Posts in "Links"

πŸ”–πŸ“Ί Alex Brannan’s article, β€œIt Could Be About Anything”: Middleditch & Schwartz and the Viability of Televised Improv Comedy is an interesting read. Longform improv is definitely hard to explain to non-improv normies but also, in my experience, it’s um, not great fun for most people who aren’t “yes…and” nerds, as Thomas Middleditch calls them, to watch. Like… Does anybody NOT initiated into longform WANT to watch a Harold? Maybe they do, but I’m not sure. By the time I was about to stop performing improv, I was over the Harold as an audience member. And I got to see some really amazing teams. Still not a format I would recommend to just anybody. It’s a performance art piece as much as a comedy piece. I don’t know. Anyway, I’d been thinking about watching the show and now I definitely will.

It’s worth noting that I myself never was on a team that did longform without a gimmick. I think our gimmicks were a huge part of the fun for me. We may never know if I would be able to sustain interest in performing the Harold for longer than a six-week class.

πŸ”– πŸ“š I found myself wanting to read so many of the books on Book Riot’s Best Books of 2020 So Far list that I decided it makes more sense to bookmark the whole list than to add each title individually.

πŸ”–πŸŽ΅πŸŽ­πŸ“š Read 8 Musicals that You Might Not Know Were Based on Books by Emily Neuberger.

I’ve been grieving the fact that public performances likely won’t be a thing for the next couple of years. I grieve it both as an audience member and as a performer. Neuberger’s book is going on my to-read list, as her main character’s early experiences with musicals are nearly identical to mine. The musicals and books she writes about are now on my radar if they weren’t, or things I’m going to make a point to revisit if I was already familiar with them.

I bet Neuberger’s book would pair well with The Secret Life of the American Musical, which acts as a Poetics for musicals, describing their shared structural features.