WEBVTT 00:00:00.240 --> 00:00:03.259 Hey everybody, welcome back to the SoCap Improv 00:00:03.259 --> 00:00:05.900 Comedy Podcast. My name is Ralph, Ralph McLeod, 00:00:05.980 --> 00:00:08.259 the owner and artistic director of the SoCap 00:00:08.259 --> 00:00:12.080 Improv Comedy Theatre at 154 Danforth Avenue 00:00:12.080 --> 00:00:18.660 in Toronto, Ontario, Canada. We have improv classes, 00:00:18.980 --> 00:00:21.719 shows, events. You can rent our space, put on 00:00:21.719 --> 00:00:24.059 your own show. We do corporate events, private 00:00:24.059 --> 00:00:26.440 events, got a birthday party coming up. Want 00:00:26.440 --> 00:00:28.120 to get a group of people together and do an improv 00:00:28.120 --> 00:00:31.640 class? Oh boy. It's super duper fun. I think 00:00:31.640 --> 00:00:33.439 I've done like six of them in the last year. 00:00:34.140 --> 00:00:37.520 They're really, really great. And they're not 00:00:37.520 --> 00:00:40.340 that expensive. They might surprise you. Get 00:00:40.340 --> 00:00:44.240 10 or 15 of your friends together. Get a teacher 00:00:44.240 --> 00:00:46.960 and improvise for two hours. You know, it's like 00:00:46.960 --> 00:00:49.380 two, three hundred bucks. That's not that bad. 00:00:50.000 --> 00:00:51.500 I mean, think how much you're going to rent for 00:00:51.500 --> 00:00:54.320 a party room. You'll have a much worse experience. 00:00:54.979 --> 00:00:58.600 Probably. I don't know. Maybe not. But I think 00:00:58.600 --> 00:01:01.509 you would. I want to pause before I get started 00:01:01.509 --> 00:01:04.950 to thank this week's sponsor. This week's sponsor 00:01:04.950 --> 00:01:07.810 is Dale's Alligator Petting Farm. Looking for 00:01:07.810 --> 00:01:10.469 a wild adventure? Come visit Dale's Alligator 00:01:10.469 --> 00:01:12.750 Petting Farm, or even get up close and personal 00:01:12.750 --> 00:01:14.989 with some of nature's most fascinating creatures. 00:01:15.430 --> 00:01:18.170 We've been delighting visitors for years. Come 00:01:18.170 --> 00:01:21.549 pet our gators today. Dale's Alligator Petting 00:01:21.549 --> 00:01:24.230 Farm, formerly Dale and Son's Alligator Petting 00:01:24.230 --> 00:01:29.900 Farm, just off Route 68. I wonder what happened 00:01:29.900 --> 00:01:35.840 to this. I have no idea. Anyway. Yeah. So this 00:01:35.840 --> 00:01:40.640 podcast is geared towards improvisation, improvisation 00:01:40.640 --> 00:01:45.040 for the stage. But I am more interested now or 00:01:45.040 --> 00:01:48.579 at least as interested in using all of these 00:01:48.579 --> 00:01:51.659 techniques offstage. And when I say offstage, 00:01:51.739 --> 00:01:54.480 I mean in the real world when you're interacting 00:01:54.480 --> 00:01:57.450 with people. you know, at some dinner party somewhere. 00:01:57.670 --> 00:02:01.129 And you're like, oh, boy, I wish I knew any way 00:02:01.129 --> 00:02:04.250 how to make this more fun and less likely that 00:02:04.250 --> 00:02:06.489 I want to gouge out my eyeballs with this salad 00:02:06.489 --> 00:02:09.889 fork. And that's what improv can certainly do 00:02:09.889 --> 00:02:15.669 for many of us. And I've seen it happen and kind 00:02:15.669 --> 00:02:18.849 of a segue, but I was just thinking, you know, 00:02:18.870 --> 00:02:21.430 I've been asked this question, you know, my students, 00:02:21.469 --> 00:02:26.889 what do my students get and or whatever? what 00:02:26.889 --> 00:02:30.710 do I what do my students get out of me uh how 00:02:30.710 --> 00:02:34.310 what was the question what do your students learn 00:02:34.310 --> 00:02:36.830 I think was the question that I got and uh to 00:02:36.830 --> 00:02:38.569 me the hallmark of the people who've been with 00:02:38.569 --> 00:02:41.930 me for a long time that I notice about them on 00:02:41.930 --> 00:02:44.189 stage is they know they're panic they don't panic 00:02:44.189 --> 00:02:47.830 they never panic they'll rush they slow down 00:02:47.830 --> 00:02:51.710 they take their time uh they play the moments 00:02:51.710 --> 00:02:57.879 and uh I, that gives me so much joy that that's 00:02:57.879 --> 00:03:00.960 what my students in general, not all of them. 00:03:01.259 --> 00:03:04.099 And, um, you know, cause everybody's different, 00:03:04.159 --> 00:03:06.680 but you know, if I, if I was to pick a hallmark 00:03:06.680 --> 00:03:09.139 of my, what my students get out of teaching, 00:03:09.319 --> 00:03:12.240 you know, studying with me, that's what they 00:03:12.240 --> 00:03:15.680 get. They slow down, they're playful, play the 00:03:15.680 --> 00:03:17.580 moments, don't worry about where the scene is 00:03:17.580 --> 00:03:20.740 going or how to be funny. Maybe that last one, 00:03:20.759 --> 00:03:22.840 I don't know about that last one. but they don't 00:03:22.840 --> 00:03:25.639 hurry, they don't panic, they don't freak out, 00:03:25.759 --> 00:03:29.780 they don't go to low -hanging fruit to get a 00:03:29.780 --> 00:03:33.919 laugh. They play, they play, and they take their 00:03:33.919 --> 00:03:36.879 time. So today I want to talk about something 00:03:36.879 --> 00:03:42.319 that comes up quite a lot, and it is more common 00:03:42.319 --> 00:03:47.159 among newer improvisers, but by no means. Is 00:03:47.159 --> 00:03:49.099 this limited to them? And it's something that 00:03:49.099 --> 00:03:51.900 we all fall into the trap of. And I'm sure I 00:03:51.900 --> 00:03:57.580 still do it occasionally. It's probably one of 00:03:57.580 --> 00:04:00.280 the things that would happen to me. And I would 00:04:00.280 --> 00:04:03.819 think, oh, that was... I can't believe that happened 00:04:03.819 --> 00:04:06.080 to me. And what I'm talking about here is this 00:04:06.080 --> 00:04:09.460 tendency among improvisers to stop the action. 00:04:11.420 --> 00:04:15.139 and or to not to talk about this something rather 00:04:15.139 --> 00:04:18.439 than doing it. So the big one for me, the more 00:04:18.439 --> 00:04:22.959 critical one is the stopping of the action. And, 00:04:23.100 --> 00:04:25.100 you know, it's a typical example or a cliche 00:04:25.100 --> 00:04:27.379 example of character races. Let's go to the beach 00:04:27.379 --> 00:04:29.199 and character pieces. No, I don't want to go 00:04:29.199 --> 00:04:33.879 to the beach. OK, so that's stopping. It was, 00:04:33.879 --> 00:04:37.459 you know, it's so much wrong to say so much wrong 00:04:37.459 --> 00:04:40.149 with that. And I mean, it really depends on what 00:04:40.149 --> 00:04:42.769 comes after that, whether that determines that 00:04:42.769 --> 00:04:46.449 was wrong or not. But on the surface of it, you've 00:04:46.449 --> 00:04:48.629 got a perfectly good idea. Let's go to the beach. 00:04:48.649 --> 00:04:57.370 And the counter, which is no. And the real bad 00:04:57.370 --> 00:05:00.029 part there for me or destructive part is there's 00:05:00.029 --> 00:05:03.129 no other, nothing else is offered as an alternative. 00:05:03.430 --> 00:05:05.470 And so the character that suggested going to 00:05:05.470 --> 00:05:09.209 the beach, the actor. Uh, improviser now has 00:05:09.209 --> 00:05:11.850 to come up with a new thing. If the person who 00:05:11.850 --> 00:05:14.589 says, no, I don't want to go to the beach, doesn't 00:05:14.589 --> 00:05:17.889 offer anything else. So kind of guideline number 00:05:17.889 --> 00:05:20.829 one here, if you're not enthusiastic about what 00:05:20.829 --> 00:05:23.629 someone has offered you, number one, ask yourself, 00:05:23.750 --> 00:05:27.410 why not? Uh, and B, you better come up with a 00:05:27.410 --> 00:05:31.110 much better idea. And then you should also kind 00:05:31.110 --> 00:05:38.319 of apologize to that person. Uh, or. Yeah, I 00:05:38.319 --> 00:05:41.220 would say apologize or have a discussion at least 00:05:41.220 --> 00:05:43.439 about why going to the beach is not a good enough 00:05:43.439 --> 00:05:46.860 idea. Anyway, so that's the sort of cliche one 00:05:46.860 --> 00:05:52.060 or a cliche example where we will stop, where 00:05:52.060 --> 00:05:54.319 characters will stop action or actors will stop 00:05:54.319 --> 00:05:57.420 action on behalf of their characters. And the 00:05:57.420 --> 00:06:00.759 reason that happens in my view is it really, 00:06:00.779 --> 00:06:06.310 it comes down to generally fear. that one's not 00:06:06.310 --> 00:06:08.370 going to instill a lot of fear. Let's go to the 00:06:08.370 --> 00:06:10.750 beach. It's a little bit of like, well, how do 00:06:10.750 --> 00:06:12.329 I, why I'm getting to the beach? I've got to, 00:06:12.329 --> 00:06:14.709 where am I now? I've got to get into a car. Are 00:06:14.709 --> 00:06:16.689 we just going to say, well, later at the beach? 00:06:17.110 --> 00:06:19.149 And some people who don't know that they can 00:06:19.149 --> 00:06:21.910 do that and just say, you know, let's go to the 00:06:21.910 --> 00:06:24.170 beach later at the beach. And then they're there 00:06:24.170 --> 00:06:26.529 and they've already accepted it. That's one way 00:06:26.529 --> 00:06:29.750 you can certainly do it. I'm more of a fan of 00:06:29.750 --> 00:06:33.790 let's travel. We can travel to the beach. We 00:06:33.790 --> 00:06:37.310 can walk to the beach. There are ways to do that 00:06:37.310 --> 00:06:39.189 on stage that it looks like you've traveled a 00:06:39.189 --> 00:06:41.629 fair distance, but in reality, you've just done 00:06:41.629 --> 00:06:44.730 one walk across the stage at a turn. Oh, here 00:06:44.730 --> 00:06:47.329 we are at the beach. It's been lovely. And the 00:06:47.329 --> 00:06:49.110 audience will suspend their disbelief. Anyway, 00:06:49.209 --> 00:06:53.269 getting way off topic. So that's a tendency is 00:06:53.269 --> 00:06:58.050 the stomping of action. Typically over fear. 00:06:58.170 --> 00:06:59.689 So going to the beach is not a big one, although 00:06:59.689 --> 00:07:02.310 there's that. things i pointed out but there 00:07:02.310 --> 00:07:05.149 might be uh other like let's get on a roller 00:07:05.149 --> 00:07:07.769 coaster that's or jump out of an airplane the 00:07:07.769 --> 00:07:12.129 skydive those are two big ones and and i'd say 00:07:12.129 --> 00:07:15.069 the vast majority well over 90 of the scenes 00:07:15.069 --> 00:07:16.790 i've seen of people who jump out of airplanes 00:07:16.790 --> 00:07:20.529 or uh are gonna get on a roller coaster they 00:07:20.529 --> 00:07:23.209 will come up with a million reasons not to do 00:07:23.209 --> 00:07:26.670 the thing again probably because of fear because 00:07:26.670 --> 00:07:29.639 of i don't know how to mind this thing that seems 00:07:29.639 --> 00:07:32.879 daunting and probably not that interesting. And 00:07:32.879 --> 00:07:38.319 so that's another one where fear is more prevalent 00:07:38.319 --> 00:07:44.199 and obvious. And so those scenes tend to be two 00:07:44.199 --> 00:07:48.459 people talking about other things. And why do 00:07:48.459 --> 00:07:50.240 we do this? And I don't want to do this anymore. 00:07:50.579 --> 00:07:52.720 I was drunk when I said yes and blah, blah, blah, 00:07:52.720 --> 00:07:55.060 blah. And nothing happens and nobody cares. And 00:07:55.060 --> 00:07:56.819 it seems really boring. And it usually will end 00:07:56.819 --> 00:08:00.279 with them deciding to jump out of the plane or 00:08:00.279 --> 00:08:02.300 get on the roller coaster. And by then, everybody's 00:08:02.300 --> 00:08:06.259 asleep and the scene's over. So what do you do 00:08:06.259 --> 00:08:08.360 if you get a suggestion of jumping out of an 00:08:08.360 --> 00:08:11.439 airplane? Well, you could pick up from where 00:08:11.439 --> 00:08:14.860 you've landed. Wow, that was fun. I don't want 00:08:14.860 --> 00:08:18.459 to do that again, but that was great. Or what 00:08:18.459 --> 00:08:21.360 I like to do is immediately jump out of the plane. 00:08:23.579 --> 00:08:25.540 It's been a long time since I got that as a suggestion. 00:08:26.540 --> 00:08:28.560 But if I did, I would do the same thing. I would 00:08:28.560 --> 00:08:31.139 just immediately jump out of the plane. Because 00:08:31.139 --> 00:08:34.120 now you're in the unknown. And now, even though 00:08:34.120 --> 00:08:37.179 that's harder, the audience is most likely going 00:08:37.179 --> 00:08:39.220 to be with you. Because they don't know what's 00:08:39.220 --> 00:08:40.740 going to happen. Is your parachute going to work? 00:08:41.500 --> 00:08:43.200 Are you going to reach the ground? Okay, what's 00:08:43.200 --> 00:08:46.490 going to happen? And so those are some of the 00:08:46.490 --> 00:08:49.029 obvious examples that happen. Another one is 00:08:49.029 --> 00:08:51.490 like two characters are in a romantic situation 00:08:51.490 --> 00:08:54.250 and it's escalating towards a sexual encounter. 00:08:55.809 --> 00:09:00.029 That one also would require some nuance to get 00:09:00.029 --> 00:09:03.950 around. The big one there that I often see is, 00:09:04.029 --> 00:09:07.529 well, we don't have to go right from, hey, this 00:09:07.529 --> 00:09:12.570 is my apartment, to we're deep in each other, 00:09:12.649 --> 00:09:15.120 shall we say. You can... What would you like 00:09:15.120 --> 00:09:17.200 to drink? Let me dim the lights. Let's put on 00:09:17.200 --> 00:09:21.240 some music. So, have you ever done anything like 00:09:21.240 --> 00:09:25.080 this before? There's lots of the romancing up 00:09:25.080 --> 00:09:28.240 into the actual consummation of the evening, 00:09:28.440 --> 00:09:31.759 if you want to put it that way. And as long as 00:09:31.759 --> 00:09:34.779 you're progressing, we'll watch that. Not forever, 00:09:34.919 --> 00:09:37.700 but for quite a while, as long as action continues. 00:09:37.779 --> 00:09:40.259 Which goes to my point, or goes to my, I guess, 00:09:40.320 --> 00:09:42.549 the reason I talk about... Don't stop action. 00:09:42.610 --> 00:09:46.710 Once you stop action, nothing is happening. Your 00:09:46.710 --> 00:09:51.669 audience will go to sleep. Narrative is two things. 00:09:52.730 --> 00:09:57.730 Or the progression of story. It's discovery. 00:09:58.009 --> 00:10:01.210 The audience or the characters discover something 00:10:01.210 --> 00:10:04.070 they did not know before. Oh, my spouse is cheating. 00:10:04.309 --> 00:10:08.490 Oh, so -and -so is attracted to me. Oh, I got 00:10:08.490 --> 00:10:13.269 fired. These are... Sorry, the last one is not 00:10:13.269 --> 00:10:14.850 really a discovery. Oh, I've been fired is a 00:10:14.850 --> 00:10:18.470 discovery. The other one is an action. Something 00:10:18.470 --> 00:10:22.570 happens. I've been fired. I have discovered my 00:10:22.570 --> 00:10:27.389 spouse in the midst of a romantic affiliation 00:10:27.389 --> 00:10:32.009 with some stranger. So these are also action. 00:10:32.090 --> 00:10:34.990 And you need one of those two to drive a story 00:10:34.990 --> 00:10:38.240 forward. And so when you shut down action. you 00:10:38.240 --> 00:10:41.039 stop the most obvious way to move the scene forward 00:10:41.039 --> 00:10:44.799 so just a little bit of an action because let's 00:10:44.799 --> 00:10:47.139 go to the beach is not really action in this 00:10:47.139 --> 00:10:52.620 terms of story character sense but it is enough 00:10:52.620 --> 00:10:56.019 of a of a forward momentum to keep the audience 00:10:56.019 --> 00:11:00.500 okay i'm with you uh but eventually you're gonna 00:11:00.500 --> 00:11:03.519 have to get to the action of the scene and and 00:11:03.519 --> 00:11:06.529 in this way So just to point out the difference, 00:11:06.629 --> 00:11:08.909 there's a difference between getting a cup of 00:11:08.909 --> 00:11:12.029 coffee and asking someone else to join you for 00:11:12.029 --> 00:11:14.389 a cup of coffee because you want to talk to them 00:11:14.389 --> 00:11:16.669 or because you like them. So there's different 00:11:16.669 --> 00:11:21.389 qualities there. But for this discussion, don't 00:11:21.389 --> 00:11:24.210 stop either one of them. Even if it's something 00:11:24.210 --> 00:11:29.330 you dislike, you know, well, it's time to, your 00:11:29.330 --> 00:11:33.269 hand has got gangrene. We're going to cut off 00:11:33.269 --> 00:11:37.929 your arm. Of course, you know, most actors and 00:11:37.929 --> 00:11:40.789 characters and improvisers, well, the characters 00:11:40.789 --> 00:11:43.769 and improvisers are different. Most actors, improvisers 00:11:43.769 --> 00:11:45.610 would pull their hand away. No, you're not cutting 00:11:45.610 --> 00:11:48.230 my hand off. And of course, that's what the character 00:11:48.230 --> 00:11:49.529 wants. The character doesn't want their hand 00:11:49.529 --> 00:11:51.470 cut off. But as the actor, you've got to let 00:11:51.470 --> 00:11:55.690 your character do it. So if you've got in a scene 00:11:55.690 --> 00:11:58.909 and you've got gangrene and the character playing 00:11:58.909 --> 00:12:02.350 the doctor or whomever with the machete wants 00:12:02.350 --> 00:12:05.590 to take off your arm. Oh, man, I didn't think 00:12:05.590 --> 00:12:07.549 I'd lose my arm this way, but here it goes. Remember, 00:12:07.590 --> 00:12:09.690 it's not real. So you can get your arm cut off 00:12:09.690 --> 00:12:13.629 and see. You just have to provide an explanation 00:12:13.629 --> 00:12:16.850 as to why your character would say yes. And this 00:12:16.850 --> 00:12:20.129 one, we get it because your hand is gangrenous. 00:12:20.129 --> 00:12:22.789 And if you do not remove it, you will subsequently 00:12:22.789 --> 00:12:28.789 die from that. You can also have other reasons. 00:12:28.850 --> 00:12:31.509 You can have reasons that are not even that... 00:12:32.920 --> 00:12:34.960 Well, that'd be somewhat relatable, but they 00:12:34.960 --> 00:12:37.159 may be things that I wouldn't do. So a character, 00:12:37.200 --> 00:12:39.899 you know, it might be, well, I'm going to cut 00:12:39.899 --> 00:12:42.740 off your arm with my machete. You know what? 00:12:42.779 --> 00:12:44.860 I've never had that level of pain. I wonder what 00:12:44.860 --> 00:12:50.279 that's like. That is something that's not quite 00:12:50.279 --> 00:12:53.440 relatable, at least not to me. Like I've never 00:12:53.440 --> 00:12:55.759 had that level of pain and I'm not really keen 00:12:55.759 --> 00:12:58.820 to try it. But I understand on some level why 00:12:58.820 --> 00:13:01.019 somebody would, because you've explained it to 00:13:01.019 --> 00:13:03.570 me. You've justified it. You've made it somewhat 00:13:03.570 --> 00:13:05.850 relatable. Okay, he wants an experience or they 00:13:05.850 --> 00:13:08.110 want an experience unlike something they've ever 00:13:08.110 --> 00:13:11.529 had. Okay, you know, the thing is when it gets 00:13:11.529 --> 00:13:15.090 too unrelatable, people will tune out. But the 00:13:15.090 --> 00:13:18.669 base thing here, the base point is do not stop 00:13:18.669 --> 00:13:22.389 action. Try to keep action going unless it is 00:13:22.389 --> 00:13:24.289 something you do not want to do. If you're doing 00:13:24.289 --> 00:13:26.970 a scene with some dude and you don't know them 00:13:26.970 --> 00:13:30.090 and they're doing a sexual thing, stop it. Absolutely. 00:13:30.480 --> 00:13:32.659 Stop it. Don't do anything you don't want to 00:13:32.659 --> 00:13:35.139 do. Maybe they want to be in a car and they see, 00:13:35.200 --> 00:13:38.480 oh, there's a pack of dogs running across the 00:13:38.480 --> 00:13:41.279 street. Let's run them down. No, no, we're not 00:13:41.279 --> 00:13:43.419 doing that. Don't do anything you don't want 00:13:43.419 --> 00:13:46.240 to do. But within the realm of make -believe 00:13:46.240 --> 00:13:49.179 that you are comfortable with, try to keep action 00:13:49.179 --> 00:13:51.500 going, even if it is something you do not like. 00:13:52.360 --> 00:13:56.700 Oh, hey, I'm going to cut your hair. Oh, yeah, 00:13:56.879 --> 00:14:00.980 it's that time. It is getting kind of long. allow 00:14:00.980 --> 00:14:03.779 the action to happen because remember it's not 00:14:03.779 --> 00:14:08.279 real and the action no matter what it is like 00:14:08.279 --> 00:14:10.720 that kind of action the action that is not tied 00:14:10.720 --> 00:14:12.620 to character or emotion like getting your hair 00:14:12.620 --> 00:14:16.139 cut which it can be but in in this case it's 00:14:16.139 --> 00:14:20.340 just like it's just a plot point um or a beat 00:14:20.340 --> 00:14:24.259 of you know of um gotta find a way to differentiate 00:14:24.259 --> 00:14:27.779 action and and doing stuff this is a doing thing 00:14:28.620 --> 00:14:33.639 And it doesn't matter unless it affects you in 00:14:33.639 --> 00:14:35.799 an emotional way, and then it will matter. But 00:14:35.799 --> 00:14:37.700 getting a haircut, grabbing a cup of coffee, 00:14:37.820 --> 00:14:42.080 getting into your car, taking your keys out, 00:14:42.179 --> 00:14:48.159 these are just little bits of business. Business, 00:14:48.299 --> 00:14:50.500 that's probably what it is. And they don't matter. 00:14:52.219 --> 00:14:54.519 discovering your keys are missing and then going, 00:14:54.600 --> 00:14:58.379 no, no, no, I've got to go back to my ex's house 00:14:58.379 --> 00:15:01.500 and get my spare set of keys. That's action because 00:15:01.500 --> 00:15:03.860 you can tell, ooh, it fills us with a sense of 00:15:03.860 --> 00:15:06.940 emotion and purpose. Anyway, that's my thing 00:15:06.940 --> 00:15:11.100 for today. Try to do everything you can to keep 00:15:11.100 --> 00:15:14.820 the action going. You can subvert it, move it, 00:15:14.840 --> 00:15:16.620 whatever you want, but you want to keep doing 00:15:16.620 --> 00:15:20.399 things. Uh, and, uh, I'll get into this another 00:15:20.399 --> 00:15:22.039 time cause I'm running out of time, but I just, 00:15:22.059 --> 00:15:24.580 but since I'm on the topic of action, the minute 00:15:24.580 --> 00:15:27.059 you hear yourself or another person saying, you 00:15:27.059 --> 00:15:29.279 know what we should do, you immediately do it. 00:15:29.759 --> 00:15:32.860 We should go for coffee. Hey, let's sit down 00:15:32.860 --> 00:15:35.159 here and have a cup of coffee. We should quit 00:15:35.159 --> 00:15:38.860 our jobs. Hey, Hey boss, go to heck. I'm saying 00:15:38.860 --> 00:15:40.740 heck because I don't want to get a bad rating 00:15:40.740 --> 00:15:42.620 here. But anyway, you know what I mean? As soon 00:15:42.620 --> 00:15:46.440 as you say you, we should, or why don't we immediately 00:15:46.440 --> 00:15:48.639 do that thing? That's the way you should do it. 00:15:48.659 --> 00:15:51.600 All right. Thanks, everybody. This has been another 00:15:51.600 --> 00:15:54.240 episode of the Silk App Improv Comedy Podcast. 00:15:54.620 --> 00:15:56.539 My name's Ralph. We'll see you here next time 00:15:56.539 --> 00:16:00.200 for more improv comedy -related content. Take 00:16:00.200 --> 00:16:00.919 care. Bye.