*Do* Be Ridiculous!

Lately, I have finally been "getting with the times" and have slowly been coming into the 21st century. That's right, folks! I have jumped onto the "Downton Abbey" bandwagon and have been watching episodes of everyone's favorite TV show.

Because, you know, you never know when "Downton" will come up in a conversation with the cool kids. And you've gotta be prepared for when that happens.

Okay, so, if you hang out with some of the same people I hang out with, you know that's not really a necessity. At any rate, I have found "Downton Abbey" to be a decent show, as long as it's not featuring storylines involving such silly things as Ouija boards.

In an episode I watched last night, I found a line uttered by Violet Crawley (Maggie Smith), who is basically the comic relief in almost every scene in which she appears, to be particularly insightful. Her granddaughter having been called "ridiculous" by a detractor, she replies, "Life is a game in which the player must appear ridiculous."

I like this comment because I feel that being ridiculous is one of the things I do best---or, at least, it is when I am most comfortable being me.

Appearing ridiculous is certainly an important part of performing improv, something that I have been doing semiprofessionally for the past nine years now. It is not uncommon for me to have a conversation with friends who, according to their reckoning of time, have literally not had one free night to come and see perform in a show during that nine-year period and who have no idea what an improv show is like. Also, these people tend to believe that I have just made up the word improv (which is funny, because improv is all about making up things on the spot!).

"I basically make a nincompoop out of myself on stage," I tell them. To tell the truth, that may very well be the most accurate way to describe an Improvables show. There's really no other way to explain what we do each week.

Indeed, one of the ground rules of comedy is making the ridiculous to seem normal and the normal to seem ridiculous.

Off stage, however, it is also comforting to have family members and good friends with whom I can feel comfortable by being my ridiculous self. In dating, I have found that I have enjoyed myself most when I have found others who can be their silly selves along with me.

At their house, my parents have a collection of home video tapes of my siblings and me acting silly in our younger years. Even though my initial attempts at both acting and filmmaking are a somewhat of a mixed bag as I look back on them today with some degree of embarrassment, there are many good memories associated with those movies, as well.

Don't ask me if you can watch them, though. They're just one accidental arson incident away from being destroyed and lost to the world forever.

Road Trip Music, Past and Present

Earlier this week, many of the members of the Angry White Loner's clan, including the Angry White Parents, the Angry White Siblings, and the AWL himself, made our annual August pilgrimage down to southern Utah to attend the Shakespearean Festival in Cedar City. It's a tradition that we've had for several years now and one that Tevye in Fiddler on the Roof would sing an epic song about. 'Cause it's all about acting and theater and musicals and getting more cultured and all of that good stuff.

Occasionally, we will even catch a play written by William Shakespeare himself. Which stands to reason, as he is the namesake for the whole shebang in the first place.

An important part of road trips such as these, or of any road trip, really, is the music that we listen to in the car along the way.

As the AWSs and I were growing up, the music for these road trips was always the AWPs' choosing. We were forced to listen to things like Olivia Newton-John (from her pre-"Physical" and pre-Grease country music days), Roger Whittaker, the Kingston Trio, and an assortment of folk music from the '60s, among other choices.

The siblings and I also delivered a paper route growing up, and, naturally, the AWPs were also in charge of picking the radio station that we listened to in the car. If it wasn't BBC news, then it was usually FM100, which had a "soft sounds" format in those days before it became all modern and hip like it is now. And before they added the "point-three" to the station's jingle. As a result, we became all-too-familiar with such timeless hitmakers as England Dan and John Ford Coley, Dan Fogelberg, the Carpenters, and so forth.

If you haven't heard of most or any of these artists, then you're not alone. The AWPs certainly have had some eclectic tastes in music over the years.

Fast forward to this week's road trip, during which the he-who-shall-not-be-named sibling I carpooled with chose to play country music for four consecutive hours on the road. Don't get me wrong; I don't mind country music if it is taken in small doses. Four straight hours of country music, though, and I would have been more than happy to roll down my window and jump head-first under a semi truck traveling in the next lane.

Thank goodness I brought my iPod with me. I shuffled through my playlists and discovered that - what do you know? - I have a lot of songs on that iPod that are performed by none other than Olivia Newton-John, England Dan and John Ford Coley, the Carpenters, etc.

Of course, I have other tastes. The AWP won't be joining me at a "Weird Al" concert anytime soon. I guess the prevailing thought is that . . . well, history tends to repeat itself.

Or, like the Manchurian Candidate, I have been brainwashed.

Happy Accidents

It was about eleven years ago when I got bit by the acting bug. I had done some theater in the past, including a handful of plays, and I had even taken an Acting 1010 class as part of my studies at the University of Utah. But I had never really got into the theater until I was cast alongisde my brother Ben in My Fair Lady at Rodgers Memorial Theatre in Centerville.

Being in a musical was an all-new experience for me, and not just because I played four different roles in the show. It quickly became my favorite acting experience up to that point. I relished the opportunity to act, sing, and dance all in the same production for three nights a week, and I made some great friendships in the process.

As the musical was wrapping up, I had fully been bitten by the bug, and I eagerly looked forward to participating in another show. I learned of tryouts for the theater's next production, Brigadoon, and I attended my tryout with great enthusiasm. To my surprise - and, I'm sure, to the surprise of many of those who knew me - I was cast in one of the lead roles.

However, over the course of the next week, a strange kind of pain gradually developed in my chest. A few more weeks passed, and the ache got worse and worse. I learned that I had torn my right pectoral muscle on one of the last nights of performing in My Fair Lady, and, after about a month of rehearsing for my new role in Brigadoon, I was forced to drop out of the musical so that someone else could fill the part.

I was upset, I cursed my rotten luck and the timing of it all, and I was in a great deal of pain, to boot. Fortunately, physical therapy and time helped my body to heal, though I watched the run of my missed musical opportunity come and go with envy and bitterness.

It was at this same time that a friend of mine took a beginning improv skills class and invited me to attend a performance put on by him and the other members of his class. I had seen a little bit of "Whose Line Is It, Anyway?" on TV, but I had never previously been to a live improv show. It was amazing.

I soon learned that this theater was offering Improv-oke - a combination of improv and karaoke - nights, during which attendees could volunteer to come up on stage and perform along with the actors. I went to one of these and was called up to participate in a game of "Da Doo Ron Ron," and somehow I was the last person standing for this game for three weeks in a row.

Once I had been given the opportunity to perform improv myself, I was hooked. I was not great at it at first, and I made several mistakes (I still do), but I kept coming back to it. I took a class with some of my friends and learned the ropes, putting on a few performances with the Village Idiots in Bountiful. A couple of years later, I tried out for and was accepted into ComedySportz in Sugar House and Provo, which gave me the chance to perform in a semiprofessional environment for the first time and to learn from some of the best actors in the state. In 2008, I learned that a Davis County-based troupe was being formed at a familiar location: Rodgers Memorial Theatre.

In the six years since I had had to drop my role in Brigadoon, I had not tried out for anything else with this theater, and, in the back of my mind, memories of my earlier injury and the accompanying fallout still lingered. Nevertheless, I took a chance and returned to my former stage in a different capacity. I found a home with this new troupe, which was named the Improvables, and I have been with them ever since, including a move over to CenterPoint Legacy Theatre in 2011 and an expansion to Playbills' Theater in 2013.

One of my friends recently blogged: When one door closes, another door opens. As far as musical theater and improv goes, that had certainly been the case for me. Through a happy accident, I discovered improv 11 years ago when I had nothing left to lose, and because I took a chance on myself and on it, my life has been the better for it. In fact, I don't think I could ever go back to musical theater - at least not permanently - knowing what I know now and having had the experiences I have had with improv.

This very thought occurred to me just the other night when my Improvables colleagues and I put on a memorable show that included a broken vase (my fault), mouths full of Peeps candy that had three of us nearly tossing our cookies, and water all over the stage and mostly all over me through a game of "Spit Take." And those were just three of our games for the evening's performance.

Why do we do it? you ask? It's hard to explain in a few words, but improv is never the same, and that fact alone keeps me coming back again and again. As the song goes, there's also "no people like showpeople," and my fellow improvisers are among my very best friends today.

Whether or not I excel at what I do is debatable, I suppose, but I try my best at it and give it my all. It's not often for me to toot my own horn, but (honk! honk!) I have been humbled over the years to have had a handful of audience members approach me to say that I was their "favorite" performer. I continue to look forward to each new opportunity to make a nincompoop out of myself in public, and I hope that it is something I can continue to do for years to come.