{"id":59,"date":"2009-01-23T23:49:00","date_gmt":"2009-01-24T03:49:00","guid":{"rendered":"http:\/\/66.147.244.61\/~twisithe\/?p=59"},"modified":"2023-08-05T14:42:18","modified_gmt":"2023-08-05T17:42:18","slug":"an-impromptu-interview-i-haven%e2%80%99t-been-preparing-for-this-all-week","status":"publish","type":"post","link":"https:\/\/www.twisitheatreblog.com\/?p=59","title":{"rendered":"An Impromptu Interview: I Haven\u2019t Been Preparing for this All Week."},"content":{"rendered":"

\"\"<\/a><\/p>\n

It\u2019s Thursday night, and the Comedy Bar on Bloor Street is buzzing with the excitement of the Opening and Closing night of that Beckett-esque classic Longing Fortnight…<\/em> you know\u2026 that one starring Ted Dykstra. I sat down with Ron Pederson, the Impresario behind the ever-hilarious and consistently smart Impromptu Splendor<\/em>, who talked with me about the company\u2019s influences and its unwavering dedication to creating vibrant and poignant, improvised theatre in Toronto.<\/p>\n

Amanda Campbell (AC): Where did the idea for improvised plays come from?<\/p>\n

Ron Pederson (RP): Ummm, it comes from a thing in Edmonton that Stewart Lemoine started in about\u2026 1999, or if he didn\u2019t start it, he at least titled it. It was called Sudden Premiers<\/em>. The Varscona [Theatre] was fresh by then, as far as programming was concerned, and it was February, February in Edmonton, that the whole idea sort of started. We didn\u2019t do different playwrights, we would do an act of an improvised play and then we would have an intermission, and after that we would do the first act of a different, new play, and the audience would decide which play would get a second act the next night. So, it was still sort of gamey. It was still a game. And I specifically remember not being allowed to participate in one evening. Dana Andersen said, \u201cTonight we\u2019re going to do Mature-prov\u201d- they were going to make the scenes very adult. And I was nineteen\u2026 or twenty years old\u2026 and, maybe this was a different evening, I\u2019m not sure, it\u2019s all a bit of a blur, but I do remember going, and watching it, and not being allowed to be in it. And I remember, it was like a Woody Allen film. It was all about the relationships and how they were being negotiated. It was so adult. *laughs* I don\u2019t even really know what that means. But, they weren\u2019t going for the jokes. And I saw that their hearts were really in it. And I knew these guys, and I wanted to be able to do this with them.
And then Matt and I met Gary [Rideout Jr, the owner of Comedy Bar] and he saw us at Ghost Jail [Theatre] and he told us about this place and asked us what we would like to do. He basically said \u201cYou can have Thursdays at eight!\u201d So, Matt and I met up at the Jersey Giant and all I said to him was that I wanted what we did to be really \u201cadult.\u201d I wanted to do Mature-prov. I just wanted what we did to be real, and to be adult. To not have it be baloney and wiener humor. Not the whole \u201cwhat\u2019s your favourite cereal?\u201d sort of thing.<\/p>\n

AC: Didn\u2019t you do that Sunday at Carnegie Hall<\/em>?<\/p>\n

RP: Yeah! Exactly. Making fun of what I hate. The Carnegie Hall Show<\/em> is our chance to roll our eyes at Improv, or what it can be, when it\u2019s done badly.<\/p>\n

AC: Impromptu Splendor<\/em> and The Carnegie Hall Show<\/em> [which plays at the Bread and Circus on Wednesdays at 9:00pm] are both presented under the umbrella company, the National Theatre of Canada. Does the National Theatre of Canada have a mandate?<\/p>\n

RP: It\u2019s developing, yes. It\u2019s sorta how I like to act and improvise. It\u2019s how you create from the outside in. We had a poster [for Impromptu Splendor] before we knew what we were going to do. We had a name. If you remember, our original poster didn\u2019t say \u201cA New Improvised Play Every Week,\u201d it said, \u201cSpontaneous Theatrical Marvels.\u201d What the fuck does that mean? We were being grand and general.<\/p>\n

AC: That\u2019s a good mandate. \u201cThe National Theatre of Canada seeks to create theatre while being grand and general.\u201d<\/p>\n

RP: Yes, but we\u2019re becoming more specific. In The Carnegie Hall Show<\/em> we break every rule of Improv. And with Impromptu Splendor<\/em>, we are being encouraged to keep doing it and to commit deeper. I mean, we\u2019ve only done nine shows. This Thursday will be our tenth show. We\u2019ve only had three guests. I had never improvised with Kayla when I decided that she should join our group. I think I told you this story, how I phoned Matt and I said, \u201cI think we should add Kayla.\u201d And he said, \u201cGreat! I\u2019ll tell her tonight.\u201d And I was like \u201chuh? You mean, you\u2026 she\u2026 what\u2026 huh?\u201d And he was like, \u201cShe\u2019s our roommate.\u201d It\u2019s like there\u2019s this organic blessing going on with this show. Like, without getting too New Age, I feel like there\u2019s someone who wants us to do this. Like, for example, the week that we did Steinbeck I found a bale of hay. We were at the meeting beforehand and I was all boastful that I was going to find us a bale of hay. And everyone was like, \u201cIn Toronto? Where the fuck are you going to find hay in the middle of the city?\u201d And so on Thursday, the day of our show, I went out and found us some hay.
After we meet to talk about the playwright, we are each in charge of a different aspect of the show\u2026 the set, or the costumes, and I\u2019m in charge of the record. And Stewart Lemoine is our musical consultant. Did you see that?<\/p>\n

AC: Yes, I did.<\/p>\n

RP: Yeah. So, I was thinking about doing Philip Glass this week, but then Stewart messaged me and said \u201cBeckett is a little trickier because of the absence of any recognizable emotional drive\u201d\u2026 Beckett, after all, is emotionally bereft. And to put a Philip Glass tune overtop of it, is to insinuate that the play is going somewhere, when so often it isn\u2019t. And that chair that was in our scene today, I found that outside in a snowdrift when I left my house this morning. And it was the most existential thing I had ever seen. So I brought it on the subway. We had talked about just using a light bulb. We brainstorm a lot. We were talking about maybe filling the stage with crumpled paper and hiding under there for the first ten minutes. Just staying under there. Our imaginations just abound, and take us in limitless directions.
I\u2019m so proud of it. The people who see it, they\u2026 they go, \u201cwas that really improvised?\u201d That\u2019s my favourite reaction. And the actors who come see the show, who see what we\u2019re doing, they come up to us afterward saying, \u201cI know what you could do next!\u201d So, if we\u2019re exciting people, that\u2019s something. The show is really about what the actors are doing and we\u2019re really trying to use the theatre to really bring people together. That sounds pretentious\u2026.
There was one [Impromptu Splendor<\/em> show] I wasn\u2019t in. I was doing a workshop in Edmonton [for Extinction Song<\/em>]- [I wasn\u2019t in] the Tennessee Williams one, and we always videotape them all, so I was watching it on video. Actually, I started to transcribe the Judith Thompson one, and while I was doing it, I realized, \u201cthis is a way to write! This is writing!\u201d And when I typed it up, it actually looked like a Judith Thompson play. And so, when I was away in Edmonton, and I was so sad to miss out on doing the show, I saw what they had done on video and it really was like an undiscovered Tennessee Williams play.
It really encapsulated one of my favourite rules of Improv: Don\u2019t push it. Tennessee Williams lends itself to language and pace, and Naomi and Kayla were playing these two sisters, and there was music playing and they were drinking real bourbon onstage, and there was this languid scene that went on for like twelve minutes. Twelve minutes! In Improv, that\u2019s an age! And it was all about what they didn\u2019t say, which is what all great plays are about. Rich Talarico, my Improv guru, always says, \u201cdon\u2019t push the plot.\u201d It\u2019s like, in journalism, you have the whole who, what, where thing, right? He says, \u201cFuck the what. Let the what show up.\u201d
The perfect example is that scene with Kayla and Naomi, they were being very Southern, and the tension was mounting because there was something that they weren\u2019t saying. You can block the action in this type of Improv because it\u2019s a play and tension and conflict are the most important. Saying \u201cno\u201d here is paramount. Kayla said to Naomi, \u201cno, I don\u2019t want to dance anymore.\u201d You can\u2019t really say \u201cno\u201d in a five minute improvised scene or else you are getting nowhere. But in a play, sometimes the characters don\u2019t get anywhere and that is the point. So, Kayla goes, \u201cNo, I don\u2019t want to dance anymore \u2018cuz I hurt my foot\u201d and Naomi goes, \u201cYou\u2019ll find a man\u2026\u201d blah\u2026 blah\u2026 blah\u2026 and then Kayla says, \u201cWhere\u2019s your brother?\u201d And Matt is offstage waiting to come on, so that is kind of a gift, since now Matt knows what his job is and we know in some small way what the play is going to be. And then Naomi says, \u201cI\u2019m not marrying my brother.\u201d And there it is. The plot has shown up in its own time.<\/div>\n

<\/p>\n

Another example is from the Steinbeck that we did last week with Ashley Wright, Matt and I are doing this scene, and we have decided that we\u2019re not going to go for any laughs. And Ashley goes, \u201cI\u2019m not going to get a single one.\u201d And Matt is playing a Lenny-esque\u2026 from Mice and Men, character, a simpleton, like a very childlike fellow in an adult\u2019s body. And we\u2019re brothers. And we have this whole scene where he says, \u201cWhy don\u2019t we talk about Mama?\u201d And he\u2019s asked me why, so I have to come up with an answer. So, I say, \u201cBecause you look just like her.\u201d And, I\u2019m not going for laughs. But Matt is a sort of\u2026 comic looking guy, and his hair is insane, and so in that instance, the laughs come out from something that is real. And that is great. Whereas, if I just do a pratfall because I want to do a pratfall, it\u2019s not theatre, it\u2019s komedy.<\/div>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Thursday night, and the Comedy Bar on Bloor Street<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[4672],"tags":[4131,5751,4361,4362,4364,4267,5750],"class_list":["post-59","post","type-post","status-publish","format-standard","hentry","category-interview","tag-comedy-bar","tag-impromptu-splendor","tag-kayla-lorette","tag-matt-baram","tag-naomi-snieckus","tag-ron-pederson","tag-the-national-theatre-of-the-world"],"yoast_head":"\nAn Impromptu Interview: I Haven\u2019t Been Preparing for this All Week. - The Way I See It Theatre & Music Blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.twisitheatreblog.com\/?p=59\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"An Impromptu Interview: I Haven\u2019t Been Preparing for this All Week. - 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