Whose Improv Is it Anyway?

Many folks today learn about “improv” through the often hilarious Whose Line Is It Anyway? Both the US and UK versions of the TV show (1998-2006) generate steady laughs, relying on the quick wit and sharp timing of a host and four improvisors to work through mini-scenes and suggestions from the audience. The show’s three most regular players prove especially talented. Wayne Brady shows an incredible knack for musical improv, making up songs with confident flair and uncanny stylistic range. Colin Mochrie regularly turns scenes upside-down with a twist that makes good sense of what’s come before, but in an unpredictable fashion. Ryan Stiles uses his lanky size to great effect, diving into physical humor that stretches the boundaries of the stage. They’re skillful players for sure.

Surprisingly, though, Whose Line has never quite been my cup of tea. From what I’d seen, the scenes stay short and snappy for TV’s sake, never really getting the chance to develop characters or storylines. We rarely see female improvisors. When we do, they’re often marginalized or underutilized. And the humor most often comes from gags, one-liners, or goofball physicality. To my improv taste, those methods can make for wonderful parts of shows, but when they’re the whole banana, the show’s bound to slip. I liked laughing but I always left lacking.

I was eager to reconsider my take when the show’s makers recently released all the past seasons for free online streaming. What a treasure trove of entertainment and a rich database for learning! As expected, I’ve so far gotten good chuckles and some of the scenes are downright side-splitting. Mochrie and Stiles have unquestionable rapport and Brady is brilliant. Though given limited stage time, other players like Brad Sherwood and Greg Proops often make inspired contributions too. And still…seeing so many episodes in a short time span, I find myself even more bothered than ever, almost to the point of making the show unwatchable.

The producers have the actors rely on the same small set of games, all of which by their very structure, lead the players away from real stories. I now see that the women, when they rarely secure an invitation, often get sexualized  by audience suggestion or host set-up before the scenes even start. And the players almost always take the same positions. Wayne does the musical pieces; if Brad’s there, he’ll help out too. When they do the dating game, the “guest” player unfailingly gets assigned to the bachelor or bachelorette asking questions. If it’s a party scene, the newcomer plays the host. When the group delivers a newscast, that fourth wheel plays the news anchor while Colin gets the co-anchor spot, Wayne the sportscaster, and Ryan the weatherman. In every case, the guest does the least improvising. Dubbing scenes almost always have Colin on stage with Ryan generating sound effects off-stage. In the “Hoedown,” Wayne inevitably sings first, followed by Brad or Greg, then Colin, then Ryan. If Wayne’s not playing, Brad takes over the necessary slots. On repeated watching, these rhythms become frustratingly predictable and stale. Yes, the performers are “making things up,” but they’re also relying on what they know and do best. They’re not taking risks. Don’t get me wrong—I fault the producers and the medium rather than the actors. Though the show has been successful in its format, it could be so much better.

In my mind, the greatest joy of improv comes from encountering the unknown and finding the transcendent through that mystery. Trying new games and putting players in new roles means they have to scramble to survive—and they have to help each other to do so. A quiet, tender scene can prove as pleasing as an outlandish pratfall. Real stories and honest characters can fulfill more fully than recurring schtick. It’s mostly about tilting to that edge just before falling: together, the audience and troupe get to gasp in wonder. How will they get out of this? What comes next? In that spirit, I’d love to see Colin join Wayne for a musical number or Ryan and one of the guest women belt out a tune. So what if they fail or if one outshines the other? Brad and Greg—and any other fourth player—are great improvisors. Why not give them a shot at a more challenging task? In that setting, too, “failure” can even be satisfying. They went for it and didn’t get to the other side.

Seeing players stretch and develop like that means we in the audience get permission to do the same. The improv, then, becomes more than entertainment. It expands to inspiration.

NOTE: As of July 17^th, 2012, the US version is not accessible online due to maintenance or copyright issues. On a quick glance, the UK version at least adds in a greater range of players. Some episodes in later seasons of the UK version also use Brady, Mochrie and Stiles if you want to see the dynamics at work.

Here’s an example:

youtube=http://www.youtube.com/watch?v=E-XvHXqmcU0

If that video doesn’t work, try Whose Line (UK version) Season 10, Episode 1.