Scenario

Scene one: timid side-liner steps into the center of the box. Someone comes up to her, asking if she’d like to be a part of an improvised performance. Startled out of her insecurities around improvisation, her general skepticism about anything she hasn’t had to work brutally hard for, and her overarching commitment-phobia, she accepts.

Scene two: protagonist attends yoga class focused on forward bends. the truism “move forward by letting go of what is behind you” is slightly over-used by the instructor, but the class is rewarding. 

Scene three: protagonist babysits a very unruly child; questions whether she will ever allow herself to have children, or if she should just make a pact with herself now to stay strong 15 years down the road when the baby-crazy hormones kick in. 

Scene four: first rehearsal of The Improv Show. Terrifying. huge hurdles, challenges larger than ever imagined. 

Scene five: protagonist is reunited with director who wanted to use her years ago; director offers lead role in short film that would directly conflict with improv performance days.

Scene six: protagonist has conversation with friend: “should I stick with this improv thing? no i don’t like babysitting. i think i’m quitting yoga. might do a film.”

Scene seven: director of show tells protagonist and co that more people have become unavailable for the ensemble— there is no longer any way protagonist will hide in this project. serious request delivered by director: stay or go, now. protagonist weights film vs improv, decides to try to go for both. 

Scene eight: protagonist reads email response from director: “as much as we would love to use you in this project, the shoot dates are set and unfortunately your performance conflicts would not be honored. we’ll keep you in mind for future films!”

Scene nine: babysitting,  protagonist is hit with a realization from her improv work. her hand becomes a puppet and the child is enraptured; what seemed the impossible task of keeping a 6 year old entertained for 10 hours straight becomes simple. she realizes herself to be in a state of flow.

Scene ten: opening night of the improv show. the ensemble is in love with its show and, as such, tries to woo the theater gods to its side with a series of human-performance god mating dances (also known as warm-ups). protagonist is TERRIFIED but steadfast in commitment to the project. 

Scene eleven: ensemble together again, a week after the show closes, contemplating pros and cons of accepting an offer for a year-long residency at a newly opening theater. protagonist remembers her thoughts of moving to LA within the next year, but recognizes that her fear of improv has been replaced by a love of spontaneity, honesty, and self-direction. 

Scene twelve: kid’s parents ask protagonist if the kid could ever come see one of her shows. she remembers a conversation about potentially incorporating a children’s show into the improv residency. says, “yes, he might be able to.” kid says, “oh, would i be able to be IN the show.” she thinks for a minute, “yes, yes exactly— you would.” kid beams.

BLACKOUT. 

x Sarah-Doe