yeah, do it.

Joel 33:05

Listen to us, go do it.

Alice 33:07

Be better. Cowards. Everyone, let's be friends.

Joel 33:10

Cowards, do it. Um no, this came up that was intense. You're doing the best you can. Yeah, you're doing the best you do. We had different energies there.

Alice 33:21

It's okay. We're we're nice improviser, strict improviser.

Joel 33:25

Yeah, you know. Um but this exact thing came up. Um, I I think it was um talking to in Madeline's interview.

Alice 33:34

Oh, I'm sure.

Joel 33:35

With um wanting more needing more teams also instead of rotating cast, but also the struggle of um spaces to perform, to to rehearse. Um and that led to like you could do it anywhere, like bibliothek, a bookstore, a coffee shop, like French house. Yes, we it let into that. So still possible to rehearse. Yeah. And um, but finding performance space sometimes needs to be think outside the box.

Alice 34:06

You have to, and and boy, do I know about that.

Joel 34:09

That's the We're gonna get there. We're getting there. We're gonna get to French because uh uh a team that Alice is on because they perform in a coffee shop slash bar slash theater.

Alice 34:20

All three illuminal space.

Joel 34:22

Yeah, and where patrons are sometimes walking through the set.

Alice 34:26

It doesn't happen as often as people say, I will say.

Joel 34:30

But it has happened and it's hysterical every time.

Alice 34:33

Oh, it's wonderful. It's such magical, silly, yeah, beautiful comedic fodder.

Joel 34:38

Yeah. Um, delightful, delightful. Okay, so we're at we're through conservatory. Conservatory was an amazing experience, amazing group

Post-Conservatory: Reuniting KSU Alumni to Rehearse

Joel 34:47

of people.

Alice 34:47

Mm-hmm. I got exactly what I wanted out of it was becoming a part of the community and getting to ingratiate myself and understand it. And then and at the same time, just getting to do improv again.

Joel 34:57

Just gonna do improv. That was my favorite part about going to the conservatory the after your year was doing getting those reps, consistent reps, every week with the same group of people for almost a year. It's huge, huge, huge, huge. Um yeah, such such a cool experience. Um, so okay, after conservatory, what's next? What happened? What what does Alice do?

Alice 35:23

Yeah, what was next was I formed well I didn't, but I joined a rehearsal group with uh KSU alumni. We realized because I went, I I was in conservatory in 2023 with Carson Siebolt and Nathan Brosy, who are also KSU alumni. Um Hootie Who, my guy.

Joel 35:47

Hootie who.

Alice 35:48

And in the next conservatory group, Zach Bromberg, Tad Cameron, Alyssa Eaglehoff, uh, they are also KSU alumni. Oh my gosh, and my best friend of all time, Courtney McCullough.

Joel 36:00

Lots of KSU in the scene. So many, yeah. Lots of lots of bright stars from KSU.

Alice 36:04

Absolutely. Um, but all of us, and even more people who who are not named, uh uh just because I don't remember them all. There were so many of us. Uh, we got together uh just to rehearse together, just to have like a group of kind of like-minded improvisers. We were all uh I was about to say raised. We were all taught by such similar people. You were raised by Andy Cohen. Yeah. Andy's babies.

unknown 36:34

No.

Alice 36:34

But we all had such similar backgrounds. We were like, oh, wouldn't it be fun to play together as different generations of KISS? You know, because I grew up, grew up, here I am again. Oh my gosh. I had the pleasure of being in KISS with Tad and Alyssa and Carson and Courtney through different years at KSU. Tad was there when I was just a baby, and then Alyssa, Courtney, Carson, and I were all around like the same one to two years. Um, so we did improv together almost all throughout college. Um and yeah, we started rehearsing together. And at first it was whoever could make it, larger amounts of us. Sure. And then it kind of whittled down just based on everyone's, you know, availability and things like that. And I was more free, um, because I just finished conservatory, you know. Um and yeah, it was wonderful. It wasn't all the time, but we always had so much fun. We would make it a point, again, to meet once a week if we could, just rehearse, do silly things, and we would try so much stuff. Like that was truly a time of like just exploration and fun for us. No agenda, just like doing prov for the sake of prov. And maybe if we wanted to, like, oh, wouldn't it be cool to do a show one day somewhere? Yeah.

Joel 37:53

Was this living room kind of rehearsal?

Alice 37:55

Yes, it was at my friend Zach's house. Um, we uh would Yeah, we had a sunroom, and that's where we would do improv in there or the living room wherever we could. Yeah, you know, and if it wasn't there, it was at Tad's apartment or my apartment. Um, like, or Orlys' apartment. We would uh move around.

How French Was Born - Java Lords

Joel 38:14

Was this French at this time yet? Or was it just meaning to do improv?

Alice 38:18

It was just it was just meaning to do improv. I don't think I'm trying to remember. I don't think we became French officially until um gosh, like I want to say late 2024 or somewhere in 2024. Um or like late, late. No, yeah, it was definitely 2024. Who knows? I'm so bad with numbers, I'm dyslexic, guys. It's all a mess up there. But yeah, we we were consistently pretty much meeting together, uh like the six to four of us, like Courtney and Carson when they could, and then me, Zach, Tad, and Alyssa. And Zach was just like at Java Lords one day talking with his friend who is like the bartender there. He's like, Yeah, this has been really fun. We're looking for it would be cool to do something at Spaces. And James at Java Lords offered us the space. They had used the space before for open mics and to have bands and other things. And James is James is the um bartender and I want to say yeah, bartender and runner of uh Java Lords and Little Five Points. Cool. Um Thank you, James. Thank you, James. Uh and he opened up his space to us for free in exchange for us bringing people. Wow. He needed more people uh on Thursday nights, um, just because it's like a coffee shop and bar, and sometimes people only think it's a coffee shop and then don't come in at night.

Joel 39:45

Yeah.

Alice 39:46

Um and we were like, we can bring people, we we know people, we just need a space. Um and so we struck a deal, and yeah, I want to say it was in February of 2025. That was our first show. Wow. Because this past year we we had our one year anniversary. We just made a year recently, yeah. Yeah, it was in February 2025. We did our first show there. Oh, and it was so stressful and chaotic and terrifying. Oh, figuring out that space for the first time to paint a picture. Um it is a building that is shared with seven stages, the theater. And so a lot of people they think, oh, I'm going to go see an improv group at a theater. Think again. Uh Java Lords is attached to it. Um so you just walk from the box office of seven stages to your left, and there's a bar, small skinny hallway of a bar that opens up into a small sitting room with again kind of an adjoining stairwell slash like ramp for um patrons to enter the theater another way. And it's a larger space, that gap, that liminal space. Um, and that's where we perform.

Joel 40:58

Yeah. So I I think I'll I'll I'll find some pictures and I'll post it up somewhere so the so the listeners can see.

Alice 41:07

Nice. But it it was a unique little space.

Joel 41:09

A unique space. But all that to say, y'all can find a place to do it.

Alice 41:13

Uh all that to say, yes, exactly. You can make a space out of anything. We pack out that tiny little bar often. Um, and again, uh we pack it out because one, it's a free show. Um, but two, I think it's just at like a nice sweet spot, um, kind of being a late show, but not too late. Do it 9 30 on Thursdays, you know.

Joel 41:35

Um even the the staff there is good vibes. Like everyone's always so yeah, everyone's so nice.

Alice 41:41

Yeah. We've really like found a rhythm with it. Our first show was very i i it was a learning process. We were competing with a show at the theater next door, getting out. Oh, yeah. We were trying to figure out when to start the show, when that would be over. Um yeah. But very exciting. We started, and that's that's how French started was just doing a show there. Um, and also like us wanting to pay homage to the Atlanta improv scene. We found a space and we were like, how awesome is it that we have this space? How can we make it accessible to other people as well? Because we're all so in love and big fans of the Atlanta improv scene and all of the amazing groups in it. We wanted to find a way to just like share what we had found and then also just like give people stage time that didn't have a chance to have any.

French and Friends: Sharing the Stage with the Community

Joel 42:36

Yeah, and what's beautiful what y'all did with French having uh openers come out for this free show to also just get publicity on their team. Exactly. And also eventually doing French um French and Friends.

Alice 42:52

Yeah. French French was formed um yeah, as the rehearsal group at French and Friends, the show we do at Java Lords, yeah, fully that was where it came to life.

Joel 43:05

Yeah, and then recently there's been like the friends only yeah, we've been switching it up a bit.

Alice 43:09

Just switching it up a bit, doing a rotating cast of like Yeah, just bringing out friends to perform in that slot. Exactly. Yeah, yeah.

Joel 43:17

And truly, truly, I mean, when we talk about community, building community and helping each other grow, like it doesn't get more community-based than that. Like y'all found a space to perform in this space.

Alice 43:31

Until we feel really passionately about it, yeah.

Joel 43:33

Yeah, absolutely. And you're just like to be like, hey everyone, I've we got a space here. Do you come perform?

Alice 43:40

Let's invite invite some of our friends to come out and because if we're winning, like so is everyone else, and vice versa. If my friends are successful, I am successful. Yeah. You know? Exactly. Because I think I think there's just such a wealth of like things to be shared, you know. My success is your success, is her success, is his success.

Joel 43:59

One hundred percent. And yet that that mentality is also like why I want people to share their stories here on this podcast. Yeah. So that people can hear this, you know, and feel inspired and maybe do more of it. And then like, you know, do more.

Alice 44:16

Because you can you can do so much. I feel like we box ourselves in to limitations and things we can do. But we're doing a show in a hallway and have been consistently for over a year and a half. And people love it.

Joel 44:30

It's truly a hallway.

Alice 44:32

It's truly a hallway, but it's awesome. Yeah. We've had we've had so many people come too. We've had Mark Kendall open for us. We've had uh dad's improvisers want to perform there and do their things, their own sets. We've had the wonderful Measure Island. Oh, yeah, Measure Island.

Joel 44:48

Yeah, that was a fun opening set.

Alice 44:49

Oh my gosh.

Joel 44:50

Like Yeah, so fun.

Alice 44:52

We've had we've had the pleasure of having so many wonderful people. People I thought like I was flabbergasted, they even knew about it and wanted to be there, you know? But I think that's a testament to just how well received it is and how like-minded we all are in it. You know, everyone wants a place to connect with the community and just connect with each other. Yeah, you know? And uh I if you can't find the space, make it.

Joel 45:25

Make it, yes.

Alice 45:26

We're like uh because I like we our rehearsal spaces are our our house, you know? Like we rehearse at Alyssa and I's house. It's always a little silly because her dog hates improv notoriously.

Joel 45:37

What? Oh yeah, how does the dog hate improv?

Alice 45:40

She hate we start zip zap zopping and she won't start barking. Yeah, not growling, but she's like, stop. Like she just she hates it. So, like there, it's never gonna be perfect, you know. We finagle it so like she's like on a walk when we improvise, you know. But if you can't find the space, make it, just get creative with it. Yeah, we um the house I live in is just a very creative house. I I live with Alyssa, as previously mentioned, but also her fiance Justin and our friend Simon, who are musicians and also such a creative household. Oh, such a creative household. They're audio engineers, producers, music producers, so talented, such cool guys. For Justin's 30th, he had a concert in our backyard. You know, and we made it work. The Simon and Justin like brought the audio equipment they needed. We had the sound booth through a window in Simon's room. Like we had to open a window and like have like the you know sound booth person be there, and we fed the cords through the window onto our back porch, you know. We put up string lights and stuff to make sure people could see everything. We told our neighbors, invited our neighbors. Nice again, community guys, you know. We we made sure to wrap it up at a reasonable hour so people could go to sleep. But like, if you can't find the space, make the space because people will come if you tell them to, you know?

Behind the Scenes of Running a Team

Joel 47:01

So people go to French to go to Java Lores, they they see this beautiful event that you've created. Yeah. I want to hear about what's the behind the scenes in order to make that happen about like just being on French, being on the team, producing wise, yeah. Um, rehearsing wise. What does that stuff look like? Like team management stuff.

Alice 47:21

Oh yes. Uh I love I love team management. Uh I'm such a a type A little Google calendar.

Joel 47:28

Every team needs that. Every team needs that person, yes. Yeah.

Alice 47:32

Uh definitely at the beginning, that was a large part of it. It was me being like, okay, guys, I'm setting out a Google calendar for recurring Sundays at this time, at this location, we'll determine if we need to move things around X, Y, Z. Um, it's it's helpful to have one of those. Yeah. Um, but as like the as we've settled into it, we've had to just like have conversations to delegate other responsibilities because one person can't do it all. Life gets in the way, work gets in the way, health gets in the way, you know? Um, and I think part of our success as a group is being able to have those tougher conversations with each other. So much of having a sustainable group to practice with is having sustainable, clear, open, like friendships with those people too. You need to be able to talk about stuff because it's not all sunshine and roses

The Tough Conversations That Make Teams Sustainable

Alice 48:28

all the time.

Joel 48:28

A lot of tough conversations to have.

Alice 48:30

Yeah, absolutely. But we love each other and we care about each other, and we make that the fore forefront, you know. Our friendships are always first, improv is second. If something's happening with one of us, that's coming before our spoken rehearsal on Sunday, you know? But we're we just it's so much communication, communication and organization and honesty, you know. Um, like because I was doing uh a brunt of the lot, a lot of the admin for a while, and I hit a wall with it. I was like, I'm exhausted. Yeah, and I said that. I felt I felt safe to say that. And I was supported immediately. You know, Zach and Tad and Alyssa were like, oh, well, I can pick up this, I can do the comms here, I can start making the posts, oh, I can reach out to so and so. Beautiful. But yeah, a lot of it is like our communication and also our enthusiasm. I think to have a successful group, you all have to be on the exact same wavelength of like care and commitment to it. We are all such nerds about French, we believe in each other so much. We you know, we care so much about French.

Joel 49:44

You can feel it in a show, watching a show. Yeah, I can feel it as when I'm watching a French show.

Alice 49:49

Yeah. Oh, I'm so glad. Because like I I love those guys, I love them so much. Yeah, and I believe I feel like we can do anything, you know, and having people I know that match that energy and that commitment to it is so important.

Joel 50:04

That's such a underrated key because I think a lot of people start a team or think about starting a team, and they're just like, let's just get a group in play. Yeah, and let's just do it.

Alice 50:16

And I think that's a great way to start out.

Joel 50:18

Yeah, that's a great way to start out. But I think the not enough conversations are happening, like, oh, what kind of commitment level do we have into this? It's really vulnerable. Because then people can drop off. Yeah. When not on the same page, I just want to do this for fun. I'm not, I don't want to.

Alice 50:33

Exactly. And everyone has different capacities for stuff, you know?

Joel 50:36

Yeah.

Alice 50:37

I don't think it's a bad thing if someone can't commit all their free time to an above group.

Joel 50:43

Which is also why rotating casts have their place too. Rotat rotating cast shows too. Yeah. Um, they have their place. Um, teams are definitely harder to manage because they require communication, commitment, yeah, consistency, scheduling, organization. Like so much more work, but they're truly so special when things are clicking.

Alice 51:04

Oh my gosh, yeah. And I and I feel so lucky with that. I feel so lucky that the people I get to improvise with are my friends. But like they weren't at first. You know, I knew I didn't know Zach at all. Like you know that. No, yeah. I met him when we first met for uh the KSU like alumni, uh like our first ever thing. I was like, who is this guy? Um, because we were all different generations of KISS, meaning not all of us went to school together at the same time. Zach and I did not cross paths in that way. And Tad and I, we were in KISS together for like maybe a year and a half, but not long. And we weren't, we did not by any means get to be the type of close friends in college that we are now. You know, my relationship with both of them has deepened so much from getting to spend all this time with them and like rehearse with them, you know. Alyssa, I feel very lucky because we've been friends since like 2015, you know, in the same classes in college, the same improv team. We've worked a lot of the same jobs together. We live together now. Gosh, I love that girl. No.

Joel 52:16

That's beautiful. That's beautiful.

Alice 52:18

But I feel so lucky to be able to improvise with such close friends.

Joel 52:23

Yeah, with your friends. Uh is there anything better? I feel like that's that's the dream. Yeah.

Alice 52:30

But it doesn't come without work. Like if you love someone, you're gonna talk to them if they hurt your feelings, if you're feeling stretched too thin, you know? But it sucks to have those conversations because you never wanna make someone feel bad or ask too much of someone or like show weakness. Like all those things are so uncomfortable and and icky. Yeah, you know. But it's it's pushing through those moments to be vulnerable, to ask for help, to show how you're truly feeling that you can come back together and come back stronger. You know?

Joel 53:07

French. Uh, French plays bi-weekly on Thursday nights at Java Lords. Java Lords in Little Five Points in Atlanta. Yeah. If you're it's a free show. If you're free, go check them out. They are incredible. Yeah incredible, so

Why French Is Called French

Joel 53:22

fun.

Alice 53:22

Do you want to know a fun tidbit as to why we're called French?

Joel 53:26

Yeah, I do. Because it's a weird name. So does the community. We want to know. Tell us.

Alice 53:32

Uh, we went back and forth so long on a name because nothing felt right. Um, and we settled on French just because it's easy, it's short, um, it's silly because none of us speak it. Like we're not like a French themed group by any means. Let me just state that for the record. Um, but we're all more mature versions of what we were in Kiss. And the joke was made, well, what's a more mature kiss? Oh, a French kiss.

Joel 54:03

Oh, wow. A little inside joke for you.

Alice 54:06

Just a silly inside joke, but that's why we're called French.

Joel 54:09

Okay. I see the connection. Yeah. Yeah. It's also funny when y'all introduce the team and like, hey everybody, we're French.

Alice 54:16

And we're not. None of us are from France.

Joel 54:19

Yeah. No, it's it's stupid. It's a funny bit.

Alice 54:22

Which I think is important.

Joel 54:23

Yeah, that's so funny. I didn't know that. French kiss. Okay.

Alice 54:27

Yeah.

Joel 54:27

Cool. That's so cool.

Alice 54:29

A little homage to where we all came from.

Joel 54:32

Yeah, that's beautiful.

Alice 54:33

But yeah, we have French and Friends, as you were saying. Uh, the I want to say the second and fourth Thursdays of every month, although sometimes that changes. This month it changed.

Joel 54:45

Follow the Instagram to stay tuned.

Alice 54:47

Follow our Instagram. It is Frenchprov ATL.

Joel 54:50

French Prov ATL.

The Faust Format: Improvising a Deal with the Devil

Alice 54:52

And we have more exciting shows coming up. We are working on a long form format called Faust, where we're improvising like a Faustian legend to deal with the devil. That is us like getting to flex more of our narrative.

Joel 55:03

What does Faustian mean? What is that?

Alice 55:05

So uh Tad and Zach do a much better job of explaining it. My nerds. But um Faust um comes from the old, old play, Faust, um, which is the original deal with the devil, is a man who makes a deal with the devil. He is a doctor, I think, and he craves more knowledge. And um he's granted that, and it comes with a price, and you know. But that is the original deal with the devil.

Joel 55:37

Okay.

Alice 55:37

And yeah, we we had we made up the format on a whim after being invited to do like a 15-minute guest slot at a friend's Faust and folklore open mic, like singer-songwriter night. My friend Riley Schatz, uh local Atlanta singer-songwriter. Love her. She's great, fantastic. I feel like she's gonna be. Follow her everywhere, she's amazing. Um, she was hosting uh a singer-songwriter night and asked us to do just a 15-minute set for fun because she loves us and we love her. And we were like, Oh, wouldn't it be cool just to make up a deal with the devil set real quick? Let's do it. And we did that, and like, oh, from there, we've been working on it. We're from 15 minutes, we're trying to get it to like 45 to an hour. Yeah, full long form, full production. That's been in the works for us for a while.

Joel 56:26

And and is the the Faust, the the gist is that there is a a deal with the devil somewhere in the show, and then we see the story playing.

Alice 56:33

That is the entire format is just a deal with the devil is made, and we see the we see the consequences of that. Okay, you know, and we get that inspiration from the audience.

Joel 56:46

Oh, that's fun. So, what's that suggestion? Like, if you were to make a deal with the devil, what would it be?

Alice 56:51

And then you hear or like we we started off with it because it we're still workshopping it.

Joel 56:56

Okay.

Alice 56:56

Um our original get for was what would you sell your soul for? Which is very fun. But what we've come to learn is a lot of people would just sell their soul for a piece of toast, or I'm sure you have money a lot. No, no, you would think when we rehearse it in rehearsal, we're always like love, money, time.

Joel 57:14

Yeah, because then and those answers would repeat constantly.

Alice 57:17

But what we've gotten, like the three times we've done it for an audience, as we've been like building it and workshopping it, uh, they've almost all been food related. Classic. And we have to like kind of pivot and work away from that. So we're we're working on the get for right now, um, which I'll keep a secret. You know what? Yeah, keep a secret that they uh figure it out when they come see it later.

Joel 57:37

But the suggestion for a show, for the inspiration for a show, is it I feel like it should be talked about more. I actually gave this note recently at a jam. Um, because the suggestion is should be more meaningful and strategic to inspire the set even more. Uh, because commonly it's just like, what? So give me a word, give me a word, give me a word. Yeah. And I'm like, and then we then we get the classic, we see here pineapple, we hear all the food, we hear all this

The Importance of a Strategic Suggestion for Your Show

Joel 58:06

stuff.

Alice 58:06

So much food. I I was at uh People be Hungry. People be hungry, and I get it. Because me too. I was at a show, I was doing a guest slot with Cooking with Gas, uh, that Turner and Brandon uh that's their group. They had me uh guest for a show they were doing. So much fun. I love them so much. Um, and their get for that when they asked for a get for, they added the caveat anything but food. And I was like, oh, how brilliant. What a great tiny addendum just to get away from it.

Joel 58:39

So they asked for a word but anything but food?

Alice 58:41

Um I think it's broader than that, but but the the addendum is what stuck to me. I was like, you know, I'm taking that. That's a good idea. So there's just so much food.

Joel 58:51

So much food. Some something I I I try to ask like a positive leaning positive question.

Alice 58:56

Yeah.

Joel 58:56

Like, what's something you're looking forward to?

Alice 58:58

I love what's something you're looking forward to.

Joel 59:00

Um what's a hobby you picked up recently? Um just something just slightly different.

Alice 59:05

It depends so much for me on the set and like what format you're using.

Joel 59:08

Yeah, especially for a format like for Faust, I'm sure that that get needs to be so specific.

Alice 59:13

It has to be. Yeah.

Joel 59:14

Um so like even polishing that is important for a show. So for all of you, I guess what what I'm what I'm saying is if you're building out a specific format and show, thinking of a strategic get suggestion to inspire your show even more is very important. Yeah. Is is crucial.

Alice 59:32

But yeah, we're working on Faust. We're also, um, I don't know if you saw us do Tripsitter at the Golden Egg.

Joel 59:37

No, trip tripsetter?

Alice 59:39

Tripsitter.

Joel 59:40

What's that? What's that about?

Alice 59:42

We did it once as an off-handed silly thing uh for golden egg that uh Drew runs. Um and we're we're making it into a format fully. That's also something that's in the works.

Joel 59:54

Is that another uh narrative?

Alice 59:56

No, it is uh th what we did for Golden Egg was three of us got legally uh stoned.

Joel 1:00:05

Oh, I saw the set. It was the slacker.

Alice 1:00:07

Yes, we did a slacker.

Joel 1:00:09

That set was so fun.

Alice 1:00:11

Three of us got stoned, and one of us didn't, and we didn't know who, but we had a poll on Instagram vote unknowingly what with what they were voting for, and so Zach had to be sober for the set and tripsit, me, Alyssa, and Tad, who were just so baked.

Joel 1:00:28

Y'all, this show was so hysterical. And also for those who don't know, a slacker set is a tap out or no, it's a walk-off. We follow the person that exits the scene, right? Yes.

Alice 1:00:39

And the fun part of that was the rules we made for ourselves were whoever is the sober person, we want to make it as fun for them as possible because they don't get to be stoned and they're having to babysit us, you know. So we let Zach pick the format we do and it basically do whatever he wanted.

Joel 1:00:57

Oh, he picked Slacker that night.

Alice 1:00:59

He picked Slacker and it was a format we had never done.

Joel 1:01:03

Wow, y'all, it was a blast.

Alice 1:01:05

I was so terrified.

Joel 1:01:07

It was a blast.

Alice 1:01:08

He made it a slacker and also made it a western because that's his favorite genre. Um yeah. So that was really fun, and we are in the process of workshopping that too to be a full actual show we do just because we had so much positive feedback from it. Uh because it was it was such a joyful, silly experience. It was a blast, silly experience.

Joel 1:01:29

Because even there were moments where like you can tell even when Slacker broke a bit, like there were those moments where people like forgot we're supposed to follow the person leaving. Yeah, but like it was so playful. Y'all were having so much fun. It didn't it didn't matter. Like all the audience cares about is that we're having fun, that you're having fun on stage, and it was so joyful.

Alice 1:01:52

As like a an improv show for improvisers, you know? Like, yeah.

Joel 1:01:57

I can't wait to see it again.

Alice 1:01:59

Oh, yeah. No, I'm I'm so excited. That's something we're gonna be hopefully remounting like later this summer.

Joel 1:02:05

Yeah.

Alice 1:02:05

But yeah, I'll all it's what the rehearsals are for, you know, just workshopping. Yeah.

Notes That Stuck: Do What Scares You

Joel 1:02:10

Um, so look out for French. Um, and I want to ask you about does anything stick out to you about when you took were taking classes or conservatory, any kind of any note that stood out to you that was really meaningful to you that stuck with you?

Alice 1:02:27

God, I've been taught so many brilliant, wonderful things. I think it's not something that I was taught by a sip specific instructor or anything, but a a lesson that I have finally like taken to heart, I think after pushing it away for a few years, is you have to do what feels uncomfortable. I so much in in life in improv try to avoid those uncomfortable situations whenever possible, but that's where growth happens, you know? And for all my improvisers out there, when you're warming up and someone suggests like that one game and you go, Oh, I hate that one, that's probably the one you need to do. Time and time again, any single time I have that feeling, that's the warm-up that I know is actually gonna help me for whatever that show is, whatever I'm working on. And I and when you push through that feeling and make yourself do the tough thing, it's so much better for you're so much better for it. That's where growth happens. And I think that would be as someone who's constantly trying to grow, and and I think is in a big period of growth right now.

Joel 1:03:41

It's very, it's very easy to want to avoid that uncomfortable feeling.

Alice 1:03:44

Absolutely, right?

Joel 1:03:45

Nobody wants to feel that way. No, but you're 100% right. That's where growth, that's where growth happens.

Alice 1:03:51

So that that would be my little tidbit. You know, do what scares you, do what makes you uncomfortable because you will be stronger and better for it. You know, don't do don't don't do something dangerous, don't do that.

How to Keep Women Safe in Improv

Joel 1:04:03

But you know, yeah, good caveat for legal reasons, yeah. It's just a good way to add that. Uh something that's been on my mind lately that I I think I'm gonna ask this to um my guests moving forward, uh specifically specifically women, is um something that's been on my mind lately is how to keep the community and improv scene safer for women and inclusive of women. Um like if you have any experiences or thoughts to share to bring awareness to some what women deal with in the performance space.

Alice 1:04:49

Yeah. Oh my gosh. Um, great question, first off. Hmm. I think definitely like a reason I feel so safe to go to dad's jams and and what like helped me start going to them, um, or or or want to return to them was how blatant people were about like our code of conduct rules, you know. I think creating a space that upfront isn't afraid to be like, hi, these are the expectations on how you treat each other, adhere to them, um is huge. Yeah, you know, because I feel at the top immediately, and I think everyone can get slack with it, but I don't think it's something that should be. There's always gonna be someone new who doesn't necessarily understand maybe what they're doing when they're making a woman uncomfortable. A lot of it's learned and subconscious, and they're just doing something because everyone is up there improvising and doing something really scary, probably for the first or second time. I have a lot of grace with that. But at the same time. Being unafraid to call that out, unafraid to say, nope, try that again. Um, really important. I think a lot of people, it's again, it's such a kind community. I think a lot of people are scared to say something when something inappropriate happens, but that's where the growth happens, that's where the learning happens. Um yeah, like being being unafraid to do that has made me feel a lot safer as a woman, like going to certain jams and things like that. Um and just being unafraid yourself as well to really be strict with your boundaries. I have certain boundaries that are uncomfortable to say when I'm checking in with people, but I do it almost every single time, you know, because I know I will be happier for it. People will know how to handle me with care and talk to me if I'm clear about my boundaries right out the right out the gate. You know, like don't be afraid to really advocate for yourself. Um and in the community, I just encourage like men to be aware. You know, if you see something, say something. If you feel that discomfort, you know, I think having the bravery to ask someone, like, hey, are you okay? How how did that last scene make you feel? I felt, you know, something was off with you. Like be having the bravery to check in, you know, and then to potentially like intervene. I I mean I think back to once uh Joel, you were at a jam with me and I was in a set with all men, and I do not think this was intentional, but I was called a bitch in a very harsh way on stage, and it made me just immediately shrink. And and like I hate being called that word. And I remembered starkly, I was like, oh, I didn't say anything about that in my check-in. And I was beating myself up for it and being like, I should, I should have told these guys not to call me a bitch.

When Something Goes Wrong on Stage: A Personal Story

Joel 1:08:07

Yeah, right. That's part of the problem, is you shouldn't have to include it in your check-in.

Alice 1:08:12

And I remember you you checked in with me afterwards, and I was like, Yeah, this sucked. I'm probably not gonna say anything. And you asked me, you were like, Do you mind if I say something? And I was like, ugh, that would be great. Because I know the person who didn't did it didn't mean anything by it.

Joel 1:08:30

Sure.

Alice 1:08:31

But if I can save more um green improvisers, women, um, from having an experience like that, and that and and that experience completely turning them off to improv, I want that.

Joel 1:08:46

Yeah, that I I think that's that's something I wanted to help avoid also, is because for you, um, you you you mentioned that you felt like you shrunk in that moment with your years of experience in th in theater in college performing so long. And I think about and you're still here in the scene, right? But some women who are new to improv, if they receive that experience, it's tough to come back.

Alice 1:09:15

It's tough to bounce back.

Joel 1:09:16

They're gone.

Alice 1:09:16

Yeah.

Joel 1:09:17

I I I've seen so many women not come back to improv.

Alice 1:09:21

It's hard. It's hard as a woman to find a space you feel safe in. Like, I have had to do a lot of unlearning and pushing myself to really get out there and do things because so there's so much fear, you know? Like I've been followed and harassed and assaulted. Um, and it makes it really hard to like go out the front door sometimes. And just those little extra steps that are just a few quick words at the beginning of an experience, you know, having the bravery to just step in and like have the tough conversation really make or break a a place and an experience for someone.

Joel 1:10:14

Need to set the tone up front and have safety at the front of mind. Um, I would say safety on top of prioritize it on top of fun. Because in my mind, some people can't fully let loose and have fun unless they know that the place is.

Alice 1:10:32

Unless they know that they're safe. Exactly.

Joel 1:10:34

So to be fully creative and vulnerable, it needs to be a safe space first.

Alice 1:10:39

Exactly. And I think jams specifically, so many people are doing something scary and brave and brand new for the first time. And there are so many mental hurdles they have to get over. But for the women there and the non-binary people there, there are like five extra ones they have to get over. Yeah. You know, like getting to walk away from a jam and I wasn't sexualized, I wasn't demeaned, I wasn't ignored. Um, that's huge. You know? And and like again, that doesn't happen often, but when it does, it can just, it can be so devastating, you know, especially to someone new or green to the scene.

Whose Responsibility Is It? It Takes a Village

Joel 1:11:26

Yeah. And um who whose responsibility I I have a thought on this, but I'm curious to hear your thoughts. Whose responsibility do you think it is to help keep um men specifically in check, but the the community in check?

Alice 1:11:50

That's hard because we don't really have like a a mayor.

Joel 1:11:54

I think that's I think that for for me that's part that's the hardest part when I think about this, is because like um I think about that moment where I checked on you and I was like, I I wanted to say something to that guy. But the part of me, I like I don't want to be the part of me doesn't want to be the the community police, policing, right? So I feel like that sh in my heart, I guess what what ideal world is that everyone is policing ourselves and put and policing each other, supporting each other. Yeah. Um I guess I guess in my heart, I wanna if you're a man listening to this in an improv community, I I I I feel like men should be holding other men accountable if they see something that potentially makes a woman uncomfortable in a scene.

Alice 1:12:46

Yeah. Um turning your mind on to that. I feel like a lot of people it's not even something they think about. You know? And pushing yourself to do the uncomfortable thing, to empathize, to understand, to look out for those things. Yeah. I think is really important. I I feel very safe when I know the men I'm working with like empathize and understand. You know?

Joel 1:13:16

Yeah.

Alice 1:13:16

When they when they take the extra step to to just be aware, to uh read the room, you know? Because it's something y'all haven't had to like uh adapt and learn growing up, you know? Like a lot of women are just like constantly analyzing the room, watching emotions, like reading body language for our safety. It's something that's like inherently learned in a lot of women.

Joel 1:13:40

And most men don't realize that.

Alice 1:13:41

No.

Joel 1:13:42

Yeah, about that that common w woman's experience. Um and I and I something that you said before stood out too about like sometimes when this happens, it's pro it most likely isn't malicious or intentional.

Alice 1:13:56

Almost never know.

Joel 1:13:58

I think that it just goes back to an unawareness thing. Not an not intentional or malicious. A lot of the a lot of times it's a new improviser knee-jerk reaction in front of an audience in the stage lights, not knowing what to do, and slip something out. Yeah. Um, that's inappropriate. Um, so having some grace, but I do think still in that case, somebody needs to teach that person. There needs to be a learning moment, a teaching

Grace, Awareness, and Teaching Moments

Joel 1:14:28

moment.

Alice 1:14:28

Yeah. I don't know what the best answer to it is because you know, that's something we're still learning as a community. But I think back to like the phrase it takes a village, you know?

Joel 1:14:39

Mm-hmm.

Alice 1:14:40

And and I think this is the same case. There are definitely like leaders in our community um and theaters and like uh people that have like power and influence, and them using their platforms and their voices to talk about it, or like just like be careful and watchful of those newer greener improvisers, I think is huge. But it's I I I feel a cliche saying this, but like if you see something, say something. Yeah, you know, it takes a village. You don't have to wait for your instructor to say something. If you're in a class with someone and you see something happen, you feel something shift, talk to someone, you know, like, hey, can we pause that scene real quick? Can we talk about what was just said? Or if that's too bold for you, like a scene ends pulling aside either the person who had that happen to them or the person who said it, either or I think it's easier to talk to um the person who has just had something uncomfortable happen to them to check in. So you never want to speak on behalf of someone.

Joel 1:15:54

Yeah. That's something I've thought about also is speaking on behalf of somebody.

Alice 1:15:59

Yeah.

Joel 1:16:00

Um yeah.

Alice 1:16:02

In a sense, I think it takes away a lot of their autonomy. And I would never want to do that.

Joel 1:16:07

Yeah.

Alice 1:16:08

You know? But it takes a village.

Joel 1:16:12

And it and it and it's scary and vulnerable even to when you like to say some, see something, say something, even that is scary too. Yes. Um, and in I I've only done this a handful of times, I think. The the what the similar thing to that that night with your scene that you explained. Um and almost every single time, it's just like deflected. It does not, I feel like the it's not registered. Yeah. What I'm saying.

Alice 1:16:40

Yeah. Um I feel so lucky and thankful to be able to have this conversation because there's so many women in comedy now.

Joel 1:16:50

Yeah. Yeah, and it's growing. And I think that's why this conversation even is even more important.

Alice 1:16:56

Yeah.

Joel 1:16:56

To keep it safe and to keep the community.

Alice 1:16:59

Because there's so many amazing funny women in Atlanta. And like across the freaking world. Yeah. You know, and I think that's why these conversations are cropping up more and people like you are thankfully like wanting to raise the issues because finally there are enough women in the room for people to ask those questions. Before when it was just one woman, maybe, if we're lucky.

A New Era of Improv and Growing Pains

Joel 1:17:25

Right.

Alice 1:17:26

I don't know if that was even a conversation being had.

Joel 1:17:29

Yeah.

Alice 1:17:30

You know. So I'm I'm really thankful to be able to have this conversation. But I think we are entering a new era of improv. I think improv is like really on the rise. We're entering a cool renaissance.

Joel 1:17:41

100% suspect.

Alice 1:17:42

So there's going to be so much learning and growing pains with that as it expands, as more people enter the scene. I think Atlanta is on the precipice of something really exciting. Oh, yeah. I am so proud of our little scene. I love the indie scene in Atlanta, and I can't wait to see it grow and blossom.

Joel 1:18:00

It's it's truly beautiful.

Alice 1:18:01

Yeah.

Joel 1:18:02

It is growing and blossoming.

Alice 1:18:03

But that doesn't come without like growing pains. Yeah. You know? So this is something we'll figure out together. I don't know if there's like a clear answer for it yet.

Joel 1:18:11

Yeah, I I don't I don't know of a clear answer, and that's why I feel like I'm gonna keep asking this question to guests to see what other what other experiences and input and thoughts other people have. Yeah. I don't know what the right answer is. Um, but I think what I do know is stuff stuff that we've already mentioned. It takes a village. See something say something, check in with people that you feel they may have had, even may have had an uncomfortable scene or experience. Check in on them, make sure they're okay.

Alice 1:18:44

Um before you speak on their behalf.

Joel 1:18:46

Yeah, but exactly. Before you speak on their behalf. Um Yeah. Yeah, I think those are the biggest takeaways, I guess, on this topic. Anything anything else come to mind?

Alice 1:18:56

No, I feel like you really hit the nail on the head. Yeah.

Joel 1:18:59

Guess what I'd do. Okay. Improv- I'm going over my chat, my checklist. Yeah. Background. Anything else on your your your heart or mind to chat about, improv related?

Hot Seat Questions

Alice 1:19:11

No, I feel like you've really hit again, hit the nail on the head. You I I feel like I've gotten to talk about Joel, he hits the nail on the head. Add that in a fun weird out.

Joel 1:19:26

Yeah.

Alice 1:19:27

No, don't do that. Uh no, I really feel like you have asked such kind, careful questions. Um I I feel like I've gotten like I I feel like I've gotten to absolutely yap about myself in every single little aspect.

Joel 1:19:44

That's what I want. Exactly. Okay, so before we wrap up, yeah, um, I I have either um sometimes I have community questions. I didn't have time to prep community questions for this interview, but I do have hot seat questions. Ooh, fun. So this is this is straight um Susie. I'm sorry, Susie Barrett, my my hero uh improv podcasting. She does a hot seat section that's very similar. Hey, imitation. She asks some really great flattery questions. And I love them so much. It's such a fun way to wrap up the end of an interview. No, I love it. Um so but to enter this hot seat question time, I'm gonna sing the intro for it.

unknown 1:20:28

Okay.

Joel 1:20:29

Hot seat, hot seat questions. Okay, musical improv. We're gonna improve uh Matt asked me specifically, um, the audio editor of the podcast. Yeah. He's like, can you improvise the the jingle each time?

Alice 1:20:46

Oh, that's so cute. So that's what I'm gonna do.

Joel 1:20:48

That's what I'm gonna do.

Alice 1:20:49

Great idea, Matt.

Joel 1:20:50

Hatsy, hatsy, does questions. Okay, first one. What are some of your favorite characters to play?

Favorite Characters to Play

Alice 1:20:59

Oh, I love being a little weird guy. A little weird guy.

Joel 1:21:03

Oh my god, I feel like I heard that verbatim recently on actually Yes Also. Somebody was like, I love being a weird little guy.

Alice 1:21:09

God, who doesn't? You know?

Joel 1:21:11

Yeah, it's a fun character being a weird little guy.

Alice 1:21:14

Gosh, yes, you have so much freedom to be so fucking weird. I love a silly little voice. I love, I really gravitate towards lower status characters. Um, I think it's just because like I'm shorter as a person, and so like the height difference on stage, especially when I'm phrasing someone like Tad, who is like twice my height, it just looks so silly when I'm like Yes.

Joel 1:21:35

Yes, beep beep.

Alice 1:21:36

You know?

Joel 1:21:37

Yeah, 100%.

Alice 1:21:38

Okay, so I love a silly little guy. I love um, oh no, silly little guy is always my favorite. So like I love being evil.

Joel 1:21:48

Oh, yeah.

Alice 1:21:49

I'm so small and cute and be evil. I don't get to be evil often. Interesting. But um, in the Faust format we've been working on, I gravitate towards being the devil so much. Interesting. So much fun.

Joel 1:22:02

Well, villain being a villain is so fun.

Alice 1:22:06

Yes.

Joel 1:22:06

And in musicals comes off often when I'm teaching when I'm teaching the narrative musicals. Villain is so well, what I'm learning too is like villain can be fun. A lot of people actually have a hard time being a villain and being bad is what I'm realizing. Are uncomfortable being evil, like an evil character.

Alice 1:22:24

Yes. I had a great workshop with Ed Morgan recently. Um, love him, such a wealth of knowledge and just sweet, cool guy.

Joel 1:22:34

Yep.

Alice 1:22:35

Uh, but he, and I'm gonna butcher it, but I'm never good at doing these things verbatim. We he asked us to work on failing in a scene. Like we were doing short scenes, and he wanted us to uh overpower someone, uh let them take power and then like fail. Because I think as improvisers, sometimes we get trapped in the yes and cycle of and I'll make this work and we'll make this work and everything will always work. And it's hard to fail. It it feels bad, even though you're supporting the narrative and you're supporting the scene, especially as a villain, to fail, you know? Yep. But it it's hard and it feels uncomfortable. It is. And doing that exercise with him was so enlightening. I was like, dang, I really ooh, I hate doing this.

Joel 1:23:33

Yeah, that sounds like a good exercise. So you so there's a there's an attempt at a status flip, but it doesn't work.

Alice 1:23:40

Yeah, I uh how did it go? It was something along the lines of like yeah, two people intersect, one like they're talking, one like they they establish their higher status, um, and that they've like tricked this person, and then that person has to wallow in that, and then they trick them and win. So it's like a stabby stab.

Joel 1:24:10

A stabby stab. Yeah. Write that down. And and I'll I'll probably reach out to the stuff. No, I'll reach out to Ed also.

Alice 1:24:18

He'll explain it way better than I. This is why I don't teach. Uh-huh.

Joel 1:24:20

Yeah. The the summary is stabby stab.

Alice 1:24:22

I'll go so stabby stab. Come on, why aren't you guys doing it?

Joel 1:24:24

Do the stabby stab exercise. All right. Next next hot seat question. Yeah. What's some of your favorite um environment work or pantomiming work to go to?

Favorite Environment Work

Alice 1:24:33

Oh, I love scene painting. I feel like anyone who's seen the influence.

Joel 1:24:37

Yeah, verbal scene painting.

Alice 1:24:38

I love verbal scene painting. Um, like I love starting off a scene with that. It's something that was just ingrained to me in college. Um, we we did a lot, we started a lot of scenes like that. Feels like a very like KISS style thing to do. And I just find it so fun as someone who loves to DM and like, yeah.

Joel 1:24:57

Uh I love to paint a world.

Alice 1:24:59

It is DD adjacent. Um, I love to paint a world because for me, like if I can see it, everything else is gonna make sense.

Joel 1:25:06

Yeah. Oh, now that explains why I've seen you do that and you're so good at it, and that explains why. Oh, I've seen Zach do that jams. He'd be like the only person at a jam doing it.

Alice 1:25:17

It's a kiss thing. It's a very kiss thing.

unknown 1:25:19

Wow.

Alice 1:25:21

Not everyone does it. Yeah, but like I'm I enjoy it.

Joel 1:25:24

I I think I I feel like from what I've heard on podcasts, I think it's a little, it's a little split. I do enjoy it because if I can see it, if somebody else paints a scene that I'm walking into, cool, I know where I'm at.

Alice 1:25:36

It's such a great gift to give someone.

Joel 1:25:37

Yeah, okay, cool. Some of the platform is done already, some of the who, what, where is done. I don't have to worry about it. Thank you.

Alice 1:25:43

I just think it needs to be, and I think this is where there's a debate. It has to be purposeful and helpful. You don't want to paint unnecessarily and kind of end up giving someone nothing, you know, or like give them too much and have them not know what to do with it.

Joel 1:25:57

Yeah.

Alice 1:25:57

There there's a there's definitely a too much that can happen.

Joel 1:26:01

It's more art than I think science because I I agree you don't want to paint too much and then not have the performers be able to explore their own choices in a scene.

Alice 1:26:12

Yeah, you don't want to paint someone into a box.

Joel 1:26:13

Yeah.

Alice 1:26:14

You know?

Joel 1:26:14

Yeah.

Alice 1:26:15

But it's nice. And if you're talking about was the question just like I I don't I think I went sideways with it.

Joel 1:26:22

You can go side, we can go any way we want.

Alice 1:26:25

Okay.

Joel 1:26:25

Yeah, but it was the miming, the yeah, it fizz the miming in general. Like if you're pantomiming.

Alice 1:26:31

I love kitchen stuff. I love to mime, and this is so funny because I don't know how to do this, but I know how to mime it well. Like making an a latte, you know, like pulling the espresso and then like the you see you see the machine and you see the yeah. Like I know how to pantomime that. My mom owns a coffee shop, but I don't know how to do that. I've never been trained. You know, that's hilarious. But I love doing something like that, or um, like in the kitchen, like just like chopping up vegetables. And but but I'm not chopping vegetables in my mind. I'm like, oh, I'm making a certain dish. I'm chopping out vegetables for a spaghetti sauce. And so I'm like, here are the onions and here are the peppers. You see, yeah, you see the spaghetti. You see it. I love it. And I think having that specificity is really fun.

Joel 1:27:13

I love adding a little trash can, like a little Oh yeah, go out and put your foot on it and then you dump it kind of thing. Well, yeah. Sweet.

Alice 1:27:20

Just little things here and there.

Joel 1:27:22

All right. Last hot seat question. What is something, a piece of advice you'd you'd want to give to a new improviser?

Advice for New Improvisers

Alice 1:27:31

Oh. I feel like I've said this already, but I'll say it again because it is just so it's so this is my experience. Do what scares you.

Joel 1:27:42

Do what scares you.

Alice 1:27:43

Do the scary thing, do the uncomfortable thing, because that's where you're gonna grow. If you like this and you want to keep doing it, it's gonna be scary. Failing is how you get better. Failing is the fun of it.

unknown 1:27:56

Yeah.

Alice 1:27:57

There's nothing better than watching an improviser failure. On stage, it's so funny. You know? Like that's where the joy comes from sometimes. Not all the time. Sometimes it sucks. I'm not gonna lie. Like, sometimes it sucks. But do the scary thing. Yeah, do you scared it? If I didn't do the scary thing, I never would have done improv. You know?

Joel 1:28:17

Everyone out there, do the scary thing. Do it, keep doing it. Even if it's not improv related.

Alice 1:28:22

Even if it's not improv related, yeah.

Joel 1:28:24

And that's something that I think improv helps a lot of people built work on that muscle of doing scary things.

Alice 1:28:29

Yeah. I was saying earlier, like I think improv is a really great skill for actors to have, and vice versa, but it's essential for everything.

Joel 1:28:38

Yeah.

Alice 1:28:38

It has made me such a more confident person. It has made me a more self-assured person. It is so helpful in so many ways for job interviews, for first dates, you know, like for any and everything. It is so helpful. You're never gonna be worse off for doing and understanding improv.

Joel 1:29:04

100%.

Improv's ultimate lesson!

Alice 1:29:05

You know?

Joel 1:29:05

I feel like, oh man, this is gonna sound so cheesy, and I feel like I feel like I'm a trope, uh, an improv nerd trope saying this, but I feel like improv teaches people how to be human.

Alice 1:29:18

How to be a better human and just like yeah, just to I think in this day and age that really is like an important thing to say though. We as a society, because of like how online we are, have lost a lot of fundamental human experiences and like social interactions, especially with the pandemic too. Like, we have all been stunted in some way and lost a lot of like social learning and community building and just like experiences, you know? And so now more than ever, I think it's really scary and difficult to put yourself out there, to engage with people, to connect with people. Like we are it is significantly harder, I think, now more than ever, you know, just because of all the ways we have to avoid that.

Joel 1:30:14

Yeah.

Alice 1:30:16

But I would push you not to. I would push you to not do self-checkout. Talk to the cashier, you know? I would push you to ask the server how they're doing and genuinely listen. You know, I would push you to make small talk while you're waiting in line to vote. You know? And all those things are a little easier with improv. Because if I can get on stage and somehow justify like making a purple hippo and a an accountant at a bank, and I'm his wife and he's cheating on me. If I can if I can justify that story, I can talk to someone in line next to me for five minutes.

Joel 1:30:52

Yeah.

Alice 1:30:53

That's like the mantra I always have in my head. If I can do that, I can do this.

Joel 1:30:57

Yeah, that reminds me. Yesterday I was getting a public sandwich. A pub sub. A pub sub. And I was in line, the line was long.

Alice 1:31:06

It always is these days.

Joel 1:31:07

And I was just standing next to um this woman who was in front of me. And uh, she's on her phone, and like I heard her like sighing. She was like reading messages, like just like making making sounds, yeah. And didn't think anything of it. Um, and then after a few minutes, she turns to me and she was like, uh, excuse me, you look like a logical person. Don't know what that means. That's loaded. Go. Don't know what that means. But she's like, You look like a logical person. Can I ask you, can I ask you a per a personal question? Awesome. And I was like, don't know where this is going. But I was like, let's do that. Absolutely. Absolutely. And she proceeds to show me her phone, her text message. Yes. And she's like, she's showing me this thread, something that happened with her friend, some drama. Gosh. And so she's letting me read these messages, and she's like, What are you? She just messaged me out of the blue. And so I'm asking her questions like to get more context. Yeah. I was like, is this a close friend? Um, did something specify what specifically happened? If she's asking a random stranger for their insight, oh yeah, but then I was but then I was just giving as much honest advice as I could and be like, well, if you want to maintain this relationship, maybe it's still so joking. You should just approach it, you know, delicately. And she was like, Well, she also works with me. And I was like, Oh, then you know, you have to maintain complicated. And I'm just talking to this person in line while we're waiting for a pub sub. And you know how long that line can be and how long it takes. And we were just chatting, we're just chatting about this dilemma. Um, but yeah, uh, it was a pleasure to meet you, May. Thanks for sharing your your story and your dilemma with me.

Alice 1:32:54

Drop your pub sub order in the comments.

Joel 1:32:57

It was a chicken tender. Oh, she got a few things for the staff. It's good taste.

Alice 1:33:02

Nice.

Joel 1:33:03

She's got a bunch of sandwiches.

Alice 1:33:04

Oh, so she's a good person. She was getting the sandwich order.

Joel 1:33:06

Um, but yes, all that connecting back to improv skills, just connecting to the real world.

Alice 1:33:13

It makes you a better hurt person.

Joel 1:33:15

Yeah.

Alice 1:33:15

Yeah. No, I fully believe that. I don't think that's cliche. I think that's just like reassuring to hear.

Joel 1:33:24

Yeah.

Alice 1:33:24

You know?

Joel 1:33:27

Well, I wow, I think we I think we did it. I think we're done. Alice Garriga, thank you so much. This was so fun for coming onto the Joy of Improv podcast with me.

Alice 1:33:39

Thank you for having me.

Joel 1:33:40

This was such a blast. It was so delightful to talk to you and see you. All right, everyone, thank you so much for joining and listening. And we'll catch you next time on the Joy of Improv podcast.

Alice 1:33:52

I don't know what your outro is, but this is the start of it.

Joel 1:33:55

It goes boo doo doo doo doo doo doo doo doo. There you go, everybody. That's the start of the outro. I want to say thank you to Matt Isaacs. Thank you so much, Matt, for editing these episodes. Matt is a talented and kind member of the Atlanta Improv community. If anyone out there has any audio editing or song mixing needs, please reach out to me at Joel at the joyoffimprov.com. I'll connect you with Matt and get you on your way to getting some clean, fresh audio. If you are enjoying the podcast and you want to support and keep this podcast going, you can support in one of two ways. You can leave a five-star review. And if you do, please leave an improv topic that you want us to discuss or perhaps a question for a future guest. Another way to support the podcast is to give a monetary contribution on our Ko-Fi page. Anything helps, a dollar, five dollars does not matter. Anything helps in keeping the podcast going, you can find the link to contribute in our Instagram or in the link in the episode description. Thank you so so much for listening. It means so much that you're here. See you next time and scene.