Jay Russo

This dynamic class provides a fun, creative, and safe space where students learn to express themselves confidently. Through high-energy short-form comedy, kids master the core pillars of improv: active listening, collaboration, and the "Yes, And" philosophy. The comprehensive curriculum goes beyond basic acting to integrate theater, physical movement, voice and speech, and character building. By transforming mistakes into happy accidents, students build essential teamwork skills and overcome performance anxiety. It is the perfect creative enrichment environment for students to connect, sharpen their critical thinking, and boldly build lifelong personal confidence.

Tara Copeland

This workshop for kids is a playful, high-energy space where children use games, storytelling, and imagination to be funny on the spot. Through activities like character-building, silly role-play, and group storytelling, kids learn to think quickly, listen to others, and express their ideas with confidence. The focus is on having fun while building creativity, teamwork, and communication skills. There are no wrong answers—just lots of laughter, supportive collaboration, and opportunities for kids to let their imaginations run wild.

Monika Ozdarska

Each person is distinguished or similar to others by worldview, preference and point of view. Developing characters with strong, original perspectives helps generate comedy, as humor often arises from the clash between a character’s beliefs and the reality surrounding them. Rather than getting stuck in arguments on stage, we explore playful tension, contrast, and unexpected interactions that make scenes lively and engaging. In this workshop, you’ll experiment with character POV, creating expressive, unique, and dynamic characters with distinct opinions, quirks, and ways of seeing the world—characters that are fun to play, enjoyable to watch, and resonate with the audience.

Stephen Gillikin & Wendy Natividad

“Demystifying Duo Improv” Experience the fun and freedom of duo improv – it allows for nimble play, character-driven discovery, and the potential to expand your range as an improviser. Besides, it's way easier to schedule a rehearsal for two! In this workshop, instructors Power Sauce (Stephen Gillikin & Wendy Natividad) will guide improvisers in fostering a strong connection with their duo partner, building larger ensemble and theatrical skills, applying those skills back to the duo, and refining their unique comedic voice along the way.

Joe Hammer  Bethany Marsh

Great improv doesn’t start with a clever line—it starts with awareness. In this workshop, you’ll learn how to read your scene partner before a single word is spoken, allowing your openings to feel immediate, grounded, and undeniably real. Instead of forcing ideas, you’ll develop the ability to recognize what’s already happening—and step into it with confidence. By training your instincts to pick up on subtle physical and emotional cues, you’ll eliminate hesitation and second-guessing. Scenes begin faster, relationships become clearer, and your choices feel more connected and alive. When you’re not stuck, you’re free to experience the scene!

Tom Neile

The title of my third book is Tao Three: Randomness, Chaos and Order. I see (and teach and perform) this as the inescapable DNA of all scenic improv. Once players learn it, embrace it and learn to bend this reality to their will, possibilities become endless, and chemistry among players becomes powerful. And permanent. The beauty of this approach is how easy it is. It doesn't require tons of creative thought to make scenes go. Just as you don't have to create waves in order to creatively surf on them. Surfs up! Kowabunga!

Flannery Wilson

In this workshop, students will develop core improvisational skills including active listening, relationship building, and grounded scene work. Through a series of structured exercises, participants will practice repeating and heightening their partner’s ideas, establishing clear dynamics early in a scene, and making choices that support rather than override their scene partner. Coaching will focus on helping students identify missed opportunities, clarify intentions, and build scenes that are collaborative, specific, and engaging.

Chris George

Bleep, bloop. Are your scenes feeling lifeless, boring, and unpredictable? Or perhaps you find your work diverting into the strange, surreal, wacky, and silly unknown? Maybe you just feel disconnected from your scene partner and the agreed reality? Well keyboard cowboy, clear your cache, flash your ROM, and get ready to download (or upload, depending on your bandwidth) into the Matrix. This intermediate to advanced workshop is all about playing to the top of your humanity. Digging deep into the toybox of CIS exercises, you'll find new playspace in worlds of uncomfortable silences, awkward co-workers, unhelpful employees, and the existential

Alora Cheek

Join this class for a mind-bending crash course in how to take Short Form skills and start learning how to do an Improvised Full Story with a beginning, a middle, and an end. I've trained Short Form folks into improvising a solid 30 minute story in 6 weeks or less. They knew what they were doing and why. This class cannot get you there fully in 2 hours, but it will give you the critical tools and Short Form translations you need to go home and start implementing it. This is the stuff I wish I had known years ago.

Susie Sargent

Ever get a great note but no chance to try it? In this workshop, you’ll put feedback into action immediately. We’ll pause scenes in the moment to explore new possibilities or get unstuck, letting you apply direct suggestions and feel the difference right away. The focus is on listening, strong choices, and emotional stakes rather than just being funny. Expect a supportive environment with practical notes for immediate use. 10 student maximum to ensure every participant receives intensive, personalized coaching.

Brian James O'Connell

Created by The Family, and under the direction of Del Close himself, The Deconstruction is the single most important long form ever created as it contains every single possible permutation of scene approach and thematic development. Understanding The Deconstruction is essential for the artistic, intellectual & technical development of an improviser. An improviser’s comprehension of the “work” will never be the same after being exposed to “Decon”; whether you perform short form, improvised Shakespeare or are merely a writer looking to improve character & structure, learning these skills will radically improve and raise your level of play.

Dave Hill

NPC/PC interactions hold incredible possibilities for role play to drive game narrative. It’s where you get to invest your personality into the story and into the world of the game. This workshop explores the special relationship between Players Characters and Non-Player Characters in the framework of in-game role play. An RPG Improv Workshop. What to Expect: - Learn how to use in-world and in-character moments to drive story - Build a mindset for seeing and supporting the Player’s Journey - Practice strategies for inviting and encouraging PC role play - Exercise using distinct POVs to heighten moments and encourage character-driven choices

Diana Brown

NOTE: 3 Hour - Crosses Time Block

Step into the role of theatrical architects, invent rich, playable worlds. Explore how to generate original settings that naturally produce character, relationship, and story. In this workshop you'll: • Discover practical ways to choose and define a world worth exploring • Refine and practice pitching your concept • Populate it with characters you’ll be excited to return to and perform • Devise the relationships, histories, and tensions that bring the world to life • Play inside the world to experience how it organically fuels scenes and narrative You’ll leave with concrete tools you can use in rehearsals, classrooms, and shows.

Max Schafer   Al Schafer

NOTE: 4 Hour - Crosses Time Block

This is a popular Intensive Spolin workshop, which is fast paced, fun, filled with strategies to get the best performance out of the individual actor. The genius of Viola Spolin shares the DNA of Improv. This all-play workshop offers an opportunities to side coach and evaluate. He's one of the few instructors left who has worked with Viola Spolin and can share years of experiential knowledge. This innovative workshop incorporates Spolin games into Long form sets. Learn important essential games which are not normally shared at workshops that will get you to your best true improvisational state.

Elke Reid

NOTE: Crosses Time Block

Step into your power, take up space, and unleash your boldest creative voice. “Own the Space” is a high-energy improv workshop designed specifically for women who want to strengthen confidence, presence, and play. Through supportive exercises, character work, and scene play, participants will explore leadership, status, boundaries, and unapologetic boldness, both onstage and off. Whether you're brand new to improv or a seasoned performer, this workshop offers a space to celebrate your instincts, trust your voice, and collaborate with other women in a courageous, joyful environment. Come ready to laugh, explore, and claim the stage in a whole new way.

Paige Wilhide

Let's let loose and get free in our bodies! JOYRIOT is an experiential workshop that uses silent disco, movement, and facilitated play to practice the core skills of applied improv-- presence, yes-and, spontaneity, and ensemble-- in the most honest testing ground there is: a room full of people willing to say YES without talking to each other. Participants move through a facilitated arc from warm-up to full-on riot, building the kind of ensemble trust that only happens when everyone agrees to stop being cool. No performance experience necessary. Just a willingness to be seen and dance your [improv] pants off.

Victor Samuel Lopez

Unusual behavior pops when it's played against a base reality. In premise-based improv, we wanna make sure we're playing/investing fully in 2 things in our scenes, the base reality and the unusual behavior (the game). In this class, we'll work on the balance/relationship of these 2 elements of scenework, so that our game moves can be truly suprising to us and the audience. We'll work on pulling premise clearly from monologues, framing, the "gentle yes", giving in, resetting the game, and character wants to keep from getting stuck in "unfunny arguments" so we can really heighten and explore our scenes.

Lauren Baunbauer

Life is full of contradictions and so is our improv. Inspired by theater with depth and disruption as a creative tool, in this workshop you'll learn how to find surprise and delight in unexpected shifts, change and reframes, challenging our preconceived notions about our scenes, narratives and characters for richer work. We will explore clashes with improv "rules" and our own choices using acting, stagecraft, trust and play. Be prepared for direct guidance, as this workshop is designed to help you surprise yourself and discover creative avenues with tools you can take into the rest of your improv.

Gan Junsiri

This workshop explores how improvisers connect beyond shared language. Participants perform in three stages: first in English, then using only their native languages, and finally through silent improv with live instrumental music. By removing reliance on a single language, performers develop stronger physical communication, emotional clarity, and deep listening. The workshop helps participants collaborate across cultural differences and build scenes rooted in presence, empathy, and shared human experience.

Niki Kalmus

Yes And Yourself (Y.A.Y!): Improvisers are taught to yes and their scene partners and the reality of the scene, but must also yes and themselves. In this workshop, we will practice building on our own choices and trusting ourselves just as much as our scene partners. By being ourselves, following the fun, being bold, and trusting our gut, we can amplify the fun in our scenes and solidify our character's point of view. Much like putting on your oxygen mask first on a plane, taking care of yourself helps you to take care of your scene partner.

Niki Kalmus

Dana Moore

Are you too polite? Do you find yourself waiting for your scene partner to get out their idea first because you don't want to mess it up? Do you worry about reacting appropriately? See what happens when you dare yourself to make bold choices and risk ruining the scene.

Rob Snow

This workshop uses improvisation to build skills that will greatly increase social, workplace, and lifetime opportunities in individuals of all abilities. The Improvaneer Method began in Ohio in 2018 initially for individuals with Down syndrome. We focus on a very structured "scaffolding" model of teaching where each game applies to one or more key skill sets, like problem-solving, eye contact, voice projection, adaption to change, teamwork, listening, and attention to detail. Once we've developed basic skill sets, the games advance to increase skill levels. This is all wrapped up in a very fun and engaging workshop.

Jonathan Pitts

If you take care of the 'now' in any improv scene, the future always shows up as a great scene with give and take. If you don't take care of the 'now', the future never shows up and the scene spins into quicksand. Using a deeply intuitive scenic process that Jonathan learned from the late Martin DeMatt, one that focuses on full-body listening and responding, the participants learn how to take care of the 'now' by becoming fully open and invested in it. The participants also learn how to let go of their worries about where the scene is going and instead learn to understand and be available to where the scene is right now.

Bobbee Cordell

The Members of Fur & Thundur will spend time walking you through how to overcome the trials and tribulations of becoming: A Musical Puppet Improv Troupe We'll talk about how Puppets change improv and how playing a consistent character who themselves play characters is a meta improv on a new level. We'll also discuss how doing almost exclusively musicals affects it.

Stephen Gillikin & Wendy Natividad

Location, Location, Location' -- The where of a scene provides a foundational, and sometimes overlooked, building block in improv. In this workshop, instructors Power Sauce (Stephen Gillikin & Wendy Natividad) will encourage greater mindfulness and awareness of our environment in improv. We will explore how the context of our location impacts our characters’ behavior and how space work can help ground us in our location.

Karla Dingle

Listening isn’t just something you do with your ears—it happens through your whole body. In this workshop, actors learn to listen using three centers: Head, Heart, and Tummy. Head listening hears facts and meaning—what’s being said and how it makes sense. Heart listening hears emotional impact and relationship—how it lands between you. Tummy listening hears instinct and impulse—timing, silence, and when to move or protect yourself. Inspired by actor Vincent D’Onofrio, this workshop uses guided exercises to help actors stop planning ahead, trust silence, and allow real listening to change their behavior, creating responses that are honest, connected, and alive.

Billy Soco    

Shared history creates stronger scenes. When characters already know each other, relationships feel more authentic, perspectives become more distinct, and the work gets more fun to play. In this workshop, participants will use real-life inspiration to build dynamic relationships from the start rather than relying on generic invention. We’ll focus on honest character perspectives, purposeful environmental details, and obvious choices that generate specificity, spontaneity, and connection. This workshop is designed to help improvisers create richer scenes and more grounded ensemble work.

Elke Reid

Swordfights Without Swords is a high-energy, accessible improv workshop focused on physical storytelling, dramatic conflict, and comedic theatricality. Participants learn to create hilarious slow-motion duels, emotional confrontations, and epic stage moments with no combat training required. Perfect for improvisers and actors who want to play bigger, bolder, and more physically expressive onstage.

Rachael Mason

Improv is not math. Why don't we fuck around with form and find out? Learn specific form-making strategery from a structure nerd who learned it from the guru himself.

Susie Sargent

Whether lovers on the run or siblings protecting a secret, compelling improv happens when characters are on the same side instead of arguing. We’ll move past default conflict to explore how solidarity drives action, using the relationship as the engine rather than the obstacle. Key focuses: • Shared Wants: Techniques to lock in an "Us" dynamic immediately. • Externalizing Friction: Raising stakes by fighting the world, not your partner. • Relational Momentum: How getting on the same page creates grounded scenes where the audience roots for your characters. Leave with a refreshed toolkit for building scenes with heart and depth.

James Mastraieni

The Shared Experience is the abstract connective tissue that exists between the performers onstage and the audience. We will gain a deep relationship to the predictive process of expectations that we are creating so that the audience follows our scene from the set up through the satisfying pay off.

Victoria Koenitzer

Have you ever started scenes wondering who you are and what is going on? Let's start scenes with a clear line that contains a reality and a funny idea. Premise-based initiations are at the core of the Armando improv form. Learn to pull ideas effectively from monologues, living room openings, and more in order to get on the same page at the beginning of the scene so that you can have fun playing with and exploring the funny thing for the rest of the scene.

Brian James O'Connell

The Directing Improv Workshop will train up and coming improvisers who wish to move into directing but have very few practical ideas of how to go about it. This workshop will tackle: de-construct a scene mathematically approach a scene from the inside out demonstrate the lesson to the student by performing their position in the scene without embarrassing the student utilize one’s personal performing history to troubleshoot the scene at hand choose the proper curriculum for the appropriate team the difference between teaching and coaching protect yourself from being taken advantage of and what are your “rights” as a coach

Jon Barinholtz & Rob Belushi

Join Jon Barinholtz (Superstore, American Auto) and Rob Belushi (How I Met Your Mother)for a workshop designed to get your project moving. Whether you have a finished film, a rough idea, or just a compelling character, Jon and Rob will help you find your next step. Since 2005, they've been writing, acting, and producing across game shows, animation, scripted sitcoms, and film — navigating the obstacles of getting ideas made and sold. In this workshop, they'll share their strategy for building momentum, avoiding common pitfalls, and making your project more interesting, produceable, and marketable. You'll leave with a clear path and the tools to become a producer.

Sarah Claspell

Let’s work on feeling braver onstage, and not getting thrown off when your scene goes in an unexpected direction. When under pressure, we sometimes freeze up, have trouble getting our ideas out clearly, or feel like we should be somehow different or BETTER. This workshop will help you break through the nerves and bring your best, confident self to your improv.

Tom Neile

The square root of 9 is three. So is negative three. But no one typically thinks that way. I encourage students to think negative three first. The result is true, actual, grounded, but slightly off the beaten path. No need to invent nonsense when alternate sense is available. Also, we learn to use various scene dynamics to generate responses, actions, emotions. All scenes begin in randomness. They continue into chaos. From that chaos we use accumulated inventory to take control and make the unimaginable inevitable. Your improv becomes not only better. It becomes consistently great. It does!

Devin Dugan

In improv, when a scene takes place can be just as important as where. This workshop focuses on setting scenes in different time periods and historical events to inspire stronger characters, relationships, and comedic choices. Through fun exercises and scene work, improvisers will practice establishing clear eras, using historical context, and letting the time period shape behavior, language, and stakes. From ancient civilizations to the Wild West to the future, you’ll learn how defining when a scene happens can instantly make your improv more vivid, grounded, and dynamic.

Dave Hill

An interactive workshop designed to unlock and unleash your characters. From breathing life into your PC to populating a world with memorable NPCs, you'll discover techniques to deepen your character's personality, craft compelling dialogue, clarify motivations, and weave rich backstories. You’ll learn to make bold choices that drive the narrative and develop distinctive traits that make each character unforgettable. You'll leave with practical tools to create more engaging moments, whether you're a player looking to elevate your role-play or a GM aiming to populate your world with vivid, engaging characters. Good for all experience levels. An RPG Improv Workshop.

D.J. Mausner

Everybody get in here, we're taking your group games to the next level! Abstract or cerebral, Harold or montage, group games are integral to a well rounded set. But how do you elevate them from good to great? This workshop will focus on honing group mind, attention to detail, and sharing focus, ensuring you leave with the skills to avoid common pitfalls and feel primed to chase the fun.

Celeste Pechous

The first few lines of an improvised scene are the beginnings of a blueprint for said scene. Initiating can sometimes provoke anxiety. This concentration will work that initiation muscle and lessen those fears so you can be confident right out of the gate. We'll focus on removing all second-guessing of yourself when it comes to starting a scene by providing strong initiating choices, actions and dialogue.

Susan Messing

It is time to finally get answers to those questions and problems with improvisation that you have thought about forever and just can’t crack the code. This class is pretty self explanatory. Part lecture, part get up and go, no question too stupid. Let’s break improv wide open, take rules out of the picture, and celebrate comedy again. If you’re in your head, this’ll rip it out. Perfect for people who have studied too much and learned too little. All levels.

Anthony LeBlanc

As an autistic comedian, Improv gave me the gift of learning to be more flexible with the rules that I naturally fixate on and embrace both change and the unknown. As a teacher, I also started to realize that part of my success with improvising came from how my brain worked to make sense of the world by processing the way AI does, continuously increasing the data I can pull from while getting more complex in the algorithms I use to access that data. Feeling these tools can be helpful for anyone, neurodiverse or neurotypical…I began incorporating one or two exercises in each of my classes over my many years of teaching, and they've become an integral part of my teaching style. This workshop is a compilation of several of those exercises into one workshop to help you learn how to start seeing improv scenes and shows differently. Where you find the fusion of who you are and what you know to develop a keenness and depth of perception and decision-making, referred to as acumen: where your mind and instincts sync up to help you do some of your best work free from the fear of failure.

Stephen Kearin

Note: This is a 3-hour workshop that crosses time blocks

Where does the story go when we stop talking on stage? Explore the fundamentals of Space Object awareness and learn to access the “Hidden Dimension” of improvisation. Go beyond words and deeper into the work. "Kearin is one of the West Coast’s foremost improvisational theatre artists...an extremely nimble and charismatic performer." - Robert Avila, American Theatre

Chad Damiani

Note: This is a 4-hour workshop that crosses time blocks

Improv is built on agreement and radical support. But often, in our effort to work together, we create work that lacks mischief and unpredictability. We end up feeling trapped by our own rules -- unable to break free and explore new possibilities. Clown principles can add that sense of risk and play. Learn how to subvert the expectations, blur the lines of fact and fiction, create greater stakes and bring the audience more into your play.

Joey Shope

In this workshop students learn how to master harvesting even the most minor pieces of information and building on top of that. Regardless of offer, style, form, anything your scene partner gives is plenty to use and you get to make them look like a genius. Making it Matter makes you a stronger improvisers and leads to more successful scenes.

Sarah Thompson & Elena Afanasiev

Want to dive headfirst into organic improv but don’t know where to start? Or maybe you’re put off by its reputation for being pointlessly ‘artsy’? Let LA duo Dock of the Bay help! Through play, find your own way to authentically access organic work–and gain a new tool for discovery, connection, and delight!

Krissy Lenz

This class will get you up on your feet and out of your head, coming up with quick but thorough and interesting initiations that start scenes strong. Get the Who, What and Why established early in your scenes to pave the way for play and exploration to follow. The tools of the short form improv trade are ideal for churning out one great inspiration after another. Explore how the principals of short form game can cross over into all areas of improvisation.

John Lehr

Do you like to learn by doing? Then Story Structures is for you.  Immerse yourselves in a world instantly! John’s popular workshop is back and better than ever. With an all new “structure” this workshop is perfect for returning and first time students. Story Structures is a perfect form for improvisors to create a sandbox and play play play!

Jaime Rich

Improv is about partnerships. We rely on our partners. It's a symbiotic relationship. But at times...., our partner may lead us down a path that we'd rather not follow. Whether it's negativity or inappropriate content or taking over a scene.. How do we save our partner from themselves and right the path to a good scene? This workshop will involve some lecture with lots of demonstration and participation. Demonstrating situations that we all find ourselves in and practicing ways to help our partner and revive the scene.

Patrick McInnis

Great improv communities don't happen by accident — they're built by people willing to teach. This practical "teach the teacher" workshop covers the full landscape of teaching opportunities (performance, corporate, healthcare, and community), how to design and launch your first class, and strategies for growing a scene that lasts. Drawing on Patrick McInnis's experience building improv communities in Tampa Bay, Boulder, and Carlsbad, you'll leave with a framework you can use Monday morning and a vision for the scene you wish you had.

Russ Gooberman

Mind Read Your Scene Partner puts a focus on reading your partner's face, body language, and subtext to get a handle on your scene without over-talking. We reverse engineer those seemingly mystical connections that great improvisers draw on the spot by using a few different approaches to get out of our heads and into our guts.

Kristen Gonzalez

Workshop Format: 2-Hour Guided Session: A dynamic, interactive class where comedians/actors learn fundamental improv techniques through games and exercises. Focus areas include "game format" mechanics, staying present on stage, and overcoming mental blocks. The session culminates in two-person improv scenes with live side-coaching and constructive feedback given by me. Open Improv Jam (Public Welcome): After the workshop, we’ll host an improv jam open to all—whether you attended the workshop or just want to play! Workshop participants will have priority for stage time.

Jeanette Cerami

Improv is FINALLY reaching a broader identity pool and not just catering to the straight, white male demographic! This workshop is going to teach skills to empower less represented identities to play exactly who they are, the character they choose to be, unapologetically in a scene. We will discuss and work on bold initiations, reinforcing established reality, and owning "mistakes" when we misunderstand what our scene partner is offering, because navigating new territory in an improv scene can come as naturally as it does in real life. When done effectively onstage, the audience will lean IN every time.

Tezz Yancey

-CHARACTERS VS CARICATURES A POV workshop -THE (W)HOLY TRINITY Become a fully fleshed out improviser using your (W)hole self… Mind (imagination), Body (environment/object work) and Spirit (emotions) to become more instinctive as you create!

Derek Luetjen

This workshop is amazing because it teaches players to make snap decisions that support choices that have already been made. After taking this workshop players can make any decision when starting a scene and know they will be supported immediately.

Bryce St. Peter

Bryce's Musical Improv Accompaniment Workshop is intended to help more improvisers understand what goes into making the magic of musical improv actually happen, both in front of and behind the keys. Bryce will teach you about the gear you will need to be an accompanist for musical improv, the basic music theory for the trade, how to think musically and as an improviser while accompanying, and tips on starting your own business around it like Bryce has successfully done for half a decade. While this workshop covers a lot of details on accompaniment, there will also be musical improv involved.

Joy Mamey

In improv, what does it mean to "get out of your head?" Last time I checked, we live in our heads most of the time. Focus on breath control, positive affirmations, and fostering awareness of ourselves and our scene partners. The result? Performers who are more grounded, confident, and connected. This class teaches how to zen techniques to allow our improv to remain CALM. CREATION - allowing thoughts to appear, and be let go AWARENESS - listening, noticing, awareness of our own thoughts LOVE - how to make your partner look good, choosing positive affirmations MEDITATION breathing while we practice of these habits.

Dayna Gowan

Public speaking can be stressful, and feeling nervous before a presentation is totally normal. With practice and a Yes, and... Mindset, we can learn to control our nerves on stage and make public speaking enjoyable for ourselves and our audiences! In this workshop, we will focus on: 1) Letting go of judgement (of ourselves & others). 2) Thinking quickly off the cuff to help with Q&A sessions. 3) Embracing the uncertainty that comes with speaking in front of an audience. 4) Bringing your full authentic & vulnerable self to the stage. 5) Saying yes (and...) to speaking opportunities that come your way!

PJ Nally

We all remember the miracles we’ve seen on stage—those moments, often near the end of the show, where the most magical connections emerge from disparate parts of a set. The beauty is that they can never be planned, but we can make the conditions just right for them to be discovered. This workshop is about remembering the things you love about a set and letting them float out of your consciousness and into a place where they’ll surprise you. By trusting the moves your team has made and letting go, you’ll find the moments people will never forget.

Amanda Cassil & Ben Cassil

Do you ever find yourself stuck in a scene that was working, unsure of how to heighten the funny game? What's often missing and difficult in improv scenes is Emotional Heightening: finding real, relatable emotions and heightening them to absurdity. In this workshop, we will learn about the psychology of emotions, how emotions evolve over time, and non-verbal communication with Psychologist Dr. Amanda Cassil, and then put that emotional knowledge to work in improv scenes with Improv Teacher Ben Cassil. By the end of the class, you'll have a better grasp on identifying and portraying emotions for improv comedy.

Allyn Pintal

In this workshop, we will work on getting the most out of our initiation lines to ensure our scenes start off strong so we can get to the fun stuff right away. We'll use personal monologues as our opening to pull premises from and practice making sure our initiations are airtight and your idea is clearly communicated.

Chris George

Successful improv shows are not built on a random series of events - great improvisers make consistent, intentional, and conscious choices that drive their shows forward. Improv is not only about taking risks, it's about making every risk a calculated one. Stop hoping that your shows will be successful, and instead start noting the power of choices that you make to put yourself in the driver's seat of success, and know which choices work for the show you're doing. Participants in this workshop will start analyzing the affect and effect of their choices on the outcome of the show and understand.

Monika Ozdarska

An Inspiration is just the beginning. Invocation expands it into a world of images, thoughts, metaphors and connections shared by the ensemble. In this workshop, we explore the Invocation as a poetic and playful way to start scenes and shows. You’ll learn to move beyond the obvious, follow intuition, and create layered, meaningful openings that inspire both performers and audience.

Anthony LeBlanc

Note: This is a 4 Hour Workshop that crosses blocks

This will be a crash course that will cover many different aspects of directing comedy, including Improv (heavy focus), sketch, improv to sketch, and on-camera cultivated from my Decades of experience. I will share insights and exercises that will be helpful for those starting their directing career and those who have been doing it for a while but want to continue honing their craft. This fast-paced workshop is tailored to give you hands-on exercises and opportunities to explore, discuss, and get guidance on the directing challenges that have come up for you, getting you ready to tackle your next projects.

Paul Ronjak

Note: This is a 3 Hour Workshop that crosses blocks

Most scenes don't die from bad ideas they die from good ideas that never went anywhere. This workshop digs into the mechanics of a scene that actually moves — strong offers, characters with real wants, and the discipline to follow through instead of pump the brakes. Soooo often I see players make it an argument vs each other instead of vs the problem, or negotiating, or not getting to the action, or avoiding consequences. Performers will get out of their head and discover ways to make their existing style more playful!

Diana Brown and Jonathan Pitts

Diana and Jonathan share practical strategies, and tools for producing and marketing shows with clarity and intention. Participants will leave with ways to: Pitch your show to venues, festivals and collaborators. Build a realistic production plan that includes budgets, schedules and contracts. Brand and promote your work in ways that help you to reach and engage your audience. Many workshops teach you how to make the moments happen on the stage. This seminar will share how to make the stages happen. And, several ways to get people to see your shows.

Mick Napier

Note: This is a 3 Hour Workshop that crosses blocks. (Crosses EarlierTime Block)

This is a Q and A about all things improvisation. After each question, I can immediately create an exercise to illustrate the answer to the question interactively. Although it is branded as a Q and A, each participant will get some time on stage, as well. I usually intersperse this with some individual insight, as well.

Jennifer Bologna & Douglas Prodor

Want to produce your own show but have no idea where to start? Come learn from the masters of experimental show production. Douglas and Jenn from Rat City will teach you how to get YOUR bold, ambitious idea off the ground! Rat City has turned countless unthinkable concepts into sold out shows such as "Improv 40 hands," "Shock Collar Improv," "The Wheel of Doom," "Man Vs. Machine," and many others. By the end of this workshop, you will have a fleshed out show pitch, venue options, tech resources, promotional materials, and a marketing strategy. Must bring a laptop or tablet!

Lilan Bowden

“And How Does That Make You Feel?” A cure to over-complicated heady improv scenes: Check in with a feeling! This workshop focuses on harnessing emotion to provide hardy engines for your improv scenes. We’ll explore how this approach makes scenes easy, and I share why I think it’s the best! The first half we’ll be going through group exercises and the second half will be applying techniques to scene work.

Brian James O'Connell

Brian James O'Connell teaches you the skills you need to find your "position" in the scene and then play it to the hilt. Position Play was invented by Miles Stroth (Del Close's "Warchief", Founder, Owner & Operator of The Pack Theater in Los Angeles) as a way to understand and execute the "scene dynamics" of the Four Basic Scene Types: Logical/Absurd, Character Driven, Alternate Reality and Realistic. Topics include: "Thing. Concept. Idea.", "The Five Scenes Everyone Tells You *NOT* To Do But Darn It They Come Up On Stage Anyway", "Playing Archetypes", "Mapping Characters" and many, many more.

PJ Nally & Max Feldman

Sequence songs: those magical weavings of scenes and music that build characters and drive them to emotional heights all at once. These songs break out into scenelets that show us over minutes, hours, days, or years the journey of a character from one place or another. Building characters becomes a group responsibility and a group joy, and worries over the plot give way to excitement about where to take them next.

Rick Horner

This workshop is amazing because it gives players permission to move past polite, predictable scenes and step into deeper, more authentic connections. Through honesty, vulnerability, and courageous truth‑telling, participants learn to navigate discomfort, transform relationships on stage, and discover surprising emotional depth. It’s a high‑impact session that strengthens listening, empathy, and presence while building uncommon relationships that feel real, risky, and alive.

Alan Hawkins

Beginning Improvised Bard This workshop is an accessible introduction to improvising in the style of Shakespeare. We’ll focus on emotional honesty, relationships, and bold choices while exploring heightened language, status, and point of view. Through simple, active exercises, participants will discover how to create characters, speak with confidence, and build scenes that feel grounded and theatrical. This is about playing in Shakespeare’s world without fear and finding the joy in the language, the emotion, and the story.

Mike Rock

Take the guesswork out of your improv. We work on making bold, clear choices with confidence. Start scenes with defined characters who have a point of view, an emotional life and an objective. Enter scenes with energy, a clear focus and presence. Play with openness, be vulnerable, be willing to be changed. See how keeping things simple and grounded, taking your time, using silence and staying present with your partner makes for clearer and more fulfilling and joyful scene-discovering.That's taking care of your partner, the audience and yourself.

Jonathan Pitts

Improv characters are microwaved rather than slow cooked like in scripted plays, so you can create, do and find many more through your physicality. This workshop uses a variety of physical exercises for the improviser to immediately develop a wide range of characters. These exercises also include finding the character’s voice and exercises to incorporate a variety of characters in the same walking environment.

Jet Eveleth

Flow State is a guided experience that combines music, play and authentic connection to explore the state of flow. Release obligation and descend into the body to discover a sense of being genuinely free. This workshop utilizes techniques that make improvisation feel more like dreaming and less like work. This state functions as a springboard for imagination and play, and the rules begin to disappear. Come explore a practice of curiosity and lightness as the very foundation of creating. All are welcome. Please come unprepared.

Bernadete (Bernie) Baktashian

Note: This is 3 Hour Workshop

What keeps you coming back to improv? Part reflective discovery, part applied improv demonstration, and part connection-building, the session blends guided reflection, storytelling, and facilitation-informed exercises to explore what improv means to you now, how you want to show up, and where you feel most alive. Activities are designed to surface personal insight while modeling how improv can be applied beyond the stage: in facilitation, collaboration, and community spaces. You’ll leave with a clearer “why,” stronger connections, and practical examples of how carry improv principles into your scene work and everyday life.

Maria Sweeney

Note: This is 3 Hour Workshop

Think freestyle rap is scary? It doesn’t have to be! This workshop is all about making it fun, accessible, and surprisingly doable. You’ll learn the basics of rhythm, rhyme patterns, and how to come up with lines in the moment—without freezing up. Through games, group exercises, and supportive coaching, you’ll build confidence and leave with tools you can actually use on stage (or just to impress your friends).

Andy Goldberg & Melinda Chilton

I teach all facets of improv but my favorite is helping performers develop characters. I believe that embodying a character can inform dialogue and keep you grounded in a scene. I've developed several techniques to facilitate creating characters and enjoy working with people to enable them to invent these "alter egos".

Jennifer Estlin

It's easy to feel like your acting career is in everyone's control but yours. Steer your own career. Learn methods to: Set and track measurable career goals Market yourself authentically and strategically Build genuine professional relationships that matter Keep yourself motivated and creatively energized Manage your finances like a business owner

Asa Erlendson

This workshop is amazing because it starts simply with saying "you," and, by the end of the class, that one word becomes the heart of an improv scene. We warm up by just saying "you." We turn that word into a whole statement to which we respond with a "yes." We sprinkle in some justification and spacework. We inject emotion. Once those things are settled, we deliberately step back from invention and towards observation. From this new starting point, our "you" declarations become grounded in the present. Then, the sky's the limit to how much fun we can have discovering!

Maria Nally

This workshop is about playing non-sentient beings in improv, injecting them with honest, human emotion. How does an old sock feel when it’s forgotten and collecting dust behind the dryer? What about a computer with a loud fan at a library, or a go-to favorite shirt that gets worn as soon as it’s washed?

David Razowsky

It’s the bedrock of every relationship. You state your point of view, and your partner says theirs. Sounds easy, right? But how often are scenes derailed because the actors don’t hold onto their points of view or mindlessly add unnecessary details that throw the scene off course? Recognizing, maintaining, and evolving a point of view creates confident and exciting scenes.