There’s eight of us: my brother’s family and mine; four teenagers and four adults. My niece, 17, chose to visit St Paul’s Cathedral. We struggle up hundreds of steps to the Whispering Gallery, then walk up some more for fantastic views of London from the rotunda on top of the cathedral.
My husband, a political junkie, wants to visit the Houses of Parliament; which, all of us agree, turns out to be a great experience. The audio tour leads us through the House of Lords and the House of Commons. We learn about kings and commoners; pomp and circumstance; and how laws are drawn up.
My brother, an erstwhile sailor, chooses to visit the National Maritime Museum; the rest of us go along for the ride. It’s interesting to observe sailing routes and ships through his eyes. It teaches us about Britain’s maritime history, but also reveals an aspect of my brother’s life that none of us knew.
My younger daughter, 14, wants to visit Stratford-upon-Avon, since her class was studying Shakespeare. As the town is 160 kilometres away from London, it takes a day and results in us quibbling about how long each chosen activity could be.
My nephew, 15, the only boy amid three girls, wants to cap each activity at two hours, so he can get back to his beloved videogames. Instead of choosing an activity, he asks for a veto. He wants to reduce the number of activities; stay home, watch cricket on TV and play with his PlayStation 3. His request is denied by the adults. He chooses Hyde Park under duress, but says he doesn’t really care if we go or not.
My elder daughter, fresh from a brutal first year in engineering school in the United States, just wants to sleep. Also under duress, she chooses kayaking on the Thames, but we couldn’t fulfil this obligation – it rains on the day we schedule this activity. So we go to Harrods and Topshop, which is fine with the girls.
My sister-in-law wants to visit Wimbledon, where her family had lived for some years. It’s fun to take a trip down memory lane, visit their flat, now rented by South Africans, and wander in and out of the shops.
I choose comedy improvisational classes. Like it or not, I decide, we’re going to return from our holiday with the ability to make people laugh; or at least ourselves laugh. We’re going to be a funny family.
When you think of improvisational comedy, two locations come to mind: Chicago, where the famous Second City theatre troupe and teaching programme is based; and London, where Keith Johnstone, the father of improvisation and author of the seminal book Impro: Improvisation and the Theatre, began his career. Johnstone is still a legend in London, even though he now lives in Canada. Every improv teacher I encounter talks about him and wear lessons from him as a badge of honour. “Keith invented improvisational comedy as we know it,” says Jules Munns, our first teacher.
London is full of institutions offering drop-in classes – from singing to storytelling; dancing to DJing; improvisational comedy to acting lessons. My situation is complicated by the fact that we’re a group; and not all of us are passionate about improv. Dragging the whole gang to lessons all over London is simply unfeasible. I need a teacher who can come to us. To my surprise, I find several institutions that offer private lessons in improvisational comedy. Not all of them fit into my budget and I end up zoning in on two: The Nursery and City Academy.
Munns is the artistic director of The Nursery (www.thenurserytheatre.com), a nurturing environment where all kinds of funky classes, including the Feldenkrais Method, are taught. Its website is worth visiting. It has interesting podcasts and interviews with professionals, including Patti Stiles, another legend in this field.
I cold-email Munns asking if he will take a private class for us. He agrees because he thinks it’s “cool” to teach a large extended family. Munns typically charges £75-100 (Dh428-571) per hour for private lessons, but being his first “family” clients, gives us a discount.
We arrive at The Nursery on a cold, wet London morning. Situated near London Bridge on a busy street, this establishment hosts improvisation classes every week; and drop-in classes three times a week. Anyone with a passing interest in improv can take a class, pretty much at the last minute, if they’re passing through London.
We’re in a medium-size room with chairs. Another class is taking place in the next room, although most sessions happen at 7pm.
Like most comedians, Munns is preternaturally observant. Within minutes of arrival, he notices my gangly nephew likes to lean against the wall as a way of distracting attention from his height; that the girls don’t make eye contact; that I easily feel cold. We stand in a circle to ostensibly introduce ourselves, except with a twist. We have to point to a person and say our name instead of their name. Simple as it sounds, it’s difficult for the mind to process. After warming us up, Munns introduces us to one of the core concepts of improv: the “yes, and…” Along the way, he passes along life lessons and wisdom. Improv is somewhat like Buddhism, he says. You accept things as they come to you and build upon it; rather than rejecting what someone says.
This works in life as well as in corporate settings. When a colleague offers a suggestion, the natural inclination – one that we’re all trained to do through years of schooling where we’re taught to think critically – is to view each suggestion with scepticism. This critical eye can impinge on creativity – unless you’re a Picasso or Mozart. Improv, we discover, is all about silencing the voices in our head that tell us to view each environment with wariness. Instead, we’re forced to jump joyfully into each situation and celebrate it.
We’re paired into random couples. The instruction is simple: we each have to say something. No matter how nonsensical it sounds, the other person has to begin their sentence with: “Yes, and…” And build on it. After a few iterations, we loosen up enough to make up narratives that are silly and fantastic. One goes like this:
“Let us go to the mall today.”
“Yes, and let us buy the entire building.”
“Yes, and let us transport the building to Zimbabwe.”
“Yes, and let us buy some rhinos along the way.”
Munns tells us to “commit” to the statement; to say it with conviction. We try to stay in character, but all of us are laughing along the way. Munns wraps up each exercise by saying “scene” – theatre shorthand for “let’s close the scene”.
We try variations of this exercise. One is that we should speak only questions. Each person’s statement has to be a question; and each response has to be a question as well. Another variation is “yes, but…”, in which each response has to start with that phrase. We learn that questioning each other or doubting each other with a “yes, but…” makes the conversation fall apart within a few minutes. There’s no humour in that model. We end the lesson with improvisational sketches that each pair took part in while the rest watched. After each sketch, Munns offers us encouraging and instructional feedback.
This pattern continues with Kate Smurthwaite, our next teacher. A slim, smiling woman, Smurthwaite is an instructor at City Academy (www.city-academy.com), which offers a veritable feast of classes besides improv, including singing, dancing, writing and filmmaking, at a variety of locations. It offers short courses, as well as private lessons for groups. Charges vary depending on the instructor and location. Drop-ins are allowed with prior consent.
Smurthwaite is a bit of a celebrity in London, both for her comedy acts and political activism. She was on the panel at the Edinburgh Fringe Festival, and gives talks on improvisation at senior citizen centres, prisons and colleges.
In rapid succession, Smurthwaite runs us through a series of games. We stand in a circle and tell a story. Each person is allowed one word. This is both liberating and constraining, because each of us want the story to progress in a certain way, except the person next to us takes it in a whole new direction. Improvisation, I begin to understand, is all about giving up control. You can’t control the narrative; you have to build it together by staying loose and paying attention.
The more advanced lessons involve theatrical sketches. My favourite is called Interview. Two of us sit on a couch, while the rest act as interviewers. We’re “experts” on crazy, silly things, such as panda football or inkblot paintings. The two experts have to answer questions using the same format of a word per person. Smurthwaite begins proceedings.
“We want to welcome the two professors, who are experts in sunflower genocide, on the show,” she says. “Why do you think sunflowers are used for genocide, as opposed to other flowers?”
Off we go, the two of us sitting on the couch. “Sunflowers… are… flowers… with… yellow… petals… that… are… poisonous.”
A similar game is called Translator. Two people sit on the couch and speak a nonsensical language. Others interview them. The pair are experts on an esoteric subject such as Frankincense architecture or desert art. The expert answers in passionate mumbo-jumbo. The translator gives a spin to the answer. Each of us play a part in building humour: we try to ask crazy questions; the expert uses the limited mumbo-jumbo resources open to them by using their body in a more expressive way – to control the message and get their point across; the translator effectively sabotages the expert’s message by making it their own, translating it into whatever they want. By the end of the afternoon, we’re confident, curious, loose and full of laughter. Smurthwaite and I share a drink after, and she’s generous with her advice about how to attempt stand-up. “Try to pair opposites together,” she says.
When I return to Bangalore, I’m so inspired by the pleasures of improv that I call Keith Johnstone. He has retired to Canada. I find his email on his website (www.keithjohnstone.com) and write to him. A few emails later, I enjoy a Skype call with the legend. I’m tongue-tied at first; then describe my nascent interest in improv and ask him how I can jump-start it. Is there any advice he can give readers about how to become better at improv?
“Start with the fear,” says Johnstone. “You have to find situations where you are not afraid to go on stage – to warm yourself up. If you are trying to be funny, you will be afraid. You should go on stage not to be funny but to form relationships with the other performers. And, I suppose, the audience. If you walk on stage trying to be your best, you will fail. I think you should walk on stage trying to be average; then you will learn quicker.”
In other words, don’t be a perfectionist; don’t aim for the stars; don’t try to be funny. Instead, be yourself, be average and address your fears.