Jonathan Pitts is one of the co-founders of the Chicago Improv Festival. He along with Frances Callier have been running what has become the nations biggest and most pretigious festival devoted to improvisation. His the Producer of Around the Coyote, The Bailiwick Director's Festival, and Naked i, a visual theatre series, in the last year Jonathan has produced over one hundred twenty different productions. He was recently named an Artistic Associate of The Bailiwick Theatre.

[Kevin Mullaney] Welcome everyone to the first moderated chat here at the Improv Resource Center. Thanks for being here with us, Jonathan.

[KM] Let's start at the beginning. How did you first get involved in improv?

[JP] I was 20 years old, taking regular college classes, and I was able to take my first improv class at Second City. It's Del's class, but he was out of town, and so it was being run by his stage manager/assistant, Alan Baranowski. I took to it like water. I then put together a group at my college. I eventually dropped out of college to persue improv. So, I trained for four years everyhwere I could and with everyone I could. It was kind of like getting a Bachelor's in Improv.

[KM] How did you go from a young eager improv performer to deciding to create the Chicago Improv Festival with Frances?

[JP] I did only improv for about nine years. Then, I switched to doing theatre and performance art for about 7 seven years. It was during that time that i met Frances, and I started producing/curating/coordinatoing festivals. In fact Frances and I work together for a couple of years on a children's festival. One day, I said to Frances, Chicago, which has every kind of festival there is doesn't have a improv festival, do you want to make one? She got very excited, as she had wanted to make an improv festival for years. We agreed to work together as co-producers. So, we sat in her kitchen having meetings for
months, and together we created our vision for CIF. We created a five year
plan that we are still working from.

[KM] Had you been to Austin, Kansas City or any of the other improv festivals? What did you want to do differently from them? What did you think the other festivals did well?

[JP] The only other festival(improv) I've been to is Portland's. I've heard from Chicago improvisers about the others. One thing I wanted to do idfferently was pay ensembles, all ensembles at elast a stipend for performing. It is something I am pproud of. We pay our performers and our staff. I think all the festivals do a good job at reflecting their point of view of the city they are in. We wanted Chicago's improv festival to be worthy of the history fo Chicago improv. It's something we aim for each and every year.

[KM] What was the biggest obstacle for you the first year of the festival (in 1998)?

[JP] The biggest obstacle the first year was getting everybody to accepting it could happen. The common beliefs back then was that an improv festival could never happen in Chicago.

[KM] That seems very odd now. Why were people so skeptical?

[JP] I don't know, except that a festival had never happen in the 40 odd years of Chicago's improv history, so, maybe people felt if it could be done, it would have already been done, and since it hadn't been, it could be.

[KM] What were your goals for setting up the CIF?

[JP] To create a festival that was worthy of the forty plus years history of Chicago improv. A festival that embraced all the different performance styles, and supported all the city's improv institutions.

[KM] What have been your favorite moments from the festival? Have you had any scary moments when things went really wrong?

[JP] Favorite moment, the first year, watching UCB perform "Saigon Sucide Squad" in front of a standing room only corwd on our opening night. It showed me a festival like could work in Chicago and be wonderful.

[KM] That show was amazing. I remember someone laughed so hard, they broke their chair.

[JP] The scariest moment was when we had to kick out an intern in mid-festival because her behavior had gotten violent.

[KM] What are you looking for when you decide what shows and groups are going to get a performance slot in the fest?

[JP] I am looking for ensembles that are at the top of their game. If they have a different or unique take on doing the work, so much the better. But, I want them to blow me away with their talent, ensmeble work and energy. I also look for how they handle the moments that don't rock. i often see more of their skills when things aren't going as well as when they are.

[KM] Do you have any tips for those who will be submitting groups for 2002?

[JP] Show me what rocks about your team. You believe in yourself and your ensemble show my why. Show me what's great about your team. Don't worry about anybody else.

[KM] The word was that the Austin festival was great for industry. Does the industry pay much attention to the CIF? Has anyone got any nibbles from the festival?

[JP] This year was tough for industry to show up, becuase of the potential strike. However, the year before we had folks form SNL, MAD-TV, Disney, HBO, Warner Brothers, and several others. This and last year, we had private auditions for the industry. Those went very well. People get seen and begin to create relationships with the agents, and that's all good for everybody.

[JP] Two years ago, we had private auditions for the prime time casting agent from ABC, and this year for the new Adam Sandler tv show on FOX. Several people got call backs, and some had lunch with the producers.

[KM] oh, that question came via e-mail by the way... What is the purpose of the new "Fringe" part of next years festival?

[JP] The Fringe is for expiermental work of improvisation. It doesn't have to be funny either. It still has to be good. Amensia Wars does some stuff that would be good for the fringe. Same with WNEP in Chicago. I just wanted to expand the field of play for all kinds of improvisation.

[KM] Will there be a "fringe" show every night of the festival?

[JP] There will fringe shows Thursday-Sunday. This next year, there will be five venues. Mainstage, Showcase, Fringe, Improv 'Til dawn, and also this is new for next year, Sketch.

[KM] A sketch only venue? Why the change?

[JP] Two reasons, I want to be able to support more of the sketch work being down in the country right now, and also, this way be separating sketch and improv, it keeps thematically a little cleaner (and hopefully easier for the average audience member to understand).

[KM] This question is from Chris Gethard: I'm interested from my non-experienced perspective in what his take on the Chicago improv scene is.... like is it catty or loving? Is it generally supportive of each other or is there competition?

[JP] I'd say both. It's kind of like the NBA All-Star game. Everybody supports everybody's work, and admires the great moments and great players. Yet, come game time, everybody is playing hard and playing to win.

[KM] Also from Chris: Being in Chicago when del died and interacting with troupes nationwide, do you see the possibility of another improv guru rising up, or was del the last true titan of the field?

[JP] I think Del (and Martin de Maat) were the last of their kind in improv. However, there are numerous folks who each in their own way, are carrying on the torch. Now, there are maybe twenty torches out there. They may not burn as bright as Del's, but now he fire is spread and there is more of it then ever before. We kind of need it for the work and the art to grow into it's next level.

[KM] It must have been hard to lose Martin before this year's festival. Do you want to share any stories about the festival that involved Martin?

[JP] It was hard to lose Martin, and it was hard to lose Del. For CIF 2 we did a tribute to Del that featured his last directing projects. For Martin we created a special evening of improv that featured the kind of slow scene work focusing on relationships that Martin loved. Both evenings on both years were grand nights.

[KM] Well, I'm out of questions. Thanks again for joining us to today for our first IRC moderated chat session.

[JP] Your welcome. Thanks for letting be a part of this. It's web-sites like yours that help unite the entire improv country.

[KM] Please keep us informed with the developments for next year's festival.

[JP] Absolutely, and please give my best to The Swarm, they did such a great job in this year's CIF.