[Other Places] What's good...

Mr. Stampede

www.jillbernard.com
#1
We all live in other places, and we've obviously not gone to LA or Chicago or New York. We are where we are. That's why we're here.

What's good about where you are that makes it worth not going to a major hub, as it were? I'm curious.
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GreenLanternMD

Work in Progress
#2
[Phoenix] I can do whatever I want whenever I want. If I have no desire to be famous or rich (actually, rich would be nice, but it's not a priority), I can be content with doing what I want to do... for small but appreciative crowds.
 
#3
[Miami/South Florida] I think what makes it good here (or anywhere for that matter) is that if you want to, you can create a community via education, relationships (working together), organizations, events, a festival, and networking amongst those in improv.

But to be more Miami/South Florida specific, I think what makes it good here is that despite some local improv people thinking that Miami/South Florida audiences won't or don't get it, longform, dramatic and experimental improv has been warmly embraced and is beginning to thrive. Obviously the weather in the winter is incredible, but what is really making the area great is the amount of talent that is coming into the market, in terms of improv actors and the subsequent growth of the groups.

Miami/South Florida becoming a good place to be if you can't get to Chicago/NY/LA; I think has a lot to do with a high profile festival, and a number of our local groups going out to do festivals. It has put us more on the map. Now, if we would only work together more, like some of the other communities, who knows where we could be?

Interesting question Jill. What say you?
 
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Mr. Stampede

www.jillbernard.com
#4
Minneapolis has many of the same benefits. You can really do anything you want to do, no one will get in your way or question your pedigree, they'll get behind you. There's plenty of rehearsal space and plenty of theaters -- although a theater dedicated solely to improv would be a great addition. Improv is well-grounded here, what with the Brave New Workshop opening in 1958, and yet it still feels like there aren't so many improvisors that you have to claw eachother's eyes out for stage time. If you want it, you got it.
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