#the groundlings theatre

[angiefsutton]

The Groundlings' "Cooking with Gas" Turns 30

The Groundlings' "Cooking with Gas" Turns 30 #Groundlings #improv #LosAngeles

Leonard Robinson loves to do improv. “The fun thing about improv is that it’s not written down, so you don’t know what’s going to happen. You really don’t know if it was good or bad until we say ‘lights’ and you’re finished with that scene. It’s all the same kind of experience to me: I’m just enjoying that wild ride.” Robinson is not only an actor with several credits to his name, he’s also a…

[thrashntreasure]

Ep79 Evan's Last Hurrah w/ Andrew Leeds! (Hollywood!)

3 dudes are in a room bitchin' as we're joined by Mr. Andrew Leeds - who's gone from strength-to-strength since debuting on Broadway as a 6-year-old! (Say what?!) This week, we bid fare-thee-well to Evan with the final part of the Falsetto's trilogy, Falsettoland, as well as Adalitas Way and their self-titled album. Plus we chat the Falsettos movie that never was, Mandy Patinkin, Zoey's Extraordinary Playlist- and other titles, Groundlings, as well as gender-swap the characters in Marvin's trilogy- among so much more!

www.twitter.com/LeedsAndrew

[carolynbridgetkennedy]

How much do I love being in Writers Lab at The Groundlings? You tell me… 😉 @thegroundlings 💕 #actor #actress #actorslife #actorlife #writer #comedy #comedian #sketch #sketchcomedy #improv #losangeles #hollywood #acting #writerslife #writing #sketches #groundlings #theatre (at The Groundlings Theatre) https://www.instagram.com/p/CoIj7VkyUqg/?igshid=NGJjMDIxMWI=

[sage-lights]

i love how much angela loves acting. and she’s damn good at it too. groundlings camp as a kid. shakespeare nerd in high school. musical theatre in college.

[peglarpapers]

not to sound like a groundling at shakespeare’s globe theatre in 1608 but king lear honestly goes so fucking hard. me when an unfolding tragedy is materially preventable but also absolutely inevitable due to the immutable natures and personalities of its actors

[wordshaveteeth]

If a plot point is worth including, it’s worth depicting in a scene. Don’t deliver it in dialogue. You’re not Shakespeare limited to the stage at the Globe Theatre and the endurance of the groundlings’ legs. You have the budget and the time.

- Chuck Palahniuk, Consider This: Moments in My Writing Life After Which Everything Was Different

[thats-so-night-raven]

Headcanon: Vil’s referring to people as ground related plants is a reference to the term groundling in the theatre

Groundling was popularized during the Elizabethan era. It referred to the people too poor to buy a seat, so they paid a penny for a spot to stand on the ground.

Shakespeare makes a reference to them in Hamlet, while he is conducting the group of actors not to shout their lines or ham up the scene.

“O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings”

[gemznews]

The Resilient Career of Paul Reubens: From Controversy to Comedy Genius

Introduction

Paul Reubens, a versatile and talented comedian, achieved great success with his iconic alter ego, Pee-wee Herman. However, his rise to fame faced significant challenges when he encountered legal controversies. Despite these setbacks, Reubens' career continued to thrive, showcasing his immense comedic abilities both on screen and on stage. In this article, we will delve into the life and career of Paul Reubens, exploring how he navigated through tough times to become a beloved figure in comedy and entertainment. https://twitter.com/nlyonne/status/1686063849571753984?s=20 Introduction 1. The Genesis of Pee-wee Herman 2. The Indecent Exposure Incident 3. Legal Troubles and Resilience 4. Reubens' Comeback in Film 5. Paul Reubens on Television 6. The Impact of Pee-wee's Playhouse 7. Remembering Paul Reubens Conclusion FAQs (Frequently Asked Questions)

1. The Genesis of Pee-wee Herman

In the 1970s and 1980s, Paul Reubens honed his craft at The Groundlings improv and sketch comedy theatre, where he created the character of Pee-wee Herman. The quirky, childlike persona quickly gained popularity and became a cultural phenomenon that captured the hearts of audiences worldwide.

2. The Indecent Exposure Incident

In 1991, Paul Reubens faced a significant setback in his career when he pleaded no contest to indecent exposure at an adult movie theater in Sarasota, Florida. The incident tarnished his public image and led to speculation about the future of his iconic character, Pee-wee Herman.

3. Legal Troubles and Resilience

Following the indecent exposure incident, Paul Reubens demonstrated remarkable resilience. In 2004, he faced another legal challenge, pleading guilty to a misdemeanor obscenity charge involving explicit photographs of minors. Despite these brushes with the law, Reubens managed to keep his career afloat and remained dedicated to his craft.

4. Reubens' Comeback in Film

Reubens made a triumphant return to the big screen in 1992 when he portrayed the Penguin's father in Tim Burton's blockbuster sequel, "Batman Returns." He also showcased his versatility by shedding his Pee-wee persona, portraying a snarling blood-sucker in the "Buffy the Vampire Slayer" film. His performance in the movie "Blow" earned critical acclaim in 2001, further solidifying his place in the entertainment industry.

5. Paul Reubens on Television

Apart from his success in film, Paul Reubens also made notable appearances on television. He graced shows like "30 Rock," "The Blacklist," and "Gotham," captivating audiences with his unique brand of comedy.

6. The Impact of Pee-wee's Playhouse

"Pee-wee's Playhouse" was a beloved children's television show that aired from 1986 to 1990. The show's colorful and imaginative world captured the imaginations of young viewers and left a lasting impact on pop culture. It introduced Paul Reubens to a new generation of fans and helped launch the careers of several other talented performers.

7. Remembering Paul Reubens

Paul Reubens' passing left a void in the comedy world, but his legacy lives on through the laughter he brought to countless people. Late-night comedian Jimmy Kimmel and comedian and podcaster Conan O'Brien both praised Reubens' unique comedic style, genuine kindness, and surreal sense of humor.

Conclusion

Paul Reubens, a comedy genius, faced significant challenges during his career, but he never lost sight of his passion for making people laugh. His journey from the highs of fame to the lows of controversy and back to success stands as a testament to his resilience and dedication to his craft. Paul Reubens will forever be remembered as the lovable Pee-wee Herman and as a true original who left an indelible mark on comedy and entertainment.

FAQs (Frequently Asked Questions)

- What made Pee-wee Herman so popular? Pee-wee Herman's popularity stemmed from his unique and childlike persona, which resonated with audiences of all ages. His comedic charm and zany adventures on "Pee-wee's Playhouse" made him a beloved character. - How did Paul Reubens overcome his legal troubles? Paul Reubens demonstrated resilience and determination throughout his career, focusing on his passion for comedy. He kept a low profile during challenging times and gradually rebuilt his career through various film and television projects. - What impact did "Pee-wee's Playhouse" have on children's television? "Pee-wee's Playhouse" revolutionized children's television by presenting a visually vibrant and imaginative world. The show's creativity and originality set new standards for engaging and entertaining young viewers. - What were Paul Reubens' contributions to the comedy world? Paul Reubens' contributions to comedy were immense. He created an enduring character in Pee-wee Herman, which became an iconic part of pop culture. His unique brand of humor and dedication to entertaining people left a lasting impact on the comedy industry. - How did Paul Reubens influence other comedians and actors? Paul Reubens inspired many comedians and actors with his creative approach to comedy. His ability to blend childlike innocence with adult humor served as a source of inspiration for those in the entertainment industry.

Read the full article

[pageadaytale]

REVIEW: Four London Theatre Shows - Part 1

I am back home, and somewhat rested now, and I have been dying to talk about London and the shows I went to see! It's been a bit of a wait, as we went for two days and managed to cram in four whole shows in that time, and I've been wiped out since. With that being said, let's talk about what I saw and what I thought:

Show 1: Much Ado About Nothing at the Globe

I was looking forward to this one the most - I love Shakespeare, and I love Much Ado particularly. So to see it at the Globe Theatre in London was pretty much a dream come true! We had groundling tickets so we were standing for the whole time, but thankfully they have spaces against the back wall where you can rest your legs a little. I'm used to standing for a while, but even I struggle for hours at a time, so it was nice to have that relief at times...

The Globe is a traditional thrust stage, surrounded on three sides by groundlings with the stalls set back - honestly being seated for the performances might be a worse view - and everything is performed without technical wizardry; no mics, no amps, no speakers. It can make it quieter than you might expect from modern theatre, but on the ground I could hear everything well enough, until a helicopter cruised by overhead (the perils of modern life!). This was not an issue until towards the end, when one of them droned over one of the best lines in the last act, and it's perhaps the only issue with watching a play in a medieval-recreation theatre. Okay, that and the standing - it can be uncomfortable, especially if you're not used to it, and my legs were aching by the end.

But the magic of theatre is making you forget you've been standing for some two hours, and I didn't think about my legs whilst the play was going on. If you don't know Much Ado, here's a quick run-down: Don Pedro's company is returned from combat to Messina, where they are met by the humble lord Leonato and his family, most importantly the fair Hero, Leonato's daughter, who catches the eye of young, decorated soldier Claudio; and Beatrice, Leonato's neice, whose wit is whip-smart and who verbally spars with the braggadocious Benedick, a noble soldier who has taken Claudio under his wing. Also returning with the troop is Don John, Pedro's brother, who was fighting against Don Pedro and who authors the villainy of the play as he tries to break up the courtship and marriage of Claudio and Hero. But the main thrust of the story is the plan to set up Beatrice and Benedick - ever at each other's throats, they would make a perfect match if only they could see it...

All in all it's a big party atmosphere, and the Globe troupe bring it 1600s-style with Elizabethan-inspired music breaks and courtly-looking dances. Much Ado is particularly apt for this kind of reminiscent performance, as it bristles with songs and dances, including the masque ball. It's a play made for a festival atmosphere, with people throwing oranges and purses and hats, and there's a lot of playing to the crowd - it's amusing and engaging, and the quiet from the lack of speakers gives it a calming atmosphere in spite of the excitement on stage.

But onto the performance as a whole. Our Beatrice and Benedick were Amalia Vitale and Ekow Quartey, respectively, and they were brilliant - Vitale was sharp and sassy, but she had aspects of the flustered spinster maid which was endearing - particularly her turn as Don Pedro (jokingly? Seriously? Depends how it's played) asks for her hand, which she gently rebuffs with awkward excuses. And Quartey was fun as Benedick, he played to the audience and brought a slightly more modern twist to the character. He was excellent as Don Pedro, Leonato and Claudio conspired to trick him, using all parts of the stage to disguise himself as the trio move around him, and he was clearly having fun with the role. Also of note in this performance was John Lightbody as Leonato, who was perfect as the long-suffering father to an only daughter, and who sought matches for both her and Beatrice; and Colm Gormley, who pulled double duty as Antonio and Verges, putting on a broad Irish accent for the latter and playing up the old soldier aspect of the former in later acts. Indeed, I think the serious moments of this comedy are where this performance shines - Gormley and Lightbody feel as though they could take on Don Pedro and Claudio in their rage, and I was genuinely wondering if we'd see a swordfight on-stage in this instance. Robert Mountford also shines as a somewhat campy Don John, but he's given little to do by the nature of the role. Ryan Donaldson does a good turn as Don Pedro, which leaves our alpha couple of Claudio and Hero, in this case Adam Wadsworth and Lydia Fleming. And they're fine. There's not much to say, Lydia is honestly energetic and excited as Hero, where she's allowed to be; Hero spends too much of the play being silent and demure which is more an issue of the original play rather than this troupe's particular problem. Wadsworth felt a little stilted at times, but it's a part for a young actor and a difficult balance, at that: you've got to be the young soldier realising he's in love, and then you've got to become the jilted lover with swaggering masculine energy. Credit to Wadsworth, he plays it well enough, especially the more serious moments, but he's a little wooden just because it's a tricky act for a budding actor.

Despite some issues with the younger cast, however, it's a fun performance and it was a relaxed way to begin two stressful days. Ekow Quartey was brilliant and Amalia Vitale made me laugh, and overall it was a performance with its eye on the comedy and the party, as befits summer at the Globe.

Show 2: Guys & Dolls at the Bridge Theatre

After standing for hours at the Globe it was time to sit down a while - and we were lucky to have our seats upgraded for Guys & Dolls at the Bridge Theatre. But thankfully not too much, because this was an immersive show where some of the crowd stood in the stage area. We still had seats for this show, so there was no more standing today, although after so much time in the sun I downed around four glasses of water during this show to cool off. Thankfully the Bridge has been overhauled, it's got good air-conditioning and comfy seats.

The immersive theatre was fun to see, not only is the stage area just one big floor, it's hung with signs and traffic lights and all sorts, and sections of the floor will rise up to form a stage of varying sizes and shapes as the story progresses. To keep the groundlings safe ushers are dressed as cops and they move people back in anticipation of stage changes, keeping it immersive whilst helping patrons to stay safe. If I have one issue with the setup, it's the signs which move up and down for the scene changes: as we waited for the show to begin I honestly found the array of lights a little overwhelming, in particular the bright blinking yellow of a New York traffic light which shone right in my eye! If you're sensitive to bright lights, wear dark glasses before the show begins...

I knew next to nothing about Guys & Dolls coming into this, so here's the story: Nathan Detroit is a New York hustler who needs money to run his floating craps game, but no one will give him a loan. To cover himself, he makes a bet with high-flying gambler Sky Masterson, that he can't take teetotaller Sarah Brown to Havana the next day. It's another setup-the-lovers plot: will Sky end up with Sarah? And, in the tradition, our beta couple is Nathan Detroit and his long-time flame, Miss Adelaide, who wonders if they'll ever get married. Will they stay together?

It's typically fifties, rife with masculine posturing and sitcom-worthy shenanigans: Detroit swore to Adelaide that he'd given up his craps game and is trying to hide it from her; Masterson tries to win over Sarah by pretending to give up his drinking and gambling ways; and the Save-a-Soul Mission needs to get a dozen sinners in by Thursday night, or they'll be shut down. In between this there's drunken kisses, Burlesque numbers, and a guy named Big Jule with some very interesting dice...

Look, the story is kinda sexist. It's about these men getting what they want and the women being shoved to the side, and though there's a little twist to that in the end, it's very much a man-centric musical. But for all that, it's glamorous and it's fun, and in this case it's backed up by a heavyweight cast. Especially of note in this case is George Ioannides as our Sky Masterson, a relative newcomer who nonetheless provides a smooth, unruffled air to our inveterate gambler. He makes everything look effortless and he shines with Charisma, not to mention the palpable chemistry between himself and Celinde Schoenmaker as Sarah Brown. Both stand out as an excellent alpha-couple. Our beta-couple are played by Owain Arthur in the role of Nathan Detroit, with Timmika Ramsay as Miss Adelaide - she's another performer who rises above her relatively short resume, she's given a lot to do as the star of the Hotbox and she revels in it. The immersive theatre helps by giving her the space to play, in the second act approaching audience members and drawing them into her show. But the real stand-out is Jonathan Andrew Hume as Nicely-Nicely Johnson, which also brings up the big question about Guys & Dolls: why is this comparative background character given the stand-out number of the show? It's weird, but I'm not complaining, as Hume nails "Sit down, You're Rockin' the Boat", playing to the audience and to the Orchestra with aplomb. He also provides entertainment during the interval as the main vocals for the Hi-Hi Boys, during which he wears a terrible wig, it's hilarious.

Overall then, it's a fun musical with a so-so story, where the songs carry the day. It's easier to be more invested in the Detroit-Adelaide story than Sky Masterson and Sarah Brown, but the Bridge Theatre has put some up-and-comers front and centre and backed them up with some theatrical heavyweights for a great show. I perhaps have issues with the story and the distribution of songs, but the actors provided a strong performance. Stand-out numbers were naturally "Havana", "If I were a Bell", "Luck, Be a Lady", and "Sit Down, You're Rockin' the Boat", but special mention needs to be made to Tammika Ramsay for "A Bushel and a Peck" and for infusing "Take Back your Mink" with comedy and sexuality. Guys & Dolls is a show for the male gaze, but it brings comedy and heart and the stage is inventive and entertaining.

That's it for part one - our first day catching shows in London. In part two: a musical about fear and artistry and lost love; and a classic show that I can't spoil...

[seandillingham]

It's to add IMPROV to your bucket list! And no better place or person to learn it from! The classes are affordable. Why? Because the cost of our rent is not passed onto students - so the classes are the highest quality you can find in Arizona, while still being incredible affordable!

LEARN FROM A WORKING ACTOR! SD Acting Studio was founded by Sean Dillingham. Located in Scottsdale, Arizona. Sean is a working actor having accumulated over 200+ commercials, 95+ films and 30+ tv series.

In addition to being a WORKING ACTOR, I work professionally in film, network and cable television, as well as theatre. As an Instructor, I’ve successfully coached actors into all levels and aspects of film (Features, Short, Student), Commercials, UGC, Stage, Voice and more. I'm also an award winning Actor, Instructor and Producer. Want more proof? Check out my IMDB or Rotten Tomatoes.

I've acted alongside Kevin Costner, Tony Danza, Jane Seymour, Patrick Duffy, Roger Bart, Don Ameche, Stacey Keache, John O’Hurley, Andre Braugher, Andy Samberg, Milo Ventimiglia, Bob Odenkirk, BJ Novak, Ashton Kutcher, Sam Elliot, Mickey Rourke, Will Forte, Laurence Fishburne, Kristen Wiig, Alec Baldwin and more.

I've trained with several of the top Improv Troupes in the country including The Second City, The Groundlings, I.O. West and Upright Citizens Brigade.

I'm also the author of "The Book on Acting". A book of sound advice based on 30+ years as a working actor.

#azactors #filmactor #laactor #filmactor #selftape #acting #actorslife #setlife #workingactor #Arizona #Arizonaactor #acting #actor #actress #book #SeanDillingham #Film #tv #Commercial #theatre #stage #Drama

[daysofsamdandtime]

Day 2

After a quick breakfast at the hotel I made my way out for the day passing Monument to the Great Fire of London and the Tower of London on the way to Tower Bridge. It was a bit drizzly this morning but not too cold and slightly quieter on the street than yesterday morning. Walking over the bridge was a bit windier than the rest of the walk, but going down The Queens Walk past HMS Belfast and under London bridge was more covered and a lovely walk down to the Tate.

After not getting to the Tate last time I was here it was great to get here finally. The main exhibitions I might get to when I’m back in London so I focused my time on the permanent galleries, stopping in for a coffee on level 10 with a lovely view over the Thames and the city between galleries. I especially liked seeing Litchenstein’s ‘whaam’ and in another room a series of ‘reflections on…’ where he reuses his own works with a painted glass lens over them, obscuring parts of the piece as if from a reflection. And who doesn’t love seeing a Duchamp urinal.

Then it was off to The Globe for Much Ado About Nothing. At the beginning of the performance an announcement was made that the actress playing Hero was ill and as they don’t have understudies, another performer has been called to read in. This was just so much fun. Standing, well… leaning, as a groundling is always different and being outside with a bit of rain here and there just added to the experience. The performance was lovely and interspersed with music, a great cast who played off the audience so well, with a special heckle from a young child when one of the actors was called ‘an ass’

After walking back to the hotel I remembered that Long Days Journey Into Night was at 7pm, not 7:30. So I quickly got ready and headed back out to the Wyndhams Theatre. Sitting in the front row for possibly one of the best performances I have seen in a long time was just amazing. The nuance and reactiveness from all five actors was astounding to see. It is such a deeply moving and upsetting piece of theatre, when a cast of that caliber is performing it is pure magic. Brian Cox and Patricia Clarkson were just so good in these roles.

[bumblingest-bee]

i have this running list of my weirdest/funniest theatre experiences which includes:

the sprinkler system at shakespeare's globe malfunctioning during midsummer night's dream and soaking the groundlings

simba's mic going out during some solo song in the lion king on broadway so he just belted the rest of the song into the back rows like he was ethel fucking merman

chatting with some people outside the theatre after seeing company and patti lupone casually walking past wearing a beret

a lady spilling her entire glass of gin on me before les mis

marisha wallace making direct eye contact with me while sexily shucking corn at the current london guys and dolls

[vickiabelson]

Live from Los Angeles, it was Wednesday eve. Loved spending it with Television Academy Hall of Famer, Laraine Newman. I was a little down-and-out post-new Moderna vax, but thanks to Laraine, I swiftly forgot all about it.  She took us through her early childhood, finding her place with the funny. From neighborhood street plays, and school theatre with classmate Paul Reubens, to becoming a founding member of The Groundlings with her sister, Tracy Newman, to Lorne Michaels and Lily Tomlin discovering her for a special which then led to Saturday Night Live. Arriving in New York to some trauma, the SNL experience, characters that transitioned, writers, castmates, running with Gilda, feeling left out with Garrett, drugs, American Hot Wax, Stardust Memories with Woody, a Beatle, the Stones, better drugs, 5 years later, always working, voicework becoming the thing. Motherhood and mazel, Celebrity Autobiography to her audible memoir, May You Live in Interesting Times, available here: https://bit.ly/48opI8M.  I savored every moment. 

Whip-smart, brilliantly funny, and deeply insightful, I cherish Laraine’s talents & her friendship. I adored spending this time in her good company. Brava! 

Laraine Newman Live on Game Changers with Vicki Abelson

Wednesday, Sept 20th, 5 PM PT, 8 PM ET 

Streamed Live on my Facebook

Replay here:

[forupss]

Why Lorne Michaels Doesn't Want Improv On Saturday Night Live

The improv-troupe-to-SNL pipeline is well-known. Whether it’s the Upright Citizens Brigade (UCB) theatres in Los Angeles and New York, LA’s Groundlings theatre, or Chicago’s Second City theater, Lorne Michaels and co. have sourced talent from the best improv groups in the US for decades, often putting potential SNL performers through brutal audition processes. But that doesn’t necessarily mean…