Click This: Roe, Schier and Radzinski chat it up on CBS Philly

Here’s a clip from CBSPhilly.com featuring AMIE ROE, KRISTEN SCHIER and MARY RADZINSKI talking about being female in comedy, many of their inspirations coming up, and what their ideal audience might look like.

[view clip]

Ted Talk on improvisation and the brain

Below is a TED TALK by DR CHARLES LIMB, researcher and musician, discussing the effects of improvisation on the brain.

Limb’s general thesis for the talk as well as his research is that artistic creativity is a neurologic product that can be examined using rigorous scientific methods.

For his experiments, he uses fMRI to map Blood Oxygen Level Dependent (BOLD) Imaging, giving him a look at changes in brain activity. Although Limb locks his sights on more music-specific subjects – testing both improvisation jazz and hip hop freestyle… we improvisers can quickly see how many of the theories can be applied to theatrical improvisation as well.

Using pre-established memorized pieces as a control, during the improvisations Limb and his colleagues saw a deactivation of the lateral prefrontal cortex, which is the area of the brain associated with self-monitoring. He also found large stimulation in the medial prefrontal cortex, the area of the brain associated with self-expression. Limb’s general hypothesis is that to fully engage creativity, your brain needs to disassociate with identity and consciousness, thereby stripping away inhibition, opening up the gates for unhindered expression.

“Don’t Think” indeed. These findings and initial theories sound eerily similar to countless late night conversations I’ve had with JOE BILL.

During exchanges between multiple musicians (‘trading fours’ in jazz), Limb also found a marked activation of the Broca’s area in the left inferior frontal gyrus, the language center of the brain. He postulates with further research, the adage of music being a language itself could very much hold true.

It makes me wonder about the brain activity going on in improvised musicals or during shows like The Beatbox. Shows where his research and our little hobby intersect. Watching those folks perform on stage, I am consistently in awe of what I’m witnessing, and soon science may be putting similar fascinations in the spotlight.

Limb goes on to ask some big questions on science’s ability, place and future in mapping creativity. I’m interested to see where this research is at several years down the road. Until then, enjoy the video.

A new Cagematch champ arises

Last week, newcomer JESSICA TANDY (Jessica Ross & Andy Moskowitz) took down longtime reigning champs, THE ONES YOUR MOMS WARNED YOU ABOUT at PHIT’s CAGEMATCH.

After seeing The Ones toppled after holding on to the title for the better part of the past year, I thought I’d get a bit of insight into how everyone feels about the upset…

J: “I’d say we are definitely proud of our run at the top. The loss stings a bit, especially because we had one of our best performances, but we sure went out fighting.

JESSICA: “It was an awesome night. The Ones really set the bar high and as always put on a great show, they’re one of the best teams in Philly.”

ANDY: “We’re thrilled to be the group to finally take down The Ones, and we’d be lucky to keep our streak going even half as long as they did. We we fresh and new… and with each successive show we will be less fresh and less new, so we know it’s an uphill climb.”

B-LIBS: “As for our run, I personally felt like Julius Caesar: conquering all and then holding massive orgies. So I guess that makes Jessica Tandy Brutus. ‘Et tu, Tandy.’”

JESSICA: “We were just happy to share the stage with an amazing team and debut our work. Andy and I had so much fun performing together and were really proud of our work. Winning was just the icing on the cake.”

ANDY: “I think the most important thing is for us to keep having fun and delighting and surprising each other on stage.”

Finally, THE RICHNE$$ had a final message for their groupies: “Dear Ladies, It was a fun run, but we can’t be tied down right now, girl.  We’ll see you around and all.  Remember, girl, hate the game not the playa!  Most Sinceriously – The Richne$$”

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So there you go, some broken hearts, some high hopes and lots of praise and mutual respect for what were a couple of great shows. For fans of The Ones, despair not, as they’re slated to play PHIF in a couple of weeks.

As for Jessica Tandy, the duo needs to be on their game tonight if they’re going to hold on to their newly won title. They take on another newcomer, RINTERSPLINT (Joe Gates, Matt Akana & Marc Reber), at CAGEMATCH 9:30pm tonight at the Shubin.

CAGEMATCH! JESSICA TANDY v RINTERSPLINT
THURSDAY, OCT. 14TH @ 9:30PM
PHIT AT THE SHUBIN | 407 BAINBRIDGE ST

Sometimes things are funnier in twos

Some improv groups are born out of classes or pieced together through auditions. Others are spin-offs from existing groups. Even still, some are quickly cobbled together in the spirit of experimentation. Rarely, however, is there an established group whose cast is not known at curtain time.

MATT HOLMES (of Rare Bird Show fame) is half of the improvised duo m@&. The other half of the ensemble is still somewhat of a mystery. M@& (pronounced Matt, and…) features Holmes and a random audience member attending that particular performance. At the top of the show, he asks the audience if there’s anyone who’s never seen improv before. Someone pipes up or raises a hand and just like that, they’ve found themselves the unwitting star of the show.

Here and there he may encounter a small audience that’s entirely improvisers, and even in those few cases, he’s managed to find someone who might have taken a class, but has yet to take to the stage in a show. “There’s at least a few people who’ve been brought by a friend or family member” says Holmes, “and they don’t quite know what’s happening.” Many would agree with him, that this comedy amongst strangers makes things little more dangerous and exciting.

The name came about before the concept, as Holmes was looking to work with improvisers he’d met both here in Philadelphia and along his travels. Then, as it sometimes happens prior to creating new and interesting works for the stage, somewhere in the back of his head, he got the idea for an experiment.

While attending Cabrini College, Matt spent the earlier days of his comedy career running and performing with On the Spot, a weekly short-form show. He’d always loved the interaction with audience members that short-form thrives on. So when the opportunity presented itself, he jumped in head-first.

“Matt is the only person I know with the balls and ability to do it alone.” Michael Harris is the Artistic Director of Baltimore Improv Group (BIG) and producer of the Baltimore Improv Festival, which recently featured m@&. “For Matt to be the lone improviser and balance the dual responsibilities of carrying the show and supporting a novice takes a skill and generosity that precious few improvisers possess.”

"Matt is the only person I know with the balls and ability to do it alone"

It would seem that festival producers are apt to agree with Harris. M@& has been featured at festivals and comedy shows in places like Atlanta, Baltimore, Minneapolis and State College, to name a few. And he doesn’t show any signs of slowing. After his current run of six shows in the Philly Fringe Festival, he’ll be featured here in his home city at both Duofest next month and the Philadelphia Improv Festival in November. Kristen Schier, a producer for Duofest, thinks it’s pretty easy for folks to enjoy the show. “M@& is effortless joy. Holmes’ simple approach is they key to his brilliance.”

Indeed, simplicity would seem to be a driving force behind the whole project for Holmes. “I have this big, open loose thing where I can do whatever I want on stage.” He adds, “and what I want to do is have fun, make it easy for me and for my partner, and have it be funny for everyone watching. If my m.o. were more complicated, I couldn’t do this show.”

With never knowing who he might pull up, each night is gamble… where the only thing that’s certain is that the volunteer will be as much a part of the show as he is. “We’re a team up there. I’m not trying to make fun of them of just use them. We’re playing together.” Even with the more reluctant audience members, Holmes makes an effort to keep them in the show. During one performance, he had a girl who wasn’t quite playing along and was unsure of what to do. He could tell she wanted to leave the stage, and then she finally did. “(So) I do a scene where she’s back in her seat in the audience, but I’m serenading her.” It’s these different sort of moments that create fun challenges and take shows into interesting places. “I want the audience volunteer to think it was something fun that they liked doing.”

Sometimes the volunteer finds huge success on stage in the process. In Minneapolis at Brave New Workshop, the man pulled up had never seen an improv show before. In a scene where Holmes was a gunfighter, he’d accused the man of using his mother as a human shield. The man came back with a line about how he really didn’t technically kill her. Suddenly they found themselves in a chain reaction where the volunteer was indirectly responsible for all these deaths. “He found this really funny game for us to play… that was all him.”

That sort of playfulness seems nearly instinctual. “Once in a while a non-performer will come up with a killer line or know just how to play along.” Holmes has had people not believe that he doesn’t plan at least some of what happens. If the audience member is good, he’s heard people murmur about whether they were a plant. He also likes to use the suggestion in a very obvious way so that the audience can see it couldn’t be planned unless he was paying someone to sit there and yell it at him. “I’ll usually try to start something at first, at least to get us going… but I’ve started scenes later on where I’m just sitting there, letting my partner push us in a direction… I’m not plucking out improv geniuses or diamonds in the rough… It’s not a conspiracy, we’re just playing pretend.”

"Probably the strongest game improviser I know"

It’s said that one of most equally frustrating and complimentary things an improviser can hear after a show is that the audience doesn’t believe it’s made up. Recounting the recent m@& show in Baltimore, Harris attributes choice and openness as factors in making it seem so effortless. “Matt’s character choices not only drew the audience in, but led his scene partner out of his shell and into active participation… it was one of the highlights of the Baltimore Improv Festival.”

Nathan Edmondson and Alexis Simpson have been improvising with Holmes for the better part of a decade in their highly acclaimed group, Rare Bird Show. They’ve witnessed firsthand how easy he makes it to work with them. “Matt has (an) insane natural talent as an improviser and is a true student of comedy,” says Edmondson. Simpson agrees, “he’s like a wind up toy… just give him a word and let him go. He is probably the strongest game improviser I know.” They both feel comfortable and confident sharing scenes with him. Edmondson adds, “when you’re on stage with him, you can rest assured that the funny will happen.”

With any luck, we can rest assured that the funny will continue to happen. Holmes sees himself continuing this for some time. “It’s nice to have something that really challenges and excites me… I haven’t had any terrible, awful, shameful shows with this project.” He’s got a run of shows coming up here in Philly, and something tells me we’re likely to see him on the road again as well. “The show is just really easy to do while I’m visiting someplace, ’cause it’s just me… the audience is already there.”

Who knows who his next scene partner might be. “If an audience member can bring their 80-year-old grandmother or their 16-year-old cousin or their blind date and maybe see them up on stage in a comedy show, I think that’s an interesting night out.”

Agreed.

Comedian Profile: Andy Moskowitz

Editors Note: In this segment, we step away from the stage and take a look at comedians in the Philadelphia area… Learn a little more about where they come from, what they do while not performing and of course the question we all ask ourselves… Why do we do it?

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ANDY MOSKOWITZ

Might have seen him in: Fletcher, ComedySportz, Pasiónes de Pasiónes

Hangs his hat in: Fairmount

Stomping Grounds: Ardmore, PA

Pays the Bills as: Medical Copywriter

Other Hobbies: Film and film criticism, running, card tricks

Why Improv?

When I was a kid, I hated waiting for stuff. Crowded restaurants, amusement park lines — even the mail — were all torture for my impatient 8-year-old psyche. Hannukah was especially difficult, because the best presents were reserved for the final night. I had to endure seven nights of wax lips & gelt before I got the big one. And every year, my mom would tell me I had to learn to “delay gratification.”

Twenty years later, I’m still a kid and I still hate waiting. Improv is the instant gratification artform. You’re on stage, you get an idea, you spit it out, and the rewards are instantaneous. Improv is the last night of Hannukah. Or a VIP pass to Disney Land. Or the table reserved for the mafia at Buca di Beppo, even on a busy Friday night. See where I’m going with this?

See Andy in these upcoming Fringe Festival shows

Fletcher
9/3, 9/7 & 9/15 @ 8:30PM | 9/10 @ 11:30PM | 9/12 @ 5PM

Pasiónes de Pasiónes
9/5 @ 8:30PM | 9/10 & 9/18 @ 7PM

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If you know someone who you think should be profiled, we’d love to hear about them.

Comedian Profile: Kristen Schier

Editors Note: In this segment, we step away from the stage and take a look at comedians in the Philadelphia area… Learn a little more about where they come from, what they do while not performing and of course the question we all ask ourselves… Why do we do it?

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KRISTEN SCHIER

Might have seen her in: the N Crowd, Fletcher, Real Housewives of Philadelphia, Ladies & Gentlemen or the Amie and Kristen Show

Hangs her hat in: West Philly

Stomping Grounds: Lived in Chardon, OH up to 4th grade (about 9 years or so). I went to Unionville High School, however, I have lived in Philly longer that I have lived anywhere else in my life

Pays the Bills as: Teacher/Actor – Yea that’s right, I am trying to make a living at this stuff

Other Hobbies: I love to play the ukelele (though I am not very good at it yet), karaoke (which you don’t have to be good at), dancing (I am VERY good at) and clowning (weeeee). I also love to go out to eat and I love to go shopping even though I don’t have any money. I like when there are a lot of people around. I am a social creature.

Why Improv?

Oohh geez, you had to ask that, didn’t you. I love to do improv because it is a big beautiful empty space to create theater and play with people. It is a place where I can take huge risks that have no real life consequences. I love improv because in ways to complicated to talk about now, I believe it makes you a better person. I love performing for people and making people laugh. I love collaborating with other people. It is probably the closest I will ever get to being a rockstar – unless I get a lot better at the uke.

See Kristen in these upcoming Fringe Festival shows

Fletcher
9/3, 9/7 & 9/15 @ 8:30PM | 9/10 @ 11:30PM | 9/12 @ 5PM

Punchline!
9/2 & 9/11 @ 8:30PM | 9/5 @ 5PM | 9/7 @ 7PM | 9/10 @ 10PM

Real Housewives of Philadelphia
9/3 & 9/16 @ 10PM | 9/6 @ 8PM

N Crowd
9/10 @ 8PM | 9/17 @ 8 & 10PM

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If you know someone who you think should be profiled, we’d love to hear about them.

Guest Contributor: Brian OConnell on Bar Managing at iOWest

You know BRIAN O’CONNELL from his work with groups like BillyHawk, BillyMiles, EXTRA-STRENGTH and Dr. God, but as the bar manager for iOWest, the folks there also know him as the man who keeps the love going long after the stages of Hollywood Blvd have gone dark…

In this exclusive feature for PhillyImprov, Brian shares with us his insight into life managing a bar occupied by your comedy family.

Bar Managing a Comedy Club
by Brian O’Connell

The absolute best part about bar managing an improv theater is the people. It can sometimes also be the most difficult.

Unlike any other bar I’ve managed (and I’ve been working in bars since before I could legally drink. What? I’m Irish. This is surprising?), the clientele at iOWest is 85% “regulars”. Most of our patrons are fellow performers, students, alumni, improv junkies or some combination thereof. The crowd is our best asset; our best form of advertising.

No other bar has the advantage I have in that the overwhelming majority of patrons are the funniest, nicest people you have ever met; who have literally been trained to take care of the person talking directly across from them. Our people have been trained to listen, actively be interested in what you are saying and then furthering the conversation down a path that is not only revealing but also rewarding to the person who brought up the subject in the first place.

No other bar has the advantage that I have in that the “regulars” have a vested interest in the bar doing well. Firstly, they need the place to do well. They want you to come back because they have shows they want you to see because they are proud of those shows and have put a lot of effort into them. Our crowd wants the new visitor to tell their friends what a great time they had and suggest they do the same. Secondly, our crowd wants the new visitor to become
a repeat visitor simply because our crowd is part of a great community and we want to share.

Have you ever read a great book or seen a terrific film and gush about it to someone who hasn’t seen it yet? Our crowd treats this bar like a clubhouse; a playground where everyone can get together and actually enjoy each other’s company. We KNOW how awesome the place is and want to share that with someone who is new to the scene.

No other bar has the advantage that I have in that the bar patrons consider themselves a community; a “family” complete with crazy uncles, a doting mother and a kooky patriarch who we all miss and reminisce about fondly (even those of us who never met him). The vibe in the room is very palatable.

Our crowd is very protective of the “clubhouse” and wants to keep the good times rollin’. New visitors may not pick up on it initially but I can usually tell as I overhear them exit the doors for the night: They are amazed at how nice everyone was to them. How they didn’t see one fight break out. How no one tried to steal their purse or their coat.

It makes my job enormously easier if the entire crowd has my back. Anytime I’ve had to ask anyone to leave, it’s been relatively smooth because I physically have 30 people standing behind me giving the offender the same look. There really isn’t any room for douchebags or assholes at an improv bar because disagreement makes for bad comedy bits and “this ain’t that kind of scene, dude.”

I’m reminded of this frequently when I travel to other bars in town. I see various acts of rudeness going unchecked. I see rampant egos ruining other people’s evenings simply to serve their own selfish needs for what they consider “partying”. I see people over-served and wandering aimlessly because their “friends” abandoned them. I see guys fly off the handle in situations where a simple “excuse me” would have sufficed. It always makes me think, “That would never happen at iO. Someone would take care of that person. Cooler heads would have prevailed.” It helps that we all speak the same language, though.

QUICK ASIDE: Kim Mulligan asked me the other night whether or not I was able to “turn it off” when I’m at other bars. Honestly, I can’t. I’ve been doing this way too long. I can walk into any bar, anywhere, and within five minutes tell you who has been over-served, who is underage and HOW they got in, whether or not the bouncer is on the take, which bartender is drunk, if the owner’s are on drugs (and yeah, I can tell who the owners are usually), and so on and so forth. I can see a fight 10 minutes before it happens. Studying improv and learning how to read people’s body language has only heightened that skill. It used to drive me crazy but now I just remind myself that I don’t work there and Charna signs my checks, not these people. I usually just turn to my buddy and tell him to stand with me in a different part of the room. When they ask why, I tell them, “Because that guy who hasn’t touched the drink in his hand since we got here can’t take his eyes off of that girl. And the guy twice his size standing to her immediate left has….noticed. This isn’t going to be a very safe place to be in about, oh say, 3 minutes.” But I digress.

And about that shared language I mentioned earlier. Improvisers speak in a different rhythm. There is a give and take there and any new person picks up on it. The bits fly back and forth; the shared jokes told in quick character voices. Any conversation a lay person has with an improviser is inevitably politely interrupted by another improviser who wants to say hello and then is immediately followed by an introduction and greeting with the new person. That sort of warmth is extremely inviting to a new visitor. They want to be in on the joke. They want every person in the bar to be happy to see them just like it seems to be for the improviser they are talking with at that moment. It just LOOKS fun. And it is.

When I meet a lay person who is the boyfriend/girlfriend of an improviser, I inexorably make the joke, “So when are you starting classes?” You simply can’t be around improvisers talking very long without wanting to be part of the conversation.

In most bars, we just want your money. In an improv bar, we add you to the conversation. You’ll buy drinks simply because you don’t want to leave.

It’s also why everyone who works at an improv bar also performs there. I can’t imagine how a lay bartender could function at an improv bar. He wouldn’t know the language. He wouldn’t know the history. He wouldn’t understand that a Level 2 student is ordering in that old prospector voice not to be a dick but because he’s trying to be funny; to impress you. The student is trying to belong; to join the conversation. He wouldn’t know Miles Stroth or Bob Dassie from a hole in the ground and that would be a problem.

Can you imagine how difficult my job would be if I had to stop every 5 minutes and explain, “No, dude, that guy just raised his voice because he’s doing a bit. He’s not starting a fight; he’s doing his “Mr. Energy” character from The Friday 40. And by the way, please don’t make TJ Jagodowski wait 5 minutes for a beer as he is an improv legend and has probably earned a little extra prompt service for all he’s done for the art form. That’s embarrassing. What’s that you say? (Sigh.) A ‘bit’ is when….”

I shudder to think.

Which leads me to the dark side of having your crowd know each other rather than strangers at a club who may never see each other again: Things can get…..complicated.

When you have a lot of sensitive, artistic types in the same room with healthy egos whose art is so closely tied into their personality and their self-value, you need a bar manager who can be a calming influence. Yeah, we don’t have any fist fights at iO but we do have people who have long histories with each other and sometimes it’s not always the best histories.

Oh, and I hear everything. I know more than I should know and a very important part of my job is being discreet. I sometimes see people not at their very best (which happens at EVERY bar) but at an improv bar, that person is part of the family. I need to contain that situation because I don’t want them to be embarrassed. I need to let them know I don’t want to ever see that again AND I need to keep my fucking trap shut about it.

In this job, I spend a lot of time patiently listening to a particular view and attempting to be objective. I try to find mutually beneficial solutions. I try to encourage people to work with me. Hey man, I want a lot of people at your show as well. Let’s try and work out some drink specials. I spend a good part of my time reminding interns, who are our lifeblood, that although they are not getting paid, they are still getting something of value (free classes) so they should really try to treat it as, you know, a “real” job.

I also spend a lot of my time encouraging those who go that extra distance and do something because it needed to be done and not because they were asked to do it. I want those interns and staff members to know that I saw it and appreciated it. That they aren’t faceless; someone is watching and recognizes effort when it is given.

And I always wasn’t very good at it at first. I was used to regular bars where I had to exert a little more authority and use a different sort of language; “bar” rhythms and not “improv” rhythms. I was reminded by one of my servers not too long ago that one of my first requests for her to do something the way I wanted it done began with the line, “Now, I know you’re not retarded but,…”

Woof. Yeah, not good, I admit. But I was used to working with restaurant/bar “lifers”; my godmother, my Aunt Kathy, was the head server at Coletti’s in Chicago for thirty years. She would have smirked and gone right on with it. At the end of the night we would have been friends again. That’s just how the business works.

One of the main reasons I took the job at iOWest (besides the fact that I consider it my home; it’s members, my family) is because the staff was already in place. I didn’t have to clean house and through trial and error find a staff I was happy with a year later.

I have a great staff of people who work with me instead of for me. I don’t ask them to do anything I wouldn’t do myself. I earn their respect that way and they go the extra mile for me because of it. Not that I haven’t had to put the hammer down here and there but now, I’m just placing the hammer on the table. Sometimes that’s enough. Also, if they don’t do it for me, I’ll get fired and then they might have to work for a bigger asshole than me!

And honestly, no one who works here doesn’t want to work here; easily, it’s the best bar gig in town. Great friendly, funny crowd who tip well (because you’re going to see them next week) and only the occasional random jerk who thought this was the club next door and leaves 5 minutes later.

Everything about running a bar at an improv theater comes down to its people: those who populate the bar and those who run it. Unlike any other bar I’ve ever worked in, everyone has a vested interest in the place doing well. We all want this place to keep its doors open so that we can keep coming back.

Not only because there is no other place like it but because we need it.

Comedian Profile: Nick Gillette

NICK GILLETTE

Might have seen him in: Everything Must Go (recently retired house team), Velvet Helmet, and Nathan Edmondson’s New As-of-yet-unnamed Team (forthcoming)

Hangs his hat in: South Philly (soon, Souther Philly)

Stomping Grounds: Downingtown, PA, which, as kids, we would refer to as “Down In G Town”

Pays the Bills: Tour Guide at Eastern State Penitentiary

Other Hobbies: Dungeons and Dragons (just started a new campaign as the Dungeon Master), Burlesque (I perform regularly with Revival Burlesque and Cabaret Red Light), Secret Mime (mime is so universally and undeservedly loathed, I feel like I have to practice in secret.)

Why Improv?

I got into improv in college because there is nothing as invigorating as the risk of standing in front of a crowd with your teammates and being rewarded by bringing the house down.  It rewards presence.  I spend an unfortunately large portion of my life dealing with people automatically, and I’m glad to participate in any activity that demands living on the cusp of the moment.

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If you know someone who you think should be profiled, we’d love to hear about them.

Comedian Profile: Mary Carpenter

Editors Note: In celebration of The 2010 ComedySportz World Championship, this week we’ll be profiling comedians from the local ComedySportz roster…

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MARY CARPENTER

Might have seen her in: ComedySportz Philly (going on 18 years), Dangerous Fools, 24 Hour Improv Marathon

Hangs her hat in: Mt Airy, PA

Stomping Grounds: Villanova, PA

Pays the Bills: Theatre Jack of all trades

Projects: Writing, producing & performing original one-woman show “the New & Improved Stages of Grief” for 2010 Philadelphia Fringe Festival

Other Hobbies: Writing, knitting, crosswords, pretending to be a mother

Why Improv?

Never boring, You’re never done, and it still curls my toes

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If you know someone who you think should be profiled, we’d love to hear about them.

Premiere of Boys Don’t Cry at Studio 34

It’s the third Thursday of the month, and KING FRIDAY will be putting on their monthly show at Studio 34. Tonight their guest is the premiere of the new duo, BOYS DON’T CRY, featuring ANDY MOSKOWITZ and TODD SHAEFFER, directed by MATT HOLMES. We took a moment to chat with the boys and their director about this new partnership and what we can expect.

How did this come about?

We were waiting in line to see Where the Wild Things Are and sparked up a conversation about (our) mutual love of improvisation.

And this is the first time you’ve worked together?

Yep, n00bz!

So what are your thoughts on joining forces?

Should be interesting. We have grown a lot as actors and performers working together. Slowly getting our groove and creating some magical stuff.

magic in a bottle

What’s the premise?

Two dudes, doing the ‘prov. (The show is) still searching for its niche.

What can we expect tonight?

We are still in our incubator… not trying to do anything crazy. But you can expect some pure emotion and a lot of fun discovery.

Any thoughts on the future of the show?

Future hasn’t been written yet. No ones has. Your future is whatever you make it, so make it a good one. We’re giving it a shot… getting the show on the road… and we’ll see where it goes.

KING FRIDAY W/ BOYS DON’T CRY
THURSDAY, JULY 15TH @ 10PM
STUDIO 34 | 4522 BALTIMORE AVE
PAY WHAT YOU CAN