CAST: Caroline Allen, Sara Beth Rapson, Stacey Silverman, Adrian Monte, Alex Ramirez, Curtis Smythe, Scott Miles, Steve Capps

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Check out this clip from Drug Money. Performed for the first and only time on Saturday, February 4, 2012 at Relapse Comedy Theatre.

• 1. INTRODUCTION
• 2. MEMBERSHIP STANDARDS
• 3. MEMBERSHIP PROCESS
• 4. MEMBER POLICIES
• 4-1. SCHEDULE
• 4-2. ATTENDANCE AND CASTING
• 4-3. SHOW NOTES
• 5. IMPROV THEORY
• 5-1. THE 3 C’S
• 5-2. THE SYD
• 5-3. GENRE
• 6. INTRO AND OUTRO
• 6-1. INTRO
• 6-2. OUTRO

Welcome to Black Box Productions First Cut. As a member of FC, an exciting and challenging experience awaits you. FC’s success and future depends upon the dedication, efforts and teamwork of all of its members. Our primary objective is to produce top-level improvised movies with a cast of highly experienced and talented actors. It is people like you upon whom our current and future success depends!

In this handbook, our policies and our procedures are developed so that all of our members may have a unified understanding of how we work together. We are constantly looking to improve our company and management methods for the benefit of everyone. We are encouraged by your participation in the growth of this company and are looking forward to a bright future with you.

These are the eight qualities sought after in every FC cast member.

1. DEDICATION
   Coming to rehearsals and shows. Volunteering to help with publicity, running shows or other tasks.
2. NARRATIVE STRUCTURE
   Using setup, confrontation, resolution to create story and G.O.T.E. to drive character development.
3. CLARITY
   Giving specific, detailed offers and using the power of repetition.
4. COMMITMENT
   Physically, verbally and emotionally heightening of initial offers.
5. CONNECTION
   Listening and responding truthfully to your fellow improvisers.
6. SPACE OBJECT
   Understanding how to create dynamic environments that allow you be anywhere and do anything.
7. ACTION PLACEMENT
   Knowing how and when to use action sequence to advance story and character development.
8. PHYSICAL ABILITY
   Ability to be consistently physical on stage.

To become a cast member of FC, candidates must go through the following membership process.

1. INVITATION
   Cast members are allowed to invite anyone they believe will be a good candidate for membership to regularly attend rehearsals. Initially candidates will take on a mostly observational role in rehearsals.
2. EVALUATION
   After every two rehearsals a candidate attends, members will discuss the candidate and an evaluation will be given based on that discussion. If the majority of the members feel the candidate is not progressing towards meeting the membership standards, the candidate will be recommended to an improv class.
3. PERFORMANCE
   Once the majority of the members feel the candidate is ready, the candidate will be invited to become a full member and perform in their first show.

* Candidates must attend at least two FC shows before becoming a full member.
* Candidates are encouraged to play in Iron Improviser shows to gain experience and exposure.

4-1. SCHEDULE

Shows are scheduled every second Saturday of the month.
Movie Studies are scheduled on the last Sunday of the month.
Rehearsals are scheduled Sunday’s on weekends without an FC show or Movie Study.

Shows are scheduled as follows:

• 8:00-8:50pm – Warm-Up’s (50min)
• 8:50-9:00pm – Move to Green Room (10min)
• 9:00-9:50pm – Show (50min)
• 9:50-10:00pm – Audience Meet & Greet (10min)
• 10:00-10:10pm – Notes (10min)

Movie Studies will take place at a cast member’s house and are scheduled as follows:

• 4:15-4:30pm – Meet & Greet (15min)
• 4:30-6:00pm – Movie (approx. 90min)
• 6:00-6:15pm – Discussion (15min)

Rehearsals are scheduled as follows:

• 1:00-1:10pm – Warm-Up’s (10min)
• 1:10-2:40pm – Topic (90min)
• 2:00-2:50pm – Restroom Break (10min)
• 2:50-3:40pm – Run-Through (50min)
• 3:40-3:50pm – Notes (10min)
• 3:50-4:00pm – Circle Time (10min)

The master calendar for all Black Box Productions events can be found by clicking on the following image in the footer of the BBP website:

4-2. ATTENDANCE AND CASTING

Members must inform the rehearsal director if they can not attend rehearsal at least 24 hours in advance. They must also inform the director if they are running late to rehearsal as soon as possible.

Casting for each show will be determined at the end of the rehearsal before that show. The cast size for each show will be 4-6 players. First priority will be given to those at the rehearsal. Second priority will be given to those who were not in the last show.

4-3. NOTES

Cast members will rotate note-taking duties. During run-through’s and shows, there must always be a note-taker watching. Note sessions should last no longer than 10 minutes. If the note-taker or other cast members would like to further discuss the notes, they may do so outside of the note session.

Each show is recorded and uploaded to YouTube so that all cast members may watch it and note themselves.

5-1. THE 3 C’S

These three guiding principles provide the foundation for our work in improvisational theatre.

1. CLARITY – giving specific, detailed offers and using the power of repetition.
2. COMMITMENT – physically, verbally and emotionally heightening of initial offers.
3. CONNECTION – listening and responding truthfully to your fellow improvisers.

5-2. THE SYD

The Syd is a format developed by Black Box Productions to provide structure and substance to narrative improv. It utilizes theory on story structure developed by Syd Field and on character developed by Robert Cohen.

SET UP comprises the first quarter of the story. It introduces the characters, shows their interrelationships and places them within a period and location. Key concepts include No New Trouble, Care About Something, Names, Determine the Protagonist and Establish the Question.

CONFRONTATION comprises the next two quarters of the story. The protagonist encounters obstacle after obstacle that prevent them from achieving their goal. The most important concept is Heightening.

RESOLUTION comprises the final quarter of the story. The plot reaches its peak of physical/emotional action as the forces in opposition clash, followed by the introduction of a new equilibrium. The most important concept is Answer the Question.

GOAL refers to the desire that drives a character’s actions. Characters will align with or oppose each other depending on the compatibility of their goals.

OBSTACLE/OTHER refers to who or what stands between a character and their goal, helping define a range of tactics and emotional reactions.

TACTIC refers to a method applied in pursuit of a goal. Tactics fall into two categories: threatening and inductive.

EXPECTATION refers to a character’s expectation of succeeding in achieving their goal. If the character did not expect to achieve their goal, then they would not pursue it.

5-3. GENRE

First Cut layers the action film genre onto the Syd.

FIGHTS AND CHASES

Action sequences are used to add suspense and move the story forward. In order to do so, they must put something at stake that can legitimately be lost or gained without derailing the story. For example, it is a forgone conclusion that the protagonist won’t be killed midway through the story. Therefore, something more than the protagonist’s life must be at stake to create suspense.

FIGHTS – An attacker uses verbal and physical offers to indicate an incoming attack. It’s up to the attackee to physically respond. The attacker should never force the attackee to move and keep a safe distance when making a forceful motion. This helps avoid injury and keeps the audience focused on the scene, rather than the actor’s safety.

CHASES – Actors use physical and verbal offers to convey their movement through space while remaining on stage. The chasers and chasees must share focus, establish distance and use delayed mirroring as they move through the same environment at slightly different times.

SIGN POSTS

FC uses 2 scenes that are standard fare in action movies as sign posts to help guide the narrative.

THE OPENING ACTION SEQUENCE grabs the attention of the audience and give them a taste of what’s to come by establishing the period, location and realm of possibility for the story. This initial scene takes the form of a fight or chase and last around 1 minute. Little time is devoted to character development as the charters in this scene may not return later in the story.

The 11TH HOUR SCENE is a split focus scene used to summarize the views of the main characters as the anticipation builds for the final showdown.

PROTAGONIST

FC utilizes the Action Hero Protagonist, who has exceptional physical abilities, disregard for propriety, disdain for authority and a personal code of honor. This larger than life character serves as a surrogate for the audience and is humanized by a major flaw. The protagonist’s struggle to overcome their flaw forms the spine of the story and stimulates the plot.

The protagonist is established in the first scene after the Opening Action Sequence. They will naturally emerge after the first few offers as the character that is the most physically able. As the central character, the protagonist should have more stage time than any other character and is the most affected character throughout the narrative.

6-1. INTRO

ENTRANCE – The 20th Century Fox Fanfare plays as the actors take turns entering from stage right and striking an action pose. The fanfare is 20 seconds long. Each actor should take an equal amount of time entering. 4 actors – 5 seconds; 5 actors – 4 second, 6 actors – 3 seconds.

SUGGESTION – An actor is chosen to plays the role of the host backstage. The host explains that they will need three original title for an action movie from the audience. Three actors take turns securing these titles and then reviews them for the audience. The host explains that the audience will vote via applause to determine which of the three titles FC will be using for inspiration. After the audience has voted and there is a clear winner, the host say – “First Cut now presents to you for the first and last time…” followed by all the actors saying the winning title in unison.

6-2. OUTRO

BOWS – The actors come out in pairs or trios. Each group takes turns positioning themselves downstage center, bowing in character and then moving into a line upstage along the back wall. After the last group has bowed, the line moves forward to the downstage area. The actors hold hands and bow together. Then they each raise a hand to the tech booth and next to the musical improviser. All the actors then exits stage right.

• 1. INTRODUCTION
• 2. MEMBERSHIP STANDARDS
• 3. MEMBERSHIP PROCESS
• 4. MEMBER POLICIES
• 4-1. SCHEDULE
• 4-2. ATTENDANCE AND CASTING
• 4-3. SHOW NOTES
• 4-4. CORE MEMBERS
• 5. IMPROV THEORY
• 5-1. THE 3 C’S
• 5-2. THE SYD
• 5-3. GENRE
• 6. INTRO AND OUTRO
• 6-1. INTRO
• 6-2. OUTRO

Welcome to Black Box Productions IMPROV! The Musical. As a member of I!tm, an exciting and challenging experience awaits you. I!tm’s success and future depends upon the dedication, efforts and teamwork of all of its members. Our primary objective is to produce top-level improvised musicals with a cast of highly experienced and talented actors. It is people like you upon whom our current and future success depends!

In this handbook, our policies and our procedures are developed so that all of our members may have a unified understanding of how we work together. We are constantly looking to improve our company and management methods for the benefit of everyone. We are encouraged by your participation in the growth of this company and are looking forward to a bright future with you.

These are the eight qualities sought after in every I!tm cast member.

1. DEDICATION
   Coming to rehearsals and shows. Volunteering to help with publicity, running shows or other tasks.
2. NARRATIVE STRUCTURE
   Using setup, confrontation, resolution to create story and G.O.T.E. to drive character development.
3. CLARITY
   Giving specific, detailed offers and using the power of repetition.
4. COMMITMENT
   Physically, verbally and emotionally heightening of initial offers.
5. CONNECTION
   Listening and responding truthfully to your fellow improvisers.
6. SONG STRUCTURE
   Understanding how to use elements such as chorus, verse, bridge and rhyming to create a song.
7. SONG PLACEMENT
   Knowing how and when to use song to advance story and character development.
8. VOCAL ABILITY
   Ability to sing loudly and in key.

To become a cast member of I!tm, candidates must go through the following membership process.

1. INVITATION
   Cast members are allowed to invite anyone they believe will be a good candidate for membership to regularly attend rehearsals. Initially candidates will take on a mostly observational role in rehearsals.
2. EVALUATION
   After every two rehearsals a candidate attends, members will discuss the candidate and an evaluation will be given based on that discussion. If the majority of the members feel the candidate is not progressing towards meeting the membership standards, the candidate will be recommended to an improv class.
3. PERFORMANCE
   Once the majority of the members feel the candidate is ready, the candidate will be invited to become a full member and perform in their first show.

* Candidates must attend at least two I!tm shows before becoming a full member.
* Candidates are encouraged to play in Iron Improviser shows to gain experience and exposure.

4-1. SCHEDULE

Shows are scheduled every first and third Saturday of the month.
Rehearsals are scheduled Sunday’s on weekends without an I!tm show.

Shows are scheduled as follows:

• 8:00-8:50pm – Warm-Up’s (50min)
• 8:50-9:00pm – Move to Green Room (10min)
• 9:00-9:50pm – Show (50min)
• 9:50-10:00pm – Audience Meet & Greet (10min)
• 10:00-10:10pm – Notes (10min)

Rehearsals are scheduled as follows:

• 1:00-1:10pm – Warm-Up’s (10min)
• 1:10-2:40pm – Topic (90min)
• 2:00-2:50pm – Restroom Break (10min)
• 2:50-3:40pm – Run-Through (50min)
• 3:40-3:50pm – Notes (10min)
• 3:50-4:00pm – Circle Time (10min)

The master calendar for all Black Box Productions events can be found by clicking on the following image in the footer of the BBP website:

4-2. ATTENDANCE AND CASTING

Members must inform the rehearsal director if they can not attend rehearsal at least 24 hours in advance. They must also inform the director if they are running late to rehearsal as soon as possible.

Casting for each show will be determined at the end of the rehearsal before that show. The cast size for each show will be 4-6 players. First priority will be given to those at the rehearsal. Second priority will be given to those who were not in the last show.

4-3. NOTES

Cast members will rotate note-taking duties. During run-through’s and shows, there must always be a note-taker watching. Note sessions should last no longer than 10 minutes. If the note-taker or other cast members would like to further discuss the notes, they may do so outside of the note session.

Each show is recorded and uploaded to YouTube so that all cast members may watch it and note themselves.

4-4. CORE MEMBERS

Core members are looked to as leaders within the group. They are expected to be able to lead rehearsals and help determine the direction of the group. To become a core member, a cast member must

1. have been a member of I!tm for at least one year.
2. have an in-depth understanding of the improv theory behind the work.
3. be approved by a majority of the current core members.

5-1. THE 3 C’S

These three guiding principles provide the foundation for our work in improvisational theatre.

1. CLARITY – giving specific, detailed offers and using the power of repetition.
2. COMMITMENT – physically, verbally and emotionally heightening of initial offers.
3. CONNECTION – listening and responding truthfully to your fellow improvisers.

5-2. THE SYD

The Syd is a format developed by Black Box Productions to provide structure and substance to narrative improv. It utilizes theory on story structure developed by Syd Field and on character developed by Robert Cohen.

SET UP comprises the first quarter of the story. It introduces the characters, shows their interrelationships and places them within a period and location. Key concepts include No New Trouble, Care About Something, Names, Determine the Protagonist and Establish the Question.

CONFRONTATION comprises the next two quarters of the story. The protagonist encounters obstacle after obstacle that prevent them from achieving their goal. The most important concept is Heightening.

RESOLUTION comprises the final quarter of the story. The plot reaches its peak of physical/emotional action as the forces in opposition clash, followed by the introduction of a new equilibrium. The most important concept is Answer the Question.

GOAL refers to the desire that drives a character’s actions. Characters will align with or oppose each other depending on the compatibility of their goals.

OBSTACLE/OTHER refers to who or what stands between a character and their goal, helping define a range of tactics and emotional reactions.

TACTIC refers to a method applied in pursuit of a goal. Tactics fall into two categories: threatening and inductive.

EXPECTATION refers to a character’s expectation of succeeding in achieving their goal. If the character did not expect to achieve their goal, then they would not pursue it.

5-3. GENRE

IMPROV! The Musical layers the musical genre onto the Syd.

SONG AND DANCE

Musical Numbers are used to express strong emotions and move the story forward. Characters sing when words are not enough and dance when song is not enough.

SONG – Actors use song elements such as chorus, verse, bridge and rhyming to create musical numbers. They must sync with the musical accompanist, sing in key, use a variety of musical genres and provide both lead and back up vocals.

DANCE – Actors use simple, repeatable dance steps and mirroring to create dance numbers. They must take turns leading and following dance movements, share focus and use appropriate entrances and exits.

SIGN POSTS

I!tm uses 3 songs that are standard fare in musicals as sign posts to help guide the story.

THE OPENING NUMBER is used to establish the period and location the story will take place in. Each actor takes turns entering the stage and singing an AABA verse, followed by a harmony where each actor sings a portion of their verse.

THE MAIN “I WISH” NUMBER is sung by the protagonist and is used to clearly establishes the question of the story – Will the protagonist reach their goal? This number typically contains three elements – Wish, History and Fantasy.

THE 11TH HOUR NUMBER is used to summarize the views of the main characters as the anticipation builds for the final showdown.

PROTAGONIST

I!tm utilizes the Everyman Protagonist, who serves as a surrogate for the audience. The audience likes to imagine itself in the best possible light: trustworthy, intelligent, sensitive etc. Therefore, if the audience’s illusion about themselves is toppled by having their surrogate behave boorishly, their loyalty and interest will wane.

The protagonist is established in the first scene after the Opening Number. They will naturally emerge after the first few offers as the character that is the most emotionally affected. As the central character, the protagonist should have more stage time than any other character and continue to be the most emotionally affected character throughout the narrative.

6-1. INTRO

ENTRANCE – The first actor to enter from stage right sings “IMPROV!” holding the “O.” The actors successively enter from stage right and sings the same in a higher pitch. Once all are singing, the first actor signals to stop and all say “The Musical” in unison.

SUGGESTION – An actor is chosen to plays the role of the host backstage. The host explains that they will need three original title for a musical from the audience. Three actors take turns securing these titles and then reviews them for the audience. The host explains that the audience will vote via applause to determine which of the three titles I!tm will be using for inspiration. After the audience has voted and there is a clear winner, the host say – “IMPROV! The Musical now presents to you for the first and last time…” followed by all the actors saying the winning title in unison.

6-2. OUTRO

BOWS – The actors come out in pairs or trios. Each group takes turns positioning themselves downstage center, bowing in character and then moving into a line upstage along the back wall. After the last group has bowed, the line moves forward to the downstage area. The actors hold hands and bow together. Then they each raise a hand to the tech booth and next to the musical improviser. All the actors then exits stage right.

CAST: Caroline Allen, Jo Davidovich, Katie Kulinski, Curtis Smythe, Matthew Arisheh, Pat Young, Scott Miles, Steve Capps

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Check out this clip from In Harm’s Way. Performed for the first and only time on Saturday, June 4, 2011 at Relapse Comedy Theatre.

BBP produces shows twice a month at Relapse Comedy Theatre in Midtown Atlanta. Tickets at Relapse are $10 for general admission and $5 for students. They are good for the entire night. On some nights that can be upwards of six hours of comedy! Parking is a breeze. Relapse has two whole parking lots. If you get to the theater and the main lot is full you can simply park across the street next to Bobby and June’s. Oh and of course, there’s a full, delicious bar.

View Larger Map

BBP also helps produces special events in and outside of our regular venue. Below is a list of recent and upcoming special events.

Give a donation today to help BBP enrich the Atlanta community. Need more intensives? Your donation will retroactively become tax deductible as soon as we receive our 501(c)3 status and if you donate more than $100, you’ll receive exclusive VIP seating and discounts to BBP events.

Volunteers are an essential part of each and every performance and we’re always looking for new ones. As a volunteer you’ll get all sorts of fun perks like seeing the show for free, getting cheap drinks, paling around with our awesome staff, and generally having a heck of a lot of fun! If you’re interested in volunteering, please let us know using the contact form below. Then we’ll be sure to give you the skinny on learning the ol’ volunteer ropes and get you on our volunteer email list.

Download pdf’s of our graphics to use in your article, newletter, website or other publicity material. Feel free to make background and color adjustments as needed.

• Black Box Productions Logo
• IMPROV! The Musical Logo
• First Cut Logo
• Iron Improviser Logo

Find more about shows, booking, volunteering or whatevs by sending us a message using the form below or e-mailing us directly at BlackBox[at]AtlantaImprov[dot]com. Either way, we will get back to you asap.

Congratulations to 50ft. Vermin on back to back championships!!

Congratulations to the 2009 Black Box Improv Tournament Champions – 50ft. Vermin.

Congratulations to the 2008 Black Box Improv Tournament Champions – Your Mom’s Mom.

      • Have fun
      • Unlock their creative abilities
      • Become more outgoing
      • Learn to entertain an audience
      • Experience life in a fuller way

Students also receive free entry to 8 weekday and 4 weekend shows during their 8-week class!

IMPROV 101: THE FUNDAMENTALS
Tuesdays, February 7th – March 27th 7-9pm
Open to all skill levels, this class teaches the fundamentals of improvisation and lays the foundation for exciting, improvised scenework. Our interactive exercises will build your communication skills, unleash your imagination and give you the confidence to be more spontaneous. Graduates are eligible to perform in a student showcase.
Cost: $199.00
Location: Relapse Comedy Theatre (map)
Click here to sign-up or ask a question about this class

IRON IMPROVISER DROP-IN WORKSHOP
Select Monday’s 7-9pm, Click here for dates
Iron Improviser provides a fun, safe environment for improv students to get experience in front of an audience. In each drop-in workshop, one of our experienced directors teaches the fundamentals of game-based improv. Those attending workshops will be considered for casting in the next Iron Improviser show. Open to anyone currently taking an improv class or who has previous performance experience.
Suggested Donation: $5 per workshop
Location: Relapse Comedy Theatre (map)
Click here to sign-up or ask a question about this class

IMPROV 201: STORY AND CHARACTER
TBA Spring 2012
This class builds on the fundamentals by digging deeper into story structure and character development. Students will learn to maintain intrigue and excitement while extending an improvised story over multiple scenes. Graduates are eligible to perform in a student showcase and audition for a Black Box ensemble group.
Cost: $199.00
Location: Relapse Comedy Theatre (map)
Click here to sign-up or ask a question about this class

CAST: Caroline Allen, Red Burke, Lowrie Taylor, Jen Thrasher, Matthew Arisheh, Tony Kastan, David Nayyar

MUSICIANS: Devin Farmer, David Nayyar

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Check out this clip from the improvised musical, Band Camp. Performed for the first and only time on Saturday, April 30, 2011 at Relapse Comedy Theatre.