Yes And Read online

  DEDICATION

  This book is dedicated to the founders of The

  Second City and the generations of artists who

  honor the past by staying so fiercely in the moment.

  ACKNOWLEDGMENTS

  The authors wish to thank:

  Viola Spolin, Paul Sills, Bernie Sahlins, Howard Alk, Sheldon Patinkin, Martin de Maat, Joyce Sloane, Cheryl Sloane, Nate DuFort, Jenna Deja, Monica Wilson, Robin Hammond, Alison Riley, Joe Ruffner, Dionna Griffin, Jeremy Smith, Beth Kligerman, Kerry Sheehan, Abby Mager, Matt Hovde, Klaus Schuller, Steve Johnston, Brynne Humphreys, Tim Mason, Steve Waltien, Christina Anthony, Ryan Bernier, Billy Bungeroth, Mick Napier, Diane Alexander, Tina Fey, Jeff Richmond, Steve Fisher, Peter Cunningham, Hal Lewis, Renée Fleming, Alexandra Day, Anthony Freud, Jeff Garlin, Michael Lewis, Elliott Masie, Betsy Myers, Dick Costolo, Dr. Mark Pfeffer, Eric Tsytsylin, Daniel Pink, Adrienne Kerwin, Alanda Coon, Eric Spitznagel, Hope Hudson, Stephanie Land, and Hollis Heimbouch.

  Kelly and Tom would like to thank Andrew Alexander for telling us to write this book and for reminding us to manage and lead as improvisers, and Len Stuart for his never-ending support and mentorship

  Kelly would like to thank his father and mother, Roy and Sheila Leonard, for saying “Yes, And” to his life in the theatre, his children Nick and Nora for their sheer wonder, and to Anne Libera for teaching him the true value of improvisation and directing him to be better at it.

  Tom would like to thank his father and mother, Jim and Mary Yorton, for their stability and cheerful optimism, which made it possible for him to dream big; his wife, Maria, for encouraging his unlikely move back into the arts when others thought he was crazy; and his sons, Shane and Will, who motivate him to keep learning and stretching.

  CONTENTS

  Dedication

  Acknowledgments

  Introduction

  1 The Business of Funny

  2 Yes, And: How to Make Something Out of Nothing

  3 How to Build an Ensemble

  4 The Co-Creation Story, or Audiences Want In on the Act

  5 Change Is Hard: Comedy and Improvisation Make It Easier

  6 Using Failure

  7 Follow the Follower

  8 Listening Is a Muscle

  Conclusion: What Happened When We Yes, Anded the Writing of This Book

  Appendix: The Second City Improv Exercises

  Notes

  Index

  About the Authors

  Credits

  Copyright

  About the Publisher

  INTRODUCTION

  We have cool jobs. We get to work with generation after generation of some of the funniest and most creative individuals walking this planet. We work at a company that has established itself as an industry leader and our product is filled with invention, intellect, and laughter.

  And sometimes we hate our jobs.

  Everyone does.

  But from our experience, we tend to hate them a lot less than other people. And we’ve been able to identify the core elements at play when we are happy in our work and when we are not.

  We are at our happiest and most successful when we are working as improvisers. When we are fiercely following the elements of improvisation, we generate ideas both quickly and efficiently; we’re more engaged with our coworkers; our interactions with clients become richer or more long-standing; we weather rough storms with more aplomb, and we don’t work burdened by a fear of failure. When we are in full improviser mode, we become better leaders and better followers; likewise, we hear things that we didn’t hear before because we are listening deeply and fully in the moment.

  Our work and our lives are so much better when we act like improvisers. We are sure yours could be, too. That’s why we wanted to share our stories; that’s why we wrote this book.

  We are not the creators of improvisational doctrine; we are not gurus; we don’t lead Second City workshops or star in the productions. Yet for years we have been deeply involved in The Second City’s efforts to help people become better at what they do by showing them how improv training can increase their capacity for innovation, their creativity, and their confidence. We are two people with vastly different professional backgrounds, and yet, independent of each other, we have witnessed enough at The Second City to arrive at identical conclusions: This stuff works, and this stuff works across myriad platforms.

  Kelly grew up at The Second City, washing dishes and seating audience members when Mike Myers and Bonnie Hunt were virtual unknowns starring onstage in Chicago in the late 1980s. Although he thought he was working at The Second City as a way station prior to becoming a world-famous playwright (David Mamet held the same job at Second City some two decades before him), it turns out that he was something of an entrepreneur. When he moved to the box office in 1990, he pushed through a number of changes to better market the productions and improve customer service—despite an institutional reluctance to change anything. Promoted to associate producer of The Second City in 1992 at the ripe age of twenty-six, he sought out new talent for this world-famous theatre that had been experiencing a fair amount of criticism for artistic irrelevance. That fresh talent base included such young, unknown comic actor/writers as Stephen Colbert, Steve Carell, and Tina Fey. In 2001 he assumed the title of executive vice president of The Second City, where he devised new artistic and business opportunities with companies such as Norwegian Cruise Line, developed partnerships with regional theatres across America to create original comedy plays, and forged alliances with Lyric Opera Chicago and Hubbard Street Dance to generate hybrid, commercial artistic events.

  Tom is an advertising and marketing guy by trade who worked in ad agencies and client-side marketing positions before joining The Second City in early 2002. Always creatively overqualified for the jobs he let himself take, Tom jumped at the chance to run Second City Communications, now called Second City Works. Back then he won the beauty contest because the plan was to turn SCC into an ad agency. But we figured out how to be an agency of a different kind, one that did more than an ad agency by finding innovative applications for The Second City’s core competencies of short-form comedy and improvisation. More on that throughout the book, but suffice it to say that Tom still gets to do what he’s always done (find ways to win over audiences); he just uses a different tool kit to do it.

  We decided to write this book together when we could no longer ignore the overwhelming evidence that our work was not only revolutionary, but that the revolution was already on its way. We wrote this introduction on February 23, 2014, the same day that the New York Times published an article by Thomas Friedman about the qualities that Google looks for when hiring, which include “the ability to process on the fly,” a willingness “to relinquish power,” ease with “creating space for others to contribute,” and individuals who can “learn how to learn from failure.”1

  Those are the qualities of an improviser, and they can be learned. It is common knowledge that diet and exercise are keys to staying physically healthy, but practicing improvisation is like yoga for your professional development—a solid, strengthening workout that improves emotional intelligence, teaches you to pivot out of tight and uncomfortable spaces, and helps you become both a more compelling leader and a more collaborative follower. Even better, these qualities are fully transferable to your life outside the office. The benefits of improvisation can extend to your personal relationships, whether with your partner, your family, or your friends.

  Anne Libera, former artistic director of The Second City Training Center, used to lead each orientation for beginning improv students with the same words: “This work will change your life.” It has certainly changed ours for the better, and, based on the stories we hear from thousands of prof
essional clients who credit their improv skills with helping them build effective teams, break down silos, foster creativity, and spark innovation, we’re confident it can change yours, too.

  So sit back, unwrap your candy, turn off your cell phone, and please refrain from taking photographs or making recordings of any kind. We take you now to a resort overlooking the Potomac River.

  1

  THE BUSINESS OF FUNNY

  The Lansdowne Conference Center in Leesburg, Virginia, is a fine place to hold a business meeting, but located in the D.C. area wine country, with a hotel-style glass-and-brick facade and two championship golf courses, nobody would ever confuse it with a mecca for comedy. Yet every January for the past thirteen years, Lansdowne has rocked with laughter brought on by actors from The Second City who come to Virginia for an unlikely reason: to help about a hundred Major League Baseball rookies adapt to the unusual challenges of life in The Bigs.

  These challenges are wide ranging and quite foreign to mere mortals who can’t throw or hit a 95 mph fastball: how to deal effectively with veterans in the clubhouse and the rapacious media hordes, how to manage a newfound fortune when you grew up poor, how to find work-life balance when there is none, and how to navigate the perils of performance-enhancing drugs, aggressive autograph seekers, and the influence of organized crime in sports. Typical stuff for professional athletes, but not the typical fodder of comedy.

  But Major League Baseball and the Major League Baseball Players Association know their audience (mostly guys around twenty years old, brimming with swag and testosterone) and because they know them well, they know that lectures and classroom finger wagging aren’t effective ways to teach the vital life skills that will allow the rookies to have long and productive careers on the field. So they made the unlikely choice to bring in Second City talent who, over the course of four days, perform custom-written comedy vignettes based on real-world baseball situations, facilitate productive conversations around those vignettes (with Second City alum and clinical psychologist Dr. Kate Porterfield), teach improv-based communications skills, and in general, win over a tough audience of ballplayers who will be better equipped to protect their careers because of the time they’ve spent with a bunch of comedians and improv instructors. While our work at this conference is fun and funny, we’re not brought in for mere entertainment. We’re called on to bring serious topics to life through comedy, to get young athletes engaged, and to give them some important communications skills that will help them cope with circumstances few of us could ever truly understand. They do this because what The Second City knows, and what Major League Baseball has learned, is that the individual who is armed with an improvisational tool kit has an instantaneous advantage in dealing with all manner of difficult situations that naturally arise in the course of one’s career. When, for instance, a long-lost third cousin once removed comes calling for a loan to start a deli/vinyl record shop, the young ballplayer will have learned improv skills to both disarm and deflect the advance—the same set of tools we’ll give you to turn around difficult employees and disgruntled customers. Improvisation, at its most basic level, lets you respond more quickly in real time—and when practiced, also allows you to use comic relief to ease a potentially awkward confrontation.

  Make ’em laugh. Make ’em think. A winning formula not only for baseball rookies, but for education reformers, cruise line directors, and the millions of other professionals whom Second City has reached over the past three decades by reformulating venerable theatre teaching methods into cutting-edge business training programs for the twenty-first century. We’re not merely offering an improved communication tool, either. We’ve introduced a whole new skill set for invention and innovation that has been proven to unlock the creative forces of individuals and teams and make it easier for them to test those creative ideas and launch them in the marketplace.

  The more The Second City works with folks from the business world, the more we have come to understand that despite all the planning, processes, controls, and governance, business is one big act of improvisation. For anyone who has spent time working in or running a business, you know that a great deal of your time and energy go to dealing with the unplanned and the unexpected, with the curve balls and gray zones that typify corporate life.

  This book is for you, to help you build the tool kit you’ll need to deal with that challenging reality.

  SETTING THE SCENE

  Maybe we’re not brothers from another mother, but our comedy troupe and the businesses we work with have a lot of the same needs and priorities. We both work in teams that have to adapt to change and new information under high pressure and rapidly changing circumstances. Just as businesses must create and innovate (or die), so must we, every night on the stage. We are both ultimately accountable to the audiences we serve. Like our corporate clients, we must find and develop new talent to make sure our business grows and stays vibrant over time. We face silos separating departments that would benefit greatly from a higher degree of interaction and collaboration. When sales goals aren’t being reached or the competition steals away a client or that new product launch lands like a lead balloon, we are just as likely as others to drop our best practices and work out of fear. The list goes on, to the surprise of many, though probably to none more so than the founders of The Second City. They could have had no idea that their small cabaret theatre catering to University of Chicago intellectuals and a burgeoning countercultural movement would one day take its radical practices into the same institutions it questioned and challenged in the late ’50s and early ’60s.

  When The Second City, housed in a converted Chinese laundry, first opened its doors on a snowy December night in 1959, few attendees would have suspected that they were present at the birth of an institution that would serve as the leading source of cutting-edge comic artistry for the next half century. Today, we take for granted that original comic voices have venues for expression across all manner of stage and screen. But to understand how truly radical The Second City was when it launched, we need to understand the cultural and artistic landscape at the time.

  “My wife will buy anything marked down. Last year she bought an escalator.” Such was the flavor of popular comedy in the late ’50s. Henny Youngman, Jack Benny, George Burns, Lucille Ball, Jackie Gleason—all very funny, even legendary, comedians, but none of them satirists. Their comedy, rooted in the inherent funniness of relationships and family dynamics, was never vulgar or political. By the late ’50s, however, a new breed of comedians appeared on the scene—Lenny Bruce, Mort Sahl, and Dick Gregory, for example—who would become part of the countercultural movement of the 1960s. Playing clubs such as Mister Kelly’s and The Gaslight Club in Chicago, The Hungry i and North Beach Nightclub in San Francisco, and The Bitter End and The Duplex in New York, these new voices of stand-up represented an entirely different kind of comedy. They talked openly about sex, race, and politics, and, in the case of Lenny Bruce, they got thrown in jail for the profane language they used onstage. Prior to this movement, popular comedy was seen mostly as entertainment or diversion—rarely as part of an artistic movement that promoted social and political change.

  The founders of The Second City—Paul Sills, Bernie Sahlins, and Howard Alk, all University of Chicago graduates—approached their work on two important fronts. They created a new form for the comic arts: ensemble based and rooted in the improvisational games that Sills’s mother, Viola Spolin, taught as a social worker for a WPA-sponsored program on Chicago’s South Side, designed to help immigrant children assimilate into their new culture. At the same time, in terms of content, these artists used comedy as a way to challenge the status quo. They combined both to react directly to the Eisenhower era—which they saw as conformist, intellectually bereft, and morally bankrupt—often shocking audiences in the process. The comedy they were creating was rooted in truth, rather than broad parody or exaggeration; the behavior they portrayed onstage was real and recognizable.

  For ex
ample, in the classic 1961 Second City scene, “Family Reunion,” a son, Warren, who moved to Chicago, welcomes his parents to the apartment he has shared with his roommate, Ted, for twelve years. The apartment gives every indication that it is shared by a couple, but the parents just won’t see it. Warren finally summons the courage to tell his parents the truth:

  WARRENThere’s something I want to tell you about myself. I hope you want to hear something about myself. I’m—I—Ted is a homosexual.

  FATHERWell, Warren, I’m glad to see that living in the city has taught you tolerance.

  That scene was startling to audiences when it was staged in 1961, but it ushered in a kind of comedy that blended the personal and the political.

  Form and content: At The Second City, they are linked, and the more powerful for that. In an improvised art form, the actors are also the writers; they create their content in concert with their fellow ensemble members and in an ongoing dialogue with their audience. In addition, they abide by an old saying in the field: “It’s funny because it’s true.” This compels them to draw from their personal experiences and to share true feelings and insights, both what brings them joy and what keeps them up at night. For the first generation of Second City artists, improvisation became the vehicle for a new kind of comic self-expression unlike anything that had come before. The work was funny, honest, and, because it dealt often in the most serious of subject matter, revolutionary.

  Over the next half century, The Second City continued to challenge convention while further developing teaching methods, tools, and techniques that would turn it into an eagerly sought-out, creative beacon that attracted many of the country’s brightest future comic stars—from Bill Murray to Gilda Radner, John Candy to John Belushi, Steve Carell to Tina Fey—each honing his or her craft in classes and onstage in The Second City’s touring and resident ensembles. Along the way, however, a new breed of performer also began seeking out The Second City: managers, marketers, teachers, lawyers, advertising executives, and business school graduates. Even politicians and daytime television hosts found their way into the entry-level improv classes that filled up The Second City’s classrooms on weeknights and weekend days. (Oprah Winfrey’s Second City classmates probably didn’t realize that she might be using her improv training for some greater purpose than to get on Saturday Night Live when she took classes in the mid-1980s.)