Improv. For some, the word evokes a very specific image: adult-oriented, funny, unscripted, no-holds-barred live comedy skits, peppered with sexual innuendo and other adult themes.
In other words: Not. For. Kids.
A recent visit to the all-ages ComedySportz show at CSz Seattle, however, offered a different image. It was an evening of fast-paced, fast-thinking, family-friendly fun — still no-holds-barred, but without cursing, adult innuendo, or shaming.
As the actor-referee stressed: “We are all about keepin’ it clean.”
Clean content (almost always)
It is “all ages,” but really best for grades 3 and up
Parents in the audience weren’t too worried that things would go awry on stage or that adult content would somehow sneak into the program.
“We’ve been coming to these shows for a few years now,” said Jenn, a Seattle mom, before the show. She and her husband, Dave, had their sons along, ages 12, 14, and 16. The family requested their last names not be used.
“I think they all get what’s going on and we have a great time together,” Jenn added.
Seattle dad Adam Feld, who attended the show with kids ages 11 and 15, felt confident about the show’s all-ages designation: “We had been to an all-ages performance before we had brought the kids and the performers did a good job keeping things PG and making sure kids were included in the process,” Feld said.
University Place mom Tiffany Nance’s family almost filled the front row of the theater for their first improv theater experience.
“We brought our kids, ages 14 and 9, because at that age we knew they would understand the context of the show,” Nance said. “[But] I believe that as young as 7, they could attend and understand if they have the attention span to sit for a two-hour show. The intermission helped.”
What happened at the improv show?
As the lights dimmed, the referee ran onstage like a cheerleader, spelled out the “clean show” rules and primed the audience for their role in the interactive improv environment: clapping and cheering. The strength of audience response determines which team of actors “wins.” Throughout the performance, audience members provide input: naming objects, situations, animals, and other elements that the actors integrate into their improvisations.
At this performance, the audience howled during the “Spotify” game, in which a mom was pulled onto the stage and actors tried to woo her with their ballads. And they thundered after each player demonstrated “Whatchu got?” in a dance competition based on audience themes.
In the “human prop” game, the audience was asked for ideas for scene props. The players then improvised scenes, with one brave actor contorting their body into the named object. Imagine a human lawnmower here.
Good fun, good lessons for kids
All this silliness, parents say, is not only entertaining, but may also be a growth opportunity for kids. On stage, the actors showed the spontaneity, risk-taking, and goofiness that great improv theater — and much of life — is built upon. They demonstrated three important lessons for the kids in the audience: Trust is key to collaboration. Mistakes have value. There are no bad ideas.
In improv, coming up with on-the-spot responses and going with your fumbles is what keeps the audience in stitches.
“I think the kids can learn from the commitment, bravery, and resilience that these talented amateur improv actors bring to every performance,” said Dave. “They are willing to get out in front of an audience and take chances, knowing that . . . they aren’t always going to get the reaction from the audience that they want.”
Nance agreed, adding “learning to go with the flow” and “accepting imperfection” to her list of gold nuggets to be extracted from watching improv as a family.
Yes, and ….
What did the kids in the audience think of their improv experience?
They all said they would “highly recommend” it. But next time they’d like to bring their friends. Most said they had little difficulty understanding the ideas and antics onstage. Most, but not all.
“For example, in one of the games, called “four things,” the audience suggests an emotion for the actors to try to convey using only miming and gibberish,” Feld said. “We’ve seen emotions like ennui and existential dread come up. These required some explanation.”
As Nance said about explaining some humor to kids or addressing uncomfortable content if it shows up onstage, “Isn’t this being a parent every day? People say and do things daily that require conversation. Talk about it. Always. That’s how we handle it. What did that mean to you? Did you understand what was being said? How do you feel about it?”
