Trophy Wife

I'm a Challenge

posted by Rachael on Thursday October 6, 2011

Filed under: Rachael Drummond, Queen of Internet Video, IOWest

Here I am with the lovely Danielle Weeks challenging cupcakes to a taste test against fiber cereal…

The Farmer and the Film School Should Be Friends

posted by Johnny A on Monday December 13, 2010

Filed under: IOWest, Behind the Scenes

If only we had Rodgers and Hammerstein to solve this dispute with a song…

There’s some trouble brewing down on Ivar Street, the street just to the east of the IO West theater. The Hollywood Farmers Market closes Ivar (and Selma) every Sunday morning. They’ve been doing it for 20 years now. The Los Angeles Film School is located at Ivar and Sunset and they want to keep Ivar open to make their parking garage more accessible on Sunday mornings.

That, as they might say in the Farmer’s Market word, presents a bit of an artisanal pickle.

I’m usually against street closures. And I’m all for film schools. Some of my favorite acting experiences have been on student films. But the Hollywood Farmers Market is an institution. It brought fresh produce to Hollywood back when Hollywood didn’t have much going for it and Selma was more accurately called Smellma. And it is huge (as evidenced by this whimsical proposal for a ticketing system to keep the crowd a manageable size). Vendors, baby strollers, and improvisers grabbing a crepe before rehearsal at IO West take up every inch of the current layout.

Can the Farmers Market figure out another configuration in Hollywood that can accommodate all of its current vendors? Or can the LA Film School do us a solid and let the closure of Ivar continue? Where do you stand? If you want to speak your mind, contact Councilman Garcetti ‘s office.

Improv: How it should be... By Derek Miller

posted by Rachael on Thursday July 29, 2010

Filed under: Shameless Plugging, IOWest

The following is a lovely blog posted by Derek Miller on 07/29/10

I have never felt compelled to write about specific Improv shows. Perhaps because of its ephemeral nature or maybe because I feel like it’s an individual experience, as no two people will ever see it the same. My 17 years of witnessing stand-out shows will never translate to anyone but myself (believe me, I’ve tried) and I try to teach with the same prejudice, what you think is funny or topical is REAL… to you… but, through emotion, can be ciphered to even the most daft audience…

That said, I think the good fight was fought tonight in terms of creating improv from whence we came— perhaps without the improvisers’ cognizance… which is when this stuff gets really unapproachable to other art.

Though the members of Trophy Wife (in confidence) shrugged off as a “preamble” to DHT’s final show— they quite adeptly managed to put up a biting satire of America’s love affair with media. To open the show they graced the capacity crowd with promotional items from the soon to be released “Dinner With Schmucks.” How and why this occurred was a mystery to me and I was glad I didn’t know why (as I pull the “DFS” bottle opener from my pocket). They handed the gifts out with equal parts glee and disdain, which unknowingly(?) served as half their opening.
Their delicious take on the venerable “cocktail party” opening birthed sharp characters and a pace that is enviable by the taught-est of improvisers. Zabeth’s Grandmother’s love of the telly tubbies was an excellent companion to Kevin’s Doctor who had been so MOVED by the American remake of Dinner for Schmucks he couldn’t “perform” surgery or get to Thanksgiving on time. His heavy-handed-unabashed love for this yet-to-be-released yet still vital part of pop-culture was as much a fuck you as it was a necessary evil. The entire cast worked seamlessly to “stick it to the man” whilst nodding to us that there is something bigger here that we have to (even begrudgingly) respect.

Which was… A PERFECT MATCH to DHT’s final show…

I wish I could to speak to DHT’s storied 6 year history with authority, but I can’t. I have seen them in many incarnations over the years and I (much like the current cast) couldn’t give you a precise rundown of their evolution. Notwithstanding, their ire for being pre-maturely cut from iOWest’s mainstage roster was the suggestion— though the audience suggestion “forever” was ironically implemented, the vindication of their ousting was never far from reach.

DHT opened the show with a heartfelt slideshow which spoke to every actor in the audience who performs “for love of the game” and more importantly, the people they share the stage with. The video warranted an outpouring of audience support (I was told to please keep it down by Herb) and rightfully so. When can you ever start a show with that level of empathy? But it wasn’t needed. This show was to be grand and it was played as such.

The show struck an early uncomfortably note when the Elephant in the Room was quickly brought to light in the embodiment of the “faceless man”— who was in charge of time and was erasing this group from existence…DHT had a moment of apprehension (not to bite the hand that feeds?) but quickly adopted the entity as a beautiful critique of the theatre’s decision to make them obsolete. Their own personal fears and in-group obligations were gently masked to cover this bitter pill.
The first three scenes of the show was subtle nods to “corporations” and “higher ups” making impenetrable decisions. It was well crafted but smacked of disdain…which was precisely executed and never felt pushed or acerbic. Overall it was a gracefull release…and at the end even singing their way angelically out of danger.

Despite a missed light cue to hit a shaper ending, they plugged away compounding their frustration into something uncomfortable and real. Making this farewell a show to be talked about for years to come. It’s late and I could be more specific but this was an excellent hour of Improv.

I said a lot of things tonight which could be perceived as naive, like “Del would be proud”…. but honestly, this art form was always presented to me as a revolution and anti-authority and you can’t get more anti-authority than sarcastically promoting the summer’s biggest comedy (with one of Improv’s biggest alums) and then blatantly criticizing the theatre that bore you.

I was proud of this night and I really think this is important. We live in tenuous times, the internet threatens the death of cogent journalism – we are loosing the truth. It’s time to be angry. So many of my students loose their zeal by the time they hit levels 6 or 7. But that is the opposite reaction. We need to bite harder as we become better improvisers.

Improv has bloomed into a business, guys, it’s not a revolution, and the stupidist/best thing I said tonight as I left was “This is the diving board…not the pool” And don’t get me wrong…it’s a beautiful board.

Thank you all for an amazing night and reminding me why I should love this as much as I do.

Dinner For Schmucks Show With PRIZES!

posted by Rachael on Sunday July 25, 2010

Filed under: Reasons Why We're Awesome, IOWest

This Wednesday is a very special Trophy Wife show. Nobody’s going to prison or admitting to addiction or meeting a long lost sibling. But we ARE being sponsored by Paramount Pictures (read: free movie swag!) to do a Dinner For Schmucks show.

Come on down to the iOWest on Wednesday night at 9. You could win lots of cool prizes like a Dinner for Schmucks hat or even FREE PASSES TO SEE THE MOVIE AT THE ARCLIGHT THE NEXT NIGHT!!! WHAT??? See you there!

This Week, We Rest. Next Week, We... Improvise

posted by Johnny A on Tuesday May 4, 2010

Filed under: Announcements of Mild Importance, IOWest

Despite what you hear from your iPhone calendar or that weekly ache in your trick knee, Trophy Wife will not be performing this Wednesday. Instead, the 9 o’clock hour on May 5 will feature DHT and Cakewalk battling it out in Round One of the 2010 Harold Tournament.

The Harold Tournament is why your mother told you not to get into improv. It’s a grueling five week Iditarod of mildly implausible situations, poignantly feckless characters, and deftly handled drolleries. Trophy Wife enters the tournament next week, 9 o’clock on May 12.

So enjoy watching DHT and Cakewalk further the cause of improv through competition this week. And then come on down to the IO West next week to cheer us on (and don’t forget to bring your novelty “Trophy Wife’s #1” foam fingers).

The Insider's Guide to iOWest Harold Auditions

posted by Kevin on Thursday January 7, 2010

Filed under: Improv, IOWest

This Sunday brings with it the latest round of Harold Team auditions at iOWest: a day-long process in which recent alumni, ad-hoc student teams, and free agents battle it out for a coveted regular performance slot.

I’ve been there. I’ve run the audition gauntlet three times – the last being almost five years ago when I was put on Trophy Wife. I consider myself extremely lucky to have been put on such a long-running, talented, and tight-knit team. Especially since it means I don’t have to audition again (for now – knock on wood).

I’ve also been on the other side. As a coach, I’ve sat through the seemingly interminable rounds of Harolds and discussions and Harolds and discussions. I’ve watched teams get put together and pulled apart.

And the more time I spend at the theater, the more I see the same behaviors play out around audition time. So I thought I’d take a little time here to pull the curtain back and provide my perspective on this improvisor rite of passage. Take it for what you will.

——

To me, the most important thing that auditioners should know is this:

Your performance at the audition has very little to do with your selection.

I know that sounds reductive and counter-intuitive. And I’m not suggesting your performance has absolutely nothing to do with anything (a bad audition will almost certainly hamper your chances of getting on a team). But with every round of auditions, I see players apply a tremendous amount of undo pressure to themselves and their 20 minute Harold – when in reality, the selection process has so many different factors that your performance is only one small component.

Here’s a quick rundown of some of the other elements I’ve seen go into Harold team selection (in order of importance):

Team Chemistry

This is perhaps the most important element I’ve seen in player selection. James (Grace – the artistic director for you non-natives) really does take the time to think about how a team will function as a whole. Like a fantasy football draft, a majority of the post-callback discussions are devoted to matching players up to create a diverse and viable ensemble. So assuming you’re a competent player but you’re not chosen for a team, it’s probably because the overall mix this round wasn’t quite right.

The Bigger Picture

The sad truth is that there’s only so many performance slots open at a given audition. The auditions are supposed to serve the overall good of the theater. Teams get shuffled around, put together, and broken apart. And sometimes great individual players get lost in that shuffle. I’ve sat through long discussions where one or two really talented people have been on the cusp of getting on a team – if only there was one or two additional open slots. It’s heartbreaking, but it happens.

Who You Are

I often hear the lament of “I didn’t get on a team because James hates me” – especially from repeat auditioners (see more reasons here). And while it’s true that who you are does factor into your selection, thinking that James is going out of his way to keep you from getting on a team is giving both you and him far too much credit.

It’s entirely possible that James doesn’t know who you are. The best way to determine that is to take a look at your role in the iO community. Do you intern? Do you volunteer? Do you do other (i.e. Non-Harold) shows? Have you done The Cagematch or The Lottery or The Jam? I’m not saying you have to be at the theater every night (in fact, as Jill pointed out, you shouldn’t), but the more you show your face around the theater – the more you add to the community – the more likely James will have at least heard of you, and the more likely you’ll stick in his mind as he makes his choices.

Or maybe he really does hate you. I don’t know. Try not to be such a dick.

Your Peers

Similar to contributing to the community, having an ally in the room during the selection process can really help you out. Like I said above, it’s very possible that James isn’t that familiar with you, so having a coach or teacher in the room who knows you and can vouch for your talent can help you get selected. Yes, it’s a little political, but it can work in your favor.

Unless you really suck – in which case having someone in the room who knows the truth might actually hurt you.

Your Performance

This is last on the list because, while important, it’s not as important as you might think. I remember going through auditions and stressing out – wondering “Should I hang back and support? Or should I stand out and try to shine?” Truth is, it doesn’t matter. Just go with the flow of the show. The rest is really out of your hands. Which is exactly why it can all be so frustrating.

Alternate Strategies

There are a few strategies you can implement to increase your chances of selection.

Suicide

The first strategy is to put together and audition as a fully-formed team. This all-or-nothing scenario is called a “suicide” (though I think it should be called “seppuku“ because it implies more honor). Powerhouse, Sweetness, and Suckerbet were all formed this way (I believe).

My only advice in a suicide scenerio is this: make sure your entire team is on the same page. Decide beforehand if you want to suicide and tell James at the top of your audition. I once went through auditions with a team that said they wanted to suicide, only to watch it become every-man-for-himself once it was clear some of us weren’t going to make it. Not very honorable.

Free Agency

If you don’t have a full team to audition with, you can find out which established teams are looking for new members and lobby them on your own behalf before auditions. Go to a few of their shows to see how they play, and if you like them, tell both their coach and members you’d love to be a part of their team. That way, they’ll know to pay extra attention to your audition. A little gumption never hurt.

In The End

Before and after your audition, remember to ask yourself – how much does this all really matter? Sure, we’d all like to have a regular performance slot in which to hone our craft. But sometimes, in the words of Powerhouse’s Jason Frederick “it’s a little too much drama for something I’m not getting paid for.” So try to keep it all in perspective.

Best of luck to all the auditioners this weekend. Please relax, have fun, support each other, and – above all – enjoy yourselves.

Break a leg,
-K