In this episode I chat to Alex Berg, member of the legendary Convoy, and a long-time teacher at UCB. We cover the secret to Convoy' 20 year history, Alex's recent workshop Make a Goddamn Choice, as well as his thoughts on how to help a sticky scene, his feelings on the Harold, and the fact the he can't play first-person video games.

In the first ever Shiny Things Podcast, I chat to Matt Cuter, the UCB legend who performed with long-running weekend team Bucky, on ASSSSCAT, and now with The Old Yorkers. 

We cover what to do when you get in your head, how to use your everyday life experiences to enrich your scenes, how to respond to when you don't know specific references, Matt's time working at dating app Hinge, and much more!

Narrative improv can be one of the most satisfying and enjoyable forms of the art for both audiences and players, since the journey of change that happens in all good stories is universally appealing. But inventing a cohesive story on-the-fly (and making it funny) is really hard.

One way to simplify the process is to use a common story structure that everyone on the team can follow. One example is the “Pixar Story Spine” that is often taught in narrative improv courses for good reason: it’s simple and effective.

We’ve all been there—someone in the team is doing something infuriating. Maybe they keep tagging into scenes before they’ve even started. Maybe they block your offers and bulldoze ahead with their own ideas. It’s tempting to pull them aside and say, “Hey, stop doing that thing we all learned is bad.”

But we’ve also been told: don’t note your teammates. Why? Can it really be that bad to give a gentle nudge?

Actually, yes. And here’s why.

Improv jams are a fantastic way to get stage time and practice everything you’ve been learning in a low-pressure, high-fun setting. But they can also feel intimidating—whether you’re new to improv or a seasoned player adjusting to a mix of styles and experience levels. Here’s how to get the most out of your next jam.

Monologues are a staple of premise-based improv. A good one can make the difference between a show that flows effortlessly and one that feels stunted. Yet, we rarely focus on what actually makes a monologue easy to pull from.

Experienced improvisers may say the content doesn’t matter—you can pull great premises from anything. That’s true if you’ve had years of practice. But for the rest of us, a strong monologue benefits from clear opinions, emotions, and characters.

Welcome to the ultimate resource for all things improv comedy in London (and beyond)—a place to help you get on stage, improve your craft, and navigate this weird and wonderful community. Whether you're a fresh-faced newbie wondering where to go next, a seasoned pro looking for new nights to play, or someone who just really enjoys shouting “Yes, and!” at strangers on the bus, you’re in the right place (but also, don’t shout at strangers).