Session 343: Immersing In Improv Comedy

Published Jan 24, 2024, 8:00 AM

Welcome back to another episode of the Therapy for Black Girls January Jumpstart mini-series. All month long we will host conversations with talented Black women leaders across creative and professional mediums to assist you in putting the “P” in prioritizing your personal growth. If you’ve been holding back on doing you, THIS is your sign to jump head first into the possibilities of a New Year. 

Joining me this week to discuss getting started with improv comedy is improv player and coach, Eva R. Lewis. For over a decade, she has been seen performing with several improv teams in the Washington DC area, as well as at comedy festivals around the world. During our conversation, Eva and I explore the mental health benefits of improv, how to find inclusive improv communities in your city, and the ways in which the fundamentals of improv can bleed positively into your daily life.

About the Podcast

The Therapy for Black Girls Podcast is a weekly conversation with Dr. Joy Harden Bradford, a licensed Psychologist in Atlanta, Georgia, about all things mental health, personal development, and all the small decisions we can make to become the best possible versions of ourselves.

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Welcome to the Therapy for Black Girls Podcast, a weekly conversation about mental health, personal development, and all the small decisions we can make to become the best possible versions of ourselves. I'm your host, Doctor Joy Harden Bradford, a licensed psychologist in Atlanta, Georgia. For more information or to find a therapist in your area, visit our website at Therapy for Blackgirls dot com. While I hope you love listening to and learning from the podcast, it is not meant to be a substitute for a relationship with a licensed mental health professional. Hey, y'all, thanks so much for joining me for session three forty three of the Therapy for Black Girls Podcast. We'll get right into our conversation afterword from our sponsors. Welcome back for another episode of our January Jumpstart mini series. All month long, we're having conversations with talented black women leaders across creative and professional mediums to assist you in putting the p and prioritizing your personal growth. If you've been holding back on doing you, this is your sign to jump headfirst into the possibilities of a new year. As we enter a new year, perhaps you're looking to incorporate more laughter, fun, and teamwork into your daily routine. Well, what if I told you that there's an activity that can help you do all of these things plus learn to yes and your way through this roller coaster of emotions we call life. I'm talking about improv comedy, and today's guests is here to share all about it. Joining me today is improv player and coach Eva R. Lewis. For over a decade, she's been seen performing with several improv teams in the Washington, DC area, as well as at comedy festivals around the world. Since twenty seventeen, she's been one half of White Privileged Black Power, an award winning diversity and inclusion improv show that she also co created and is offered to organizations. In our conversation, Eva and I explore the mental health benefits of improv, how to find inclusive improv communities in your area, and the ways in which the fundamentals of improv can bleed positively into your daily life. If something resonates with you while enjoying our conversation, share it with us on social media using the hashtag TVG in Session, or join us over the Sister Circle to talk more about the episode. You can join us at community dot therapy for blackgirls dot com. Here's our conversation. But thank you so much for joining us today, Eva.

Yeah, no, thanks for having me. Yeah, I'm excited to chat with you.

So if you could take us back to the beginning, can you tell me a little bit about what inspired you to get interested in improv and what was your first experience with it?

Yeah, So what inspired me is that when I was in law school, I had a group of friends. We would go to Second City in Chicago and they put on a bunch of variety shows frequently, so we would go to just about all the shows. And then when I was graduating from law school, I had a friend Mike, who was like, I'm going to take a class and I was like, Oh, you take a class, I'll take it with you. So while we're studying for the bar, we're taking this improv class and it was a blast. It was like a nice release vow of like to be silly and the fun, meet new people, and then we would go hang out afterwards after class. So I kept that up, went through the whole Second City curriculum and then the two levels at IO in Chicago, and then moved back home and kept doing improv. So the first taste was watching the shows and then saying like, oh, this is fun, enjoyable, and then the second part was like just getting the idea when I saw someone else doing it to say hey, I want to do it too.

Wow. So that's quite an interesting mix to be studying for the bar and then taking your improv classes. Yes, I can imagine. It was a great like stress reliever, a very different part of your.

Brain, exactly exactly, and it lined up perfectly because you would go to class in the morning for your bar classes. Then I would go to the Starbucks that was connected to the theater and just stay there all day and then six fifty then move on over to class for seven o'clock. And then it was over two weeks before the bar. So there was no excuse, right that this is taken away from studying and passing, and I did pass, so it was it was a great time and it was just fun and.

Silly, right right, right. So for those of us who may not be you super familiar with improv, can you give us a definition, like, what are some of the fundamentals of improv?

Yeah, so improv is definitely in the word. And then particularly for improv comedy, which is what I do, everything is made up on the spot. What you're given as a reformer or your group is you get some type of prompt, a git we call it, and then that shows the audience that you are making it up on the spot. So everything that you see, whether it be short form or long form, and short form is like if you watch whose line is it any way, where they're doing games and they set up the game and then they play the game. Or if you're doing long form, which is like you're doing a scene like if you would go to a theater to see a play or movie, there's a scene. That scene is completely made up. And then what the improv comedy part is that you are trying to be funny. You're trying to entertain in that way. And so there are some basic principles that you learn. And the main one that I'll say, and this is something that maybe people have heard of, is yes and it is the mantra of improv. It is the first thing you will ever learn if you take a class is that yes and aspect, which is to say yes to whatever reality what's being said, and then you try to add on top of it, and you go through a variety of exercises like no butt or yes but and you'll realize that you can get to the fun faster if you just say yes and to what's been given to you. Got it?

Got it. So it sounds like you guys started, Like you mentioned one of your friends was taking a class and you were like, oh, okay, I'll go with you. So if somebody is interested in starting improv, would they just look up classes in their area? Like how do you get started with it? Yeah?

So the way you get started is like most places have a improv theater or they have a theater that has like some improv class or workshop. So I would say, if you're in the DC area, there's a Washington Improv Theater. I'm teaching a class in January of twenty twenty four, level one. If you want to come through, just google improv classes, check your local theater. Also, there's a bunch of resources on online and a bunch of books. But obviously the best avenue is to take a class where you're either virtual I think some folks are still doing that, or you are in person doing it.

Got it? So what might we expect at our first class, Like, is there a way to just sit and pay attention and look in see what other people are doing first before you jump in.

Some people try to do that and then you just try to coax them in because here's the thing. What improv And everyone's biased about their own or form, but what improv It's supposed to be a collaborative, inclusive environment, right, So the idea is that there is no wrong answer. As I tell my students, there may be a better answer, but there's never any wrong answer. So the thing is there are workshops where you can get it like a taste of improv right, you know, two hours and it's usually like free events. I know ar theor does it. But the main thing is don't be too scared of it, because if you're going to anything improvised classes, the environment is such that people want to invite you, and we know this can be scary, especially if you're trying to be funny. You're like, I'm not funny, and what we all are funny in our own ways. So the main thing I'll just say, like, just give it a try. If you don't like it, leave all right, But I guarantee you're gonna get something out of it.

So can you walk us through an introductory class that we might see in our first improud class.

Yeah, your first class level one. We start off one acknowledging that like, hey, we all are our beginners, we're all new. Most time, you don't know people, so you're set in the groundwork to like, hey, I think the nails we use is like we're like a cool startup, right, like at your workplace, So like you don't want to be too edgy. Some people they want to talk about topics that may ignited a discussion, and the thing is like, if you're in a work setting, you probably wouldn't say that, right, but you would talk about what's on TV, what's happening here, or the latest gossip or whatever. That's fine. So it's like setting that base ground you'll work and then the first thing you're doing is like how to access the yes and part of it. So you're doing exercises where you're not trying to be funny. All we're trying to do is just work your mind to like bring words and phrases when you can. And so you may start with an exercise where it's two people, two lines lined up and you're just saying, like, hey, just state and occupation that you are, right, and then layer on an emotion to it. So like if you were a cardiologist, but you are a happy colorologist, Hey, I know your heart is clogged up, but we're gonna get through it, right, And so like if you're responding to that on the other end, you're just like, all right, doctor, you're really giving me positive vibes. So the main thing is just like jumping right in and doing the whole yes and exercise of it and then playing with the emotion. Like that's a really big part at least the improv is like accessing that emotion that it will inform your character and allow you to sustain a scene.

Got it. So it is a scene that you're trying to build because I'm trying to play along as you're giving this exercise, and I'm like, Okay, if I were in this other line and somebody said, okay, I'm a happy cardiologist, Like then do I introduce myself as like whatever my profession is? Or am I building on the story of the happy cardiologists?

Exactly? The two levels, right, one is like you could be another profession, right, which is the pensive librarian, right, and so what the pensive lart is making my face scrunch up and I'm thinking real hard. But I'm a librarian, so I'm here to help you tackle whatever it is you're doing, and then you can build off because now you have a character, like who you are and like your point of view in this scene. So like the one step would be that where you're just like taking care of yourself, which is like having an emotion, having a character. But then the other part of that could be maybe you are the patient and you're seeing this happy cardiologist. Now do you want your cardiologists of your problems to be so happy and care free? Right? You, as the improviser can make that decision. Right, You're like, I'm really digging this, So you're like, you know what, I just know I need you to be a little bit more serious and like just bring that happiness down because I got called darteries going on right now. That's what you can play into. But the main thing is is like taking in what's been said to you and then just adding on to it.

Got it. So I appreciate that you started a part of this conversation talking about like there's no wrong way, and I would imagine because I'm like, Okay, well, how do I get this right?

What's the right answer? Exactly?

Like what even as like a law student like you're training, is there is a right answer to these things. And so this is really expanding you in a very different way to kind of release this idea that there's a right answer into really lean into this more playful side.

Yeah. And here's the thing, Like with improv, I want to say there's no wrong answer, right, because we improvise all day like this podcast episode we're doing right, we're comprovising. And so the thing is like in real life when you're talking to friends or families or your work, right, there are things you say and you're like, oh, I wish I had said it a different way, right, But here's the thing, your message got communicated, right, You're like, maybe my delivery should have been different or I should have used different kind of words. It's the same thing with improv comedy. And it's a space like to allow you to have that freedom but also have the freedom particularly as an adult, where you are what you are saying and doing is being accepted and that you're adding onto it. So yeah, so know that there is no right answer. There may be a different word, but I like better, There could be a better response to a better way of playing in a scene.

Got it, Got it? So what would you say are some of the most common misconceptions about improv?

Yeah, this definitely has gotten better since I've been doing improv, But like initially it was like white male, young, twenty some years old, flannel at least flannel was a big thing when I came into the scene, as it seemed like a uniform. And what's happening now is that you now have more people of color, obviously more women who are performing, because a lot of times you would have teams where it's like all men and then like maybe one woman. But I have not seen that lately, and if I see it, it's like very rare. Most teams have a mix, and sometimes you have teams which are all women. And so I think that's the big conception is like this is a white male art form. And not to say that they don't play big roles in terms of the improv world, but there are other voices that are coming in that are also playing roles. I would also say that people think you need the jokes in improv and it really is not a joke setting what you're trying to do, and like this the whole discussion on it, what I imagine it is like more organic improv, which is like you're trying to build something with your seene partner, with your team that you're finding the fun right, you're just not anserting like if you want to do jokes like stand up, maybe more over your speed because that you're like set up punchline right delivery. But with improv of a lot of times the humor of the funny is coming from the behavior and also what you're saying. But behavior in the way you're saying and delivering it is where you're finding the fund. So the thing is like you're not inserting jokes, you are finding the fun that you typically would have in a conversation like with your family and friends. Right, Like funny moments come up the way someone said something, the way someone did something that's causing funny, but they weren't coming in with a joke to the conversation.

Got it, So improv doesn't always have to be funny, Like is there a more dramatic version of improv or is it always like improv comedy.

Ninety nine percent of time it is improv comedy. Now you may go some of the improv shows you like that was not funny, but they may have been trying to be funny.

Right.

The thing is like, in terms of improv comedy, which is what I've been doing and my teams have been doing, we want to be funny. There are shows and projects where folks are not going for the funny. It's still improvised, but they're going for more dramatic, more of a play sort of thing. As a matter of fact, there is another branch of improv called playback. I've only seen it once and they blew my mind away in a good way. They're not trying to be funny. It's more theatrical where they take in what the audience is giving them and then they play it back to you. And so there's the playback, right, they're playing it back to you, but they're not going for laughs. They're going for more like heartfelt, grounded, sincere sort of improv. I would see definitely trying the improv comedy just to stretch yourself. But once you get that foundation, like going into more of the dramatic improv, it is there and people do do it?

Got it? So what are the markets you're looking for in terms of like, Okay, I'm getting better at improv comedy, Like how would I measure my success there?

Yeah? I think one is the ease at which you are reacting and playing with your same partner or your team. And so the way that would look like is when you initially start out, you're thinking a lot, right, You're like, Okay, what am I going to say next? And what I try to tell my students is like, I know you're thinking because you missed something that your same partner said, and if you had heard what they said, you've been able to have a little bit more fun. So I think the idea of getting comfortable with like not knowing exactly what you're going to say, meaning like you're pre planning, and then also like as you perform more in front of an audience, getting reactions from an audience. Sometimes you say something and you don't realize that it is funny right until someone laughs, or you may have said something that's cringeworthy and they go ooh, right like and then like, well that's still a reaction. Sometimes it's good, sometimes it's bad. When you get those Ooh, that's nasty. Right, It'll still be it'll still be fun. So but the thing is, like I think, in your mind, if you know, it's just getting easier to respond and to make them up, to make them up right, the words and the phrases and behavior, then you know you're going in the right direction. There's a sort of thing like a flow. I think I heard an athlete said probably the scripted actors and actress to say, but there's a certain flow in terms of how you're interacting when you're in the scene.

So you mentioned earlier, you know, like I think many of us have this idea that improv is like old white men with flannel. Like you said, right, young, what are some of the obstacles that you've had as a black woman in this space.

I think the obstacles are and there have been discussions about this in terms of when you're actually doing scene work, right, because obviously we are bringing ourselves and ourselves are in the world, and so we are bringing ourselves into these scenes. And what happens a lot of times as women, I'll tell you, as women, and also as black women and as black people, right, A lot of times you get thrown into the girlfriend role or like the mom role. There's a lot of scenes that I see and to still see as like this whole trope of like women being naggers and like ruining men's lives or like send them up for this, or they like casual sexism or like sexual things that like just comes up right, and a lot of times like the scene did not need that. It's for whatever reason it's coming out. And I think also like in terms of black folks, and I see it here and like sometimes I'll point it out. I think more if I play with more advanced players, more experienced players. But there's also like if you have a white player and a black player, some of the same things that we see in real life you'll see on the improv stage. You know, if they're a medical situation, they're the nurse or the tech when it easily looked like they were the doctor. There was a discussion amongst the DC and also other improv communities across the country about like getting more people of color onto teams and like being open to that and not just having it all be white male. At least there was a recognition of that and like it has improved and going on from there. But in terms of those obstacles, I think that's it. And I will say I'm on a team Colleena Dunham, which is a all black improv team, and when we first started, we were all the only black member of our improv team and that's how we started. And since then, I'm on teams of world I'm not the only one anymore. So I think those are obstacles of just not like seeing yourself and also in terms of the topics that may come up and being able to play in that atmosphere and to be your true authentic person.

Mm hmm. Yeah. You know, as you're talking, I'm thinking, like, as a psychologist, this sounds like a fascinating projection exercise, right, because again, wherever you go, there you are. And so of course you're bringing all of your stuff to this character that you're building on stage, right, And so what is done? Are there ever any conversations that break the playing to say, let's pay attention to the dynamics that are happening here, Like why are all the black women being cast as like caretaking roles? Are those kinds of conversations happening like as a part of a workshop.

Not as part of a workshop, but I know I've had to have one on one conversations or a broader conversation in classes about like, hey, in terms of how we're playing, a lot of times we'll play different genders, right, but a lot of times like gender doesn't matter within the scene, but they'll still say that you're a man, and like this is like here's the thing, Like I present as a woman, right, and so like the idea because I'm now in a higher status, I'm now a man, right, Like there are women who are in higher statuses. So I think having those conversations is a big one. And then in terms of the race conversations, right in terms of like hey, that scene you did with the cop or the scene you're doing in terms of sexism or racism in the workplace, right, Like I see where you were trying to go, but like we need to bring it back a little bit. And I will say this since you said workshop. So there's another duo I'm on called White Privileged Black Power. We started in January twenty seventeen. There was a show. It was like a social justice show, and so my comedy partner Greg Tyndall, who's a white male, was like Hey, Eva, let's do a duo for this show. And I was like cool, and so we started talking about it. And the idea is that we started out just asking each other questions, giving honest responses, and then doing improv scenes off of it. That's a direct way of getting at some issues. So like one issue, and it could be fun to silly. Like the first question I ever asked Greg was like, Hey, Greg, do you ever look in the mirror and just thank God that you were born? And like man? Right? And so Greg took it in. I don't think he ever said yes, but then he went on this long tangent about America raise this, and then we did a scene off of it. Was fun. But the thing is like it was tackling something serious but layering on something fun and trying to make it humorous in a way that's not offensive. Right. We've done that, and we've done corporate workshops as well, where we're in the workplace and people talk about real workplace things that happened to them, and we take that and we try to layer I think a lot of times we're layering on this very serious topic with something that's not so serious.

Got It. Got It More from our conversation after the break. So our conversation EVA is you know, kind of encouraging people like if they want to try this as a hobby to you know, get started. And I would imagine for people who are in spaces that already feel oppressive and if I am dealing with the stress of a nine to five, I don't want to then go to an improv workshop and I'm gonna still have to have some of these like racism conversations. So what kinds of tips would you give for people to find spaces that may be more affirming. You mentioned that you're in an all black troop or comedy club, So what kinds of tips would you give for people to find spaces where they might not have to deal with.

Some of that One resource, I would say, and it may be more focused on the DC area, but I think they also branch out nationally. It's called the Black Improv Alliance, right, so it is a space of people of African descent to find the creative spaces for themselves. They're on Instagram, Black Improvate Alliance. Check them out. If you can sometimes take in a class with the front right, so that you have their comfort zone there while meeting different other folks, and a lot of times you may be in a workshop or a class where you could be the only black person or you could be only person of color, And so I would just say, like one, definitely go take a workshop, like if there's a one day workshop or two day workshop where you're just getting the taste. So that way, if you're like this is not for me, or like these people are bonkers, you move on. But the main thing I would say, like if you could take a buddy, whether you is a good one, also the instructor, and not that this may not be always, but if the instructor is a person of color, right, they may be more in tune. And I'm not saying that's for all people, but like they may be more in tune to it. So when you're picking a teacher, sure that may be beneficial. But also there are other obviously non black people not bocs, who who would just do well and would handle any situations that come up. Another thing is if you aren't interested in I definitely encourage everyone under our voices to go take a glass and you're having issues, go talk to your teacher immediately. The main thing is just get out there and try it, but do speak up for yourself. And I know you're like, I can have fun. And here's the thing, ninety five percent of time you are going to have fun. It's just maybe that five percent where you may run into something.

So you know, we talked on a little bit, I think, but without addressing it directly. Improv is something that is frequently suggested by therapists for people who struggle with things like social anxiety or are some of this perfectionism stuff that we talked about a little bit, right, Like, improv feels like a great way to kind of break down some of that.

Can you talk a little bit about.

Some of the skills that you might learn in improv that are transferable to supporting people's mental health.

So what you're going to be gaining is the ability to talk and engage with just about anybody, right Because in those initial yes and part right, the idea that when someone is talking to you one, that you're listening and also listening is like, my second thing is listen like a thief, right, Because if you're listening one, you're getting out of your head and you're focusing more on the other person, right, So that you understand what they're trying to communicate to you, and then you can respond. So the thing is like you are building up your listening abilities, You're building up the ability to talk on the spot and your presentation right in terms of yourself and being out there. I know, I've had a couple of students who were presenters before taking the improv class, and then after an improv class, they have people come up to me and say, oh my god, what have you been doing? And it was the amprovp right, is a space where you get to try out different things in a safe environment. I think, or anyone who does have that anxiety or neure diversity, and matter of fact, there is an improv team of folks who are neurodiverse and they're very good and if I play on other teams with them as well, and it just allows you to exercise that in a place that is they're no high stakes, right, Like if you bomb out, if you don't get a laugh, right, your life will go on. And I think that's the point, right, Like you're learning, Like if you mess up, if you think you're doing the wrong thing, like life goes on. You have another scene, right, you have another opportunity to do it.

So what kinds of skills do you feel like have bled into your everyday life from your experience as any improvo it is Yeah.

I think for me, one, I believe I'm a shy person, but I am an extrovert and so being younger was very shy. But I get energy off of people, right, and I know feel that energy and enjoy being around people. I think what I got is the ability to talk to just about anyone and to have a conversation. And it also to be play and not that you need to play with everybody, right, because some people don't play with right, but the idea of being open to individuals and listening and taking in what they're saying and really paying attention and not judging. I think in improv there's a space where you're not being judged on what you're doing. You're just existing and being in that space. So for me, my philosophy and improv is that I should be able to improvise with a rock, right, I should be able to do a very poignant, funny scene where I'm improvising with the rock I'm doing obviously in my mind, I'm doing the other side, but I'm communicating to the rock, and so I think that's just something that I've gotten out of improv and it brings such a joy to me, right, And there are only a couple of times in improv where I'm just like, this is not joyful. Do you learn from it and you move on. But it's just an opportunity to be fun and silly, like when you were a kid. If you remember when you were a child and you're just playing for the sake of playing, like there's no agenda. And I think improv allows us the entryway into that which it allows me to present better, allows me to interact with people, and a lot of times in my previous jobs you're interacting with people who are upset and the main thing is like people want to be listened to and like heard, and so I think that also has brought that into my life.

Mm hmm. So you've had it sounds like a variety of different experiences with improv. Can you talk to me if you can think of any differences that you think of when you're like working and playing with you or like all black group versus like in other spaces that you've been in. Any differences come to my venions.

Yes, there are definitely differences. So like Lena Duna, which is an all black improv team, and we are very good. We have a lot of fun with each other, and so in terms of the humor and like the things that come up with Lena Dunham necessarily would not come up with my team that the majority of the team is white. Right, So like issues dealing with black people code switching, I got one who brought up like slavery and like slave talk. He was like a professor and he was like, all right, guys, we're gonna learn about certain dialects. Today's die like it's gonna and so obviously he's putting us on the spot, and we made it work. I also think in improv there are references, right that black folks have that maybe non black folks don't have in terms of the movie and music that we reform, that we can tap into very quickly and be on the same page about like what is it that we're doing. And one is like the Color Purple. I think it was an improv show where the color purple came up and the white guy, nice white guy, but he did not know. He didn't know. I think he's watched it since. But he did not know, and so like just to get on the page about that, and like I think also about like with the police scene and that someone calls us out as white, we are playing as black, right what you see, And so the idea of playing in that space and punch we say, like instead of punching down on folks in situations, we're trying to put jump on the situation. It's fun and you get there quicker.

Yeah. It reminds me of like some of those memes you see around, like that one burgundy bed spread that like a lot of black families hand you know what I'm talking about, right, Like, yeah, so I'm mentioning like those kinds of things coming up in like maybe the black students knowing which you're referring to, and then maybe people who are not black not having any clue, not having any.

Clue exactly exactly. Yeah, And not to say every scene is about race or this and that, because we'll have some funny, ridiculous scenes, but we know we can tap into that or we know if we bring it up it comes up, then we know how to play with it mm hmmm without getting nervous.

Yeah. Yeah, So even I wonder if you can walk us through one or two exercises that we might be able to play with like family and friends kind of doing some of this if we're not ready to take a class or like can't find a class in our area.

Yes, yes, thank you for me to the other up because these are fun. And I know I have a family re union that's been going on for seventy four years, and there was a period of time where I was doing like improv u short form games with them. But we doctor Joy, we are going to play a game right now, so like before going to the show, we'll do this just to get like the brain working and the body moving. So the first one is called these five things, So Doctor Joy, I'm gonna go first, but you're gonna give me something. So like an example of this is like, all right, give me five new ice cream flavors, right, and then if you were saying that to me, then I have to come up with five different ice cream flavors, right. Or give me five taglines if you are a superhero, right, or give me five items of clothing that you would wear to the ice skating rink. It could be whatever it is, and then the person has to say it so once I say one. So like if we did the if you told me like, hey, what are five new ice cream flavors, what would they be? I'm like, okay, there would be Enchilada ice cream, and then everyone will go one. Right. Then there there would be plastic berry ice cream. Two. Right. These could be as ridiculous or as real as you want. And so the idea is just like getting that muscle moving. And so every time the person says something, you know, one and then two, three, four, five, and then the next person would go on.

And so the next person would then name their five.

Ice no that it would be a new thing because those people have been may have been pre planning. So because I'm like, okay, let me say gotcha, yes, gotcha? No, no, no, no, Now, doctor Joy, you want you want me to give you one?

You ready, So You're going to give you a topic, and I'm gonna give you the my five five? Yes, okay, got it?

All right? Gotcha? All right? So doctor Joy, let's say, can you give me five things you would do on a Sunday morning with a unicorn?

Okay, five on a Sunday morning with my unicorn? YEP, I would take it for a walk. One I would brush its hair. Two I would give it breakfast. Three I would ride it around the neighborhood. Four let's see, I would bring its hair.

Five. These are five things, right, and then then you say that at the end, these are five things you see right exactly, And that's yes, and that's it, and that's something fun you could do, you know, with anybody or even by yourself. Will be my five taglines Boom boom, boom and going from there. Yes, I love it.

I can see you playing that exercise.

I do have. I have a second one, and this one is called next on Springer. I don't know people remember the Jerry Springer Show right. As matter of fact, I've been to a pay per view version of Jerry Springer Show. It was quite entertaining, no matter meay, Jerry Springer went to my law school. He graduated from my law school at Northwestern Yah. So this one it's called next on Springer. So the way the exercise goes is that you're going to give a short and I'm emphasizing short word like cat or ball or something. And so if you were to give me a word like ball, and then the person who who's going would then have to take B A L L and make a title show for Jerry Springer using the first initial of every word has to start with B A L L. Right, so if ball was thrown out there, and then I'll be like ballerinas and lyne lizards next on Springer. Right, So the the idea is taking each letter and that's the beginning of the word. Right, Okay, so like, you know, you take another one like cat see a T you know, like cataracts. Oh my god, I was gonna say cataracts and titties next on Springer. Right, that's where my mind went. That doesn't mean everyone's mind is gonna go there. Yes, all right, that joy you're ready? Okay, you ready? Okay, bat B A T.

Y Oh next on spring.

Oh, just start with the B and ali was my first thought. Oh there you go.

Yeah, yeah, black adult tight rope walkers.

Next on Springer. That's it. That's it, right, that's A. That's a fun one. There's a fun one. And and let the mind wander, right, let it let it go. Yes, so that's A. That's a fun one to do as well. And the doctor I have one last one, okay, particularly if like for those other ones, Like the other first two, you can do them by yourself, but like being with other people makes it them more enjoyable because they can also hear the ridiculous stuff that's coming out of your mouth. The last one you can definitely do by yourself is to pick an object in the room or if you're outside, pick something and then do a character monologue of that. Right, and I could do a rant or rave about it. So like if I'm looking around my room, oh, I see lotion, right, And the character could be as big or small, but the main is like having fun about it, like, oh my god, I love lotion. It just like it's the thing that keeps my life sustained. I mean, if I could even eat lotion, I would because I wanted to moisturize my inside. Can you believe there are people out there who don't carry lotion around and they're just ashy looking like ghosts walking around. No, I'm prestine. My skin is supple, and I'm supple to the world, and that's why I have lotion. Right, So it could be as silly or realistic as possible, but just taking anything and just doing a character talking about that object or letting that object inspire you about something, right, so then have to be exactly about the lotion. You can do something what we call a to B A two C, which is like, when I think of lotion, it makes me think of moisture, and when I think of morture makes me think of rain. Oh, Purple Rain is my album. I love Purple Rain. Right, So, like it's just allowing the mind to move and jump and then having that monologue to yourself. Yeah, thank you so much for these things.

But I think these will be fun for people to play with everything. Yeah, so you mentioned one page that you thought we should look into, the Black Improv Alliance. Are there other TV shows, films, Instagram or social media pages that would be helpful for people if they're interested in learning more about job.

Yes. So in terms of like podcasts, you know, there are a bunch of improper podcasts that are out there, But just in terms of a few that I would say are beneficial, there's one called UCB Long Form Conversations. I don't think they make any more episodes, but the episodes are still up and the idea is that they have an interviewer in an interviewe about some improv topic and then the interviewe would become the interviewer the next episode, and then they would you know, I guess popcorn that way. Another one is improv beat by beat, and then this one the person interviewed twenty improvisers mainly I think in the New York area, and then what they did is they clipped together these twenty people talking about like different topics. So if the topic was about object work, which is like an improv, we don't use props, so you have to, like if you're cutting vegetables, you just need to show the audience that you're doing your object work. You're cutting vegetables, right, So they would take these tip twenty different perspectives about object work and then spice them together, so now you're getting a different views on different topics in improv. And then there's Will Hines. He has a substack and it's called Improv Nonsense, So like every week he'll write something about improv and just thoughts he has on it. And he's been improvising for many, many decades and he's very good at what he does. So those I think those are some entrees into it. You could obviously like go see improv in person. I think it's better to see it in person, but you can definitely see it online if you can't get out or there's no theaters doing improv, but there's a bunch of improv like on YouTube. We'll do my shameless plugs at the end. Right in terms of like finding my pages and watching shows, and usually a lot of theaters have a YouTube channel watching improv. Theater has a YouTube channel where there's a bunch of shows that are there.

Got it? Yeah, So are there any black women that you want to put on the radar for us besides you and the work that you and your group are doing, any other black women improv comedians that we want to be paying attention to.

Yes for sure, Yes, yes, yes. Crystal ramser Ali. You can find her if you go to our Lenda Done Improv, She'll be listed there as well. Definitely follow her because she's doing other projects. She's also on a team of all women called Hellcat. She's definitely a big one that you should be following. There are the women from a Black Lady's Sketch Show. So like all those individuals, I've done improv and like I think still do improv to a certain extent, and even Robin Thidi was a improvisor. I think she even started Second City in Chicago before moving to LA. And then there is an all black team called Astronomy Club. They had a show on Netflix. I think it's still on Netflix, and the improvisers on that team were very good in terms of the black women. And I'm blanking her names. I see, like her her face, I think it's Keisha. It's Keisha Zoler, so definitely checking her out. And then the cole Buyer I know she if people know her from like the Cake show where they bake cakes, and then she also does stand up and has her own specials. I think she's gonna wipeout. But she also has a big improv background and I love seeing her perform because it is very good in terms of the improv and it's very silly. I like silly, ridiculous stuff, and she's doing some high level silly stuff there. And I'm obviously blanking on some other ones, but those are the ones that pop into my mind in terms of like watching them, and I know I'm going to see a good show when I see them. Got it?

Thank you so much for sharing that.

Yeah, yeah, So.

Where can we stay connected with you? Eva? What is your website and any social media channels that you want to share.

Yeah, so definitely I'm on ig at Eva r Lewis, I you know, post shows and like clips when I can or promoting, so definitely follow me on there. Lena Dunham, definitely come see us these shows. We have shows in December, but we'll have shows in the New Year as well, and that's just Lena Dunham Improv. And then White Privileged, Black Power Greg is out in California, So a lot of stuff we're doing as virtual, but we do have some good bits that are are fun and the humorous, so definitely check out White Privilege Black Power on there. And then I'm on a team called Broken Bones where we take a gnarly injury story and try to turn it into comedy and so definitely check out Broken Bones DC on ig and so definitely check me out, but also check out improv. Everyone does improv, so you might as well go take a class so you'll learn more about it. I love that.

But thank you so much for spending some time with us today, Eve, I really appreciate it.

Axe Well, thank you, doctor Joy, thank you.

I'm so glad Eva was able to share her expertise with us today. To learn more about her and her work, visit the show notes at Therapy for Blackgirls dot Com slash Session three forty three, and don't forget to text two of your girls right now and tell them to check out the episode. If you're looking for a therapist in your area, visit our therapist directory at Therapy for Blackgirls dot Com slash directory. And if you're looking for a support system to aid you in your New Year journey, join us over in the Sister Circle. It's our cozy corn of the Internet where we celebrate support and practice vulnerability each week this January, we're setting the foundation to turn our resolutions into realities. This episode was produced by Frieda Lucas, Alise Ellis, and Zaria Taylor. Editing was done by Dennison Bradford. Thank y'all so much for joining me again this week. I look forward to continuing this conversation with you all real soon.

Take good care,

Therapy for Black Girls

The Therapy for Black Girls podcast is a weekly conversation with Dr. Joy Harden Bradford, a license 
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