Character Improv Guide

After having a wonderful conversation with a professional Santa Claus, I was inspired to write a street improv performance list. These are basic rules of performing if you are portraying either an established character like Santa Claus, Mrs. Claus, Fairy Tale princesses, superheroes, mascots or other original self-created character. This is not the definitive list of rules for performing; this is what has worked for me.

I have taken only a few improv classes. I lettered in mascoting in high school, but was never good enough for the drama department. My skills come from social interactions, cosplaying, observations, watching A LOT of 'Whose Line Is It Anyways?', Inside The Actors Studio, Stand up comedy, documentaries about Andy Kaufman, Robin Williams, George Carlin, and more. Additionally, learning from my father, Papa Worthit, who is also a brilliant improviser, writer, actor, and performer. Many of these tips are tried and true in the history of improv, performing, and comedy. The first time I was a Peasant for Hire at the Siouxland Renaissance Festival, a photographer asked, "How long have you been doing this? (street performing)" I told him it was my first time ever. He was shocked. In 2019, when I joined the cast of the Minnesota Renaissance Festival for the first time, I was twice-nominated in the cast awards: best group with the Riddle Masters and Cracked Cup which is the rookie of the year. While our team won best group and I lost Cracked Cup to my dear friend Howard (I cheered the loudest for him when he won) my peers recognized my skills. These are honors that I take seriously and I hope some of these tips can help you.

Yes And...

This is the number one old rule of improv performing. Someone comes to you with something, you agree, add to it, and continue. It doesn't even need to be funny. It doesn't need to be true. Just something. When someone comes up to you and says, "Hi." You reply with, "Hi, my name is Blank. How's it going?" That's 'Yes and...' You acknowledged the conversation and added to it so it can continue. It's a building block for whoever your character is.

You can do this anywhere. All you have to do is put your mind set in the conversation of I am going to 'Yes and...' this. Again, it doesn't have to be comedy. It's about being able to perform. If you are trying to overcome shyness or meet people, this is a mindset for an exercise. There are many more examples out there than I could write, by many other experts far greater than myself. Like any exercise, it is a muscle, it will take practice. There are times it will not work. It will fail. And that's okay. Because...

You have to let yourself fail/make mistakes...

Watching those documentaries, listening to my father, listening to stand up comedians, et cetera, you see the successes, and then if you watch the right ones, they will talk about their biggest failures. They talk about the years of grinding through material, being broke, being told they won't succeed, and worse. When you're starting out performing, it's going to be scary, you're going to fumble, you're going to make mistakes, but you will learn.

Learning from your mistakes is the best thing you can do for yourself. Whether you fumble a line, miss a cue, your joke doesn't land, you accidentally insult someone, et cetera; do what you can to make it right. Own your mistake. If you do something that upsets someone, APOLOGIZE AND MEAN IT! It's not up to you how they feel.

If you are performing, chances are, you are part of a larger team, and you can't do the show alone. Performing can be the greatest source of pride & joy and humility & regret, be prepared for both. A structure that has been broken then re-enforced is often stronger than it was in the first place. Learning from your mistakes will make you a wiser, better performer.

Listen/Be present/It's not about you.

If you are 'Yes and-ing...' in your interactions, whether that is on a stage with your fellow performers or you are working directly with your audience, you are working as a group. It's not all about you. Listen, observe. If you are performing in this medium, chances are, you are an observer of behavior. Observe your audience. You have two eyes, two ears, and ONE mouth for a reason as Papa Worthit would say.

When you are on stage, you are living in that moment, for that moment, for that audience. You need to treat it like they have never seen you before and they will never see you again. Every interaction counts for them. Whether you are a mascot, an established character, an improviser, etc, you are there for your audience. Not everything needs to be big and grand. It's amazing what can be accomplished just by sitting next to someone talking to them - no jokes, no punch line, just being present. You aren't always going to change the world, you might not even be the highlight of someone's day, but sometimes, there is a moment when you give the right person the attention they didn't know they needed.

For example, I was a patron visiting a renaissance festival, I was in full, bright, playful peasant garb; passable for cast. Most of a family had gone into a shop to look around, Mom had stayed outside with the empty stroller. I quietly approached her side and stared into the same mid-distance space as her. Sometimes, Moms get the short end of the stick at events like this. I waited for her to notice me standing there and I playfully made commentary about the buildings like they were art in a grand museum. I asked which family was hers. She pointed them out, none of them were in costume, but I endowed her husband as the Prince of France and I will keep their secret, as she is clearly her Majesty the Queen, and she's trying to enjoy the day without all the pomp and circumstance in disguise. It made her laugh. It cost me nothing. The rest of the family rejoined her and I wished them well and hoped they enjoyed the rest of their day. That interaction went well, but it easily could have gone over like a lead balloon. She might not have wanted a stranger to talk to her in that moment. But I read her body language and facial expressions, she seemed open to it. If she had stared at her phone or hinted that she was disinterested or uncomfortable, I would have walked away. Listen. Be Present. It's not about you, it's about them. Because...

Consent is MANDITORY.

I talk on this as part of my survival guide in getting through the day of the renaissance festival. When you work with partners, fellow actors, crew, et cetera, you have the chance to discuss/establish your limits, comfort levels, personal space and boundaries, et cetera before performing. Being a performer is wrought with history in consent issues and abuse. No one gets to touch you if you don't want to be touched. Be loud in voicing your discomfort. Have an escape. Don't work alone. Be your best advocate.

When working with the public, you do not want any reason to have anyone to be upset, angry, offended by, unhappy with you. Treat every interaction as something you are offering the audience: a gift. A gift is something given without pride or expectation of reciprocity. If you give someone a gift and they give it away or treasure it forever or somewhere in the middle; anyone of those is their choice. Let it be their safe choice. There are some safe rules within that: hands can touch hands - you may offer, but they don't have to accept. (handshakes, fist bumps, high fives). The audience is allowed to be shy: If a child (or adult) doesn't want to approach or interact, that's okay, and don't ever let them feel badly about it.

Cameras, microphones, eyes, and ears are everywhere, assume you are being watched and listened to. You never know who is going to hear or see something you don't want heard when you are on stage. Have your hands be visible in pictures. Measure great caution when touching. Example: I will literally say, "You have a hornet on your shoulder (or whatever it may be)," and wait for the okay from the person. It could be the most innocuous thing, but you never know what it may look like or feel like to someone else.

Then there is the other extreme, those who get too involved when we are on stage. I do not know a performer who hasn't been groped, assaulted, yelled at, heckled, sworn at, belittled, insulted, attacked, or harassed in some way shape or form. This is why it's important to know where your partners are. Know where your back stage is to escape. Have a safe word if your team needs it. Manners, respect, and the show ends when you no longer feel safe performing. You did not agree to perform in an unsafe environment.

Maybe it's a little different being a woman. I have had my skirt lifted. I have had hugs turn into ear-licks. I've had children try to yank my tail clear off my costume. I've had people insult my work to my face leaving me with no means of escape leaving me crying my eyes out and help the next three patrons who didn't ask or seem to care what was wrong; utterly humiliating. Having these outs, safe words, teammates, the means to be loud, comes from a lifetime of necessary survival tactics. These strategies come from years of working with many performers and far too many survivors of assault. Be loud, predators hate that.

Find your 'shamelessness.'

I completely lack shame. There is almost nothing that can embarrass or humiliate me on stage when I am performing...anymore.

Me: *does something bizarre *

Someone: what are you doing?

Me: I don't know, but I can't be doing it wrong!

When you lack personal pride, you let your performance soar. Don't think so hard on what you are trying to achieve. When you think too hard on your plan, you won't be present (as mentioned above) and you'll miss the basic premise of the point you're trying to make (a basic joke, a monolog, a yes and..., etc). Stop thinking too hard! You can make all the mistakes in the world and none of them will be a big deal. Trip? That was a new dance move! Stutter a line? You remixed the line. Sneeze? Pepper fairy. Forget a line? Dramatic pause. Everything in the show is intentional. As I mentioned in the 'make mistakes' section, it's going to happen, own it. The day I realized the shamelessness and confidence are basically the same thing, It was an epiphany - it means I perform for the joy of the audience and myself, not the critics, not the haters. The show is not for people who aren't interested in it. If what you are doing is no longer giving you or your audience joy, then it's time to move on to a new show.

You can call it confidence, shamelessness, mojo, pixie dust, cheer, spirit, whatever make you a strong performer, all you have to do is find that power in you and own it.

Evolving...

Do not get me wrong, I get nervous before performances. I make mistakes and do wrong. I am constantly learning and evolving. I will never be at the end of these lessons...But when it goes right, these are some of the greatest moments of my life.

This is by no means a perfect list. Chances are, I will be evolving this list as time goes on. I'm sure there are performers who would look at this list and be absolutely insulted by it. As someone with little training but more practical experience, that's what you need to do - experience it. No guide can train you for the real thing. Get out there, DO THE SHOW!