Weeks 1–3 · Listening
Hearing it before you answer it.
The programs, in detail
Four programs of 8 to 12 weeks, played live in every session.
Program 01 · The whole foundation
Listening & yes-and
Yes-and is quoted constantly and practiced rarely. We work on listening without planning your next line, accepting offers as given, and adding something real — plus recognizing the polite blocks that look like agreement and quietly kill scenes.
Weeks 4–6 · Agreement
Accepting what you're given.
Weeks 7–8 · Adding
Contributing without steering.
Weeks 9–10 · Blocks
Spotting the polite ones in your own play.
Weeks 1–3 · Relationship
Who we are, in the first thirty seconds.
Weeks 4–6 · The game
Finding it, naming it, playing it.
Weeks 7–9 · Heightening
Bigger, but still believable.
Weeks 10–12 · Endings
Edits, and leaving while it's good.
Program 02 · Relationships over jokes
Scene work
Scenes work when the audience knows who these two people are to each other. We establish relationship early, find what's unusual and play it again, and heighten in a way that stays grounded — because a scene that goes crazy in thirty seconds has nowhere left to go.
Program 03 · Beyond funny voices
Character & physicality
Most beginner characters are an accent and nothing else. We build them from body, pace and point of view, work on object work that convinces the audience a space exists, and play with status — which changes a scene faster than any new idea.
Weeks 1–2 · Body first
Posture and pace before voice.
Weeks 3–4 · Point of view
What this person believes.
Weeks 5–6 · Object work
Making the audience see the room.
Weeks 7–8 · Status
Playing high, low, and the shift between.
Weeks 1–2 · Nerves
Routines that settle you before a show.
Weeks 3–4 · Support
Making your scene partner look good.
Weeks 5–6 · Group forms
Openings, edits and ensemble play.
Weeks 7–8 · A show
Prepared, performed, debriefed.
Program 04 · In front of people
Performing
Playing for an audience is a different skill. We work on nerves and what to do with them, on supporting rather than starring, on group forms and initiations, and on the simple fact that audiences enjoy watching people have fun far more than watching people be clever.
Want to get back on your feet?
Twenty minutes on your experience and what you find hard. Free.