THE DROP
STORY BY NORA BARNARD PHOTOS BY CLAIRA KIMBLE DESIGN BY MATTHIAS AGGANIS
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lthough other acting groups may have certain limitations, Black Sheep Improv says, “yes, and” to anything that comes their way. From the classroom to the stage, each member brings their own talents and humorous approaches. This comedic herd, however, is a selective group. The audition process, which happens at the beginning of each academic year, is fairly rigorous. Current members say people interested in auditioning should attend the pre-audition workshops. Jack Miller, a sophomore studying international studies, says even though the audition process can feel “stressful,” he still had a ton of fun. After auditions, prospective improvers receive callbacks where they perform with team members, and normally four to five new people are chosen each year. Jackson Coleman, a freshman studying musical theatre, says, “It was pretty fun…They made it feel like a welcoming environment…The auditioning and call-back process helped me decide to be there because they seemed like a really cool group and community.” Once the “baby lambs” or new members are chosen, rehearsals begin. Each time, they start with a sharing circle where everyone discusses what they did throughout the week. The rest of the rehearsal time is filled with funny improv in whatever format they choose: musical, murder mystery or just basic improv games. The main difference between rehearsals and performances are the audiences’ interactions. How an audience reacts to a scene can help the actors navigate where to go next. Quinn Bennett, a fifth-year student studying environmental studies, calls improv a “collaborative art form,” because of this. At the start of each year, Black Sheep works on the “Harold” format, which is one of the most iconic long-form improv structures. A typical “Harold” show starts with an opening, often initiated by a suggestion from the audience. That is followed by three “beats,” each consisting of an improvised scene that builds on themes or characters introduced earlier. The first “beat” sets ideas that will be explored or revisited throughout the show. The group may also incorporate a specific theme for the shows – like doing a Hunger Games show close to the upcoming book release. Though some jokes are developed in rehearsals, the bulk of the show is created on the spot. “I think being your most authentic self and really trusting the other person on stage is the biggest part of improv…being able to have trust in these people because the whole thing is just fully created.” Coleman says. One recurring bit the audience does not see is when the actors are waiting backstage. A group member with a stage-manager-esque presence will say, “Hey guys, you’re on in fiiiiiiive minutes,” then shortly return to say, “Hey guys, you’re on in foooourrrrr minutes,” and so on until the show starts. Each troupe member has their own way of getting ready for each performance. For instance, Coleman's process is to watch his favorite funny TikToks to get the humorous energy flowing. On the other hand, Bennett says, “improv is so much fun and it's gotten so natural at this point that I don't really do a lot of preparation anymore.” As a group, before a performance, they do warmups and sing upbeat songs all the way to the stage.
backdrop | Spring 2025