Displaying items by tag: Improv

Otherworld Theatre blasts back into the cosmos with Season 4 of Starship Edsel: An Improvised Star Trek Parody, the latest chapter in its long-running improvised Star Trek satire. Now in its fourth outing, the misfit crew of the USS Edsel once again shows why the production remains a reliably funny fixture in Chicago’s sci-fi comedy landscape: sharp improvisers, affectionate genre parody, and the kind of starship energy you’d never find in the Federation’s official logs.

This season sends the Edsel crew tumbling through new temporal and interstellar absurdities, driven by the fast-paced, character-focused humor that has defined the show from the start. The ensemble dives into the joyful dysfunction of a starship seemingly held together by duct tape and questionable decisions, mixing Trek lore nods with gleeful irreverence and the lived-in chemistry that makes every malfunction and misunderstanding feel inevitable. That energy takes shape in an entirely new crisis: after stumbling through the early Star Trek timeline, the Edsel is abruptly flung centuries forward into the 32nd century, a future shaped by Star Trek: Discovery. Suddenly the galaxy looks unfamiliar, the rules have changed, and the crew finds themselves surrounded by Starfleet Academy cadets who seem barely old enough to pilot a shuttle, let alone judge the Edsel’s competence. I’m not sure whether the mission changes from performance to performance, but in this “episode” their assignment was deceptively simple – secure a peace‑extension treaty with the Blavakians (I hope I got that right) – and what should have been a straightforward diplomatic task stretched into an endlessly delayed ordeal, derailed by hilarious temporal hiccups, cultural misunderstandings, and the Edsel’s trademark ability to complicate even the calmest negotiations.

Directed by Second City alum Anthony LeBlanc, Chicago’s premier sci-fi theatre company brings its hit improvised Star Trek parody to Second City’s De Maat Theatre for its fourth season. Running from August 9 through September 13, the show lands every Sunday at 6 p.m., continuing Otherworld Theatre’s tradition of blending sharp improv, affectionate Trek satire, and the unpredictable charm of the galaxy’s most questionable starship.

The cultural whiplash is immediate: advanced tech they have never seen, protocols they do not understand, and a timeline that expects far more professionalism than the Edsel has ever demonstrated. With a brand-new captain stepping aboard, their six-week mission quickly spirals into new complications, leadership challenges, and the unscripted deep space mayhem that has carried the show through all four seasons.

One of the strongest comedic through lines comes from Wanjiku Kairu Oliver, who steps in as Captain Reitanna Troi and delivers a sharply tuned, consistently funny performance. She begins as an overly supportive, everyone-is-my-friend, besties-with-everyone captain desperate to be liked, then after a well-intentioned nudge from Admiral Jean Pierre Baptiste (played with dry precision and understated comic bite by Edward Neequaye) swings far too hard into stern, over-the-top authority, hilariously misreading his call for a middle ground he clearly thought was obvious.

Season 4’s comic energy is driven by a nimble ensemble that thrives on the Edsel’s brand of barely functional spacefaring misadventure. While the lineup can shift from week to week, in the performance I saw many of the standout laughs came from Matt Kawa as Lt. T’Pang Gah (what's better than a delightfully anachronistic Vulcan?); Carlos Rivera as Chief Counselor J’Errrs’Q, a Klingon with impeccable comedic timing; and Mike Mazzella’s Lt. Cmdr. James Buchanan. Together with the rest of the performers, the crew embraces bold physical comedy and sharp genre parody, making the Edsel’s catastrophes feel both inevitable and irresistible.

What makes the show genuinely entertaining is the cast’s ability to improvise on the spot with razor-precise timing. The performers take every unexpected turn, audience suggestion, and self-inflicted disaster and heighten it with quick pivots, smart character choices, and a shared instinct for building jokes together. The comedy never feels forced or manufactured; it grows organically from the crew’s chemistry and their collective willingness to commit fully to whatever absurdity the Edsel throws at them. The improvisation feels both effortless and impressively precise.

Starship Edsel makes clever use of multimedia to introduce and deepen its characters, with video briefings, ship diagnostics, and on-screen prompts that instantly ground the audience in its improvised sci-fi universe. The set, though minimal, somehow conjures the impression of a functioning starship interior – just enough structure to suggest the Edsel’s corridors and consoles while leaving the performers room to build the world through play. Before the episode begins, Admiral Jean Pierre Baptiste invites the audience to help repair the ship’s failing systems by answering a pair of questions; in this performance, the strangest gift ever received (a skunk) and the oddest motivational tactic from a boss (a magic trick) became key inputs. This talented ensemble wove both suggestions into the narrative with seamless, absurd precision, turning offhand audience answers into some of the night’s funniest running gags.

Created from a live-action role-playing framework written by Brandon Brylawski, the show uses that narrative backbone to fuel an ever-shifting roster of characters and cosmic complications. Each week’s cast builds on that structure with their own improvised twists, expanding the Edsel’s universe in ways that feel both unpredictable and perfectly in tune with the ship’s legacy. The result is a mission that always feels alive, flexible, and primed for fresh absurdity.

You do not need to be a die-hard Trekkie to enjoy Starship Edsel – far from it. While longtime fans will catch the deeper nods to Trek lore, the show’s comedy lands just as well for anyone walking in cold. I say that as someone who grew up religiously watching the original series (TOS) and The Next Generation, and who never fully made the jump to the sprawling lineup of later shows beyond the films. Even with my old-school Trek background, the Edsel’s improvised storytelling, character-driven humor, and affectionate parody make the experience completely accessible and endlessly entertaining.

If you are looking for a night of comedy that goes boldly where no starship should ever go, the Edsel is absolutely the disaster you want to beam aboard.

Run Dates: Opening – Sunday August 9 at 6 p.m., Closing towards the end of October - check site for updated info.

Location: Second City’s De Maat Theatre, 1608 N Wells, Chicago, IL 60614

Running Time: 60-75 minutes with no intermission

Tickets: $25 general admission

Direct Ticket Link: https://www.secondcity.com/shows/chicago/starship-edsel-an-improvised-star-trek-satire-chi

Theatre Company Link: https://www.otherworldtheatre.org/starshipedsel

Some theatrical experiences ask you to sit back and watch. "The Last Word" invites you to pull up a chair, have a cocktail, and tumble headfirst into a delightfully strange fever dream about life, death, friendship, and a very famous green liqueur.

Its title refers both to a classic cocktail and to the screenplay at the center of the evening, and the two become intertwined in ways that are clever, surprising, and ultimately moving. The story revolves around Chartreuse, the legendary French liqueur whose closely guarded recipe is known by only two monks at any given time. When Mike discovers one of those monks dying in the woods and is entrusted with the only known copy of the recipe, he faces an impossible choice: return it to the monastery or risk everything to preserve it himself.

Presented as a live screenplay reading, "The Last Word" (at the iO Theater on Kingsbury) cleverly blurs the line between stage play and film script. Plays are meant to be heard; screenplays are meant to be seen. It takes a special kind of theatrical imagination to make a screenplay reading compelling. Fortunately, this production understands that challenge and embraces it. Through lighting effects, sound design, music, and a constant sense of playful invention, the audience is encouraged to visualize the movie unfolding in their minds.

The evening begins with audience members seated around a long table draped in green, scripts spread out before them, and a bottle of Chartreuse placed prominently center stage like a sacred relic. As the cast settles in and begins reading, we gradually discover who these characters are and the wild journey ahead.

A great deal of credit belongs to host and narrator Declan Grogan, who guides the audience through the evening with infectious enthusiasm. Between the screenplay's four acts, Grogan pauses the action to introduce a specially crafted cocktail inspired by that portion of the story.

The first act is paired with a Chartreuse Swizzle, a bright tropical concoction made with gin, that eases the audience into the tale. The second act features a Green drink made with homemade herbal clove liqueur whose complexity mirrors the increasingly mysterious turns of the plot. A Bijou, rich and blood red, accompanies the third act as the story deepens and the stakes become more profound. Finally, the evening concludes with the iconic Last Word, the cocktail that inspired both the title and much of the play's thematic spirit. Grogan's descriptions are delivered with such enthusiasm and detail that even audience members unfamiliar with mixology may find themselves suddenly fascinated by botanical spirits, obscure liqueurs, and the mystical allure of Chartreuse itself.

The cast—James Cullinane, Rachel Thomas, Declan Grogan, Claire Glennon, Spencer Gallagher, Colleen Grogan, and Liam Mahon—fully commits to the material's offbeat humor and emotional sincerity. What initially appears to be an eccentric comedy gradually reveals deeper themes about mortality, legacy, and the connections we leave behind.

One of the evening's most unusual choices involves video montages featuring the loved ones of cast members speaking about their affection and appreciation for the cast member. At first, the device feels unexpected, even a little puzzling. Yet by the final scene, its purpose becomes crystal clear. The production's emotional threads suddenly converge, and what seemed odd earlier becomes genuinely beautiful.

In the end, "The Last Word" asks a deceptively simple question: We will all have a last word. What will yours be? The answer arrives not through grand speeches but through shared experiences, laughter, friendship, and perhaps a perfectly balanced cocktail. This is an inventive, heartfelt, and thoroughly unique theatrical experience that l have to experience again.

Highly Recommended
When: The Last Friday of the month - June 26, July 31, August 28
Where: iO Theater, 1501 N. Kingsbury St. Chicago
Tickets: $50 general admission (Drink Package)
$20 general admission designated driver
Info: https://www.thelastwordshow.com/

This review is proudly shared with our friends at www.TheatreInChicago.com. 

As a longtime comedy fan, seeing a show at Second City has been on my bucket list for years, so when the opportunity to attend Black and Highly Flavored came up, I jumped at it. That excitement, however, was paired with some hesitation: I questioned whether I was the right person to review a show rooted in experiences I do not personally share. By the end of the night, after laughing until I cried, those concerns were completely put to rest.

At a time when diversity in comedy too often comes at the expense of BIPOC performers rather than celebrating their lived experiences, Black and Highly Flavored stands out as a rare gem. Now in its fourth year as Second City’s Black Excellence Revue, the show is a sharp and joyful two-act performance that blends sketch comedy, improv, music, and dance to uplift Black artists while remaining accessible, engaging, and enjoyable – and even relatable – for everyone in the audience.

Jam-packed from start to finish, this comedy show includes upwards of 20 sketches, ranging in length from a few minutes to as short as 15 seconds. The content of the skits is just as wide-ranging, pulling from everything from 70s laugh-track sitcoms to ChatGPT, and from John Steinbeck to Janet Jackson. With such varied material, it’s inevitable that not every joke lands with every audience member; however, the lightning-fast pacing of the show means that even if a joke doesn’t land for you, the show has already moved on to its next laugh.

Not only are the scripted parts of the show hilarious, but it also features improvisation at many points throughout the night. Black and Highly Flavored is particularly smart about how and where improv is incorporated, utilizing the famously divisive style of comedy to connect with the audience through tailored, rapid-fire one-liners, maintaining the polish of the longer, scripted skits.

Under the direction of Julia Morales, the six-person cast is stellar, and each actor truly brought their own distinct charm to the show. Tyler Vanduvall delivers off-the-charts physical comedy to the stage, throwing himself – sometimes literally – into every role, human or not. Kimberly Michelle Vaughn wears her heart on her sleeve on stage, exuding talent and joy, as she sings, dances, and laughs like no one is watching. Lauren Walker’s characterization is unmatched, making every one of her (many, many) roles just as animated and memorable as the last. EJ Cameron engages with the audience like no other, skyrocketing the intimacy of the show through his charisma alone. Jillian Banks is spunky and larger-than-life, adding both laughs and layers to any scene she’s in. Last, but certainly not least, is Jason Tolliver: the improv king of the night. Tolliver is sharply funny – and he knows it – allowing his genuine self-amusement to shine through on stage, making you laugh first at the joke, and then again at his reaction to himself.

Although not technically complicated, Black and Highly Flavored’s production was incredibly well planned and curated. Every lighting cue, sound effect, prop, and costume felt perfectly curated to the skit without overwhelming the show. The use of screens on stage was balanced well to be additive, rather than taking away from the joys of real-life theatre by being overbearing. The production from start to end was incredibly well-paced, void of any painful transitions or dead moments. This is undoubtedly a team effort but could not have been accomplished without Music Director and live musical performer Cesar Romero, who both beautifully and comedically underscored the whole evening. Add to that an in-your-seat food and drink menu, and Second City’s UP Comedy Club might just have it all!

Black and Highly Flavored is running at Second City’s UP Comedy Club on Thursdays and Fridays through March 20th. Tickets are available at www.secondcity.com/shows/chicago/the-second-city-black-excellence-revue-chi.

Some things were just meant to go together, even if they do sound a little odd at first. Like peanut butter and bananas, apple pie and cheddar cheese, Lady Gaga and Tony Bennet; The Art of Falling is amazing collaboration between Hubbard Street Dance Chicago and The Second City. The unexpected pairing of the extremely original and unique contemporary dance company, and a Chicago improve comedy standard, both staples of Chicago entertainment in their own right, was a match made in theater heaven!

Hubbard Street Dance has done many interesting collaborations in the past, pushing the envelope of what a dance performance is and exposing new audiences to dance in creative ways. In 2014, Hubbard Street and Second City first got together and put together the energetic, unexpected and endlessly engaging performance entitled The Art of Falling. Now back at the Harris Theater by popular demand, the show is once again bringing laughter, joy and maybe even some tears to Chicago audiences. 

This distinctive show incorporates so much more than simply dance and comedy. They leverage video - both pre-recorded and live footage, audience interaction, endless props and fantastic music – again both live and recorded. The sheer creativity of this production is mind-blowing. There are 20 pieces that make up this show, each different from the one before but just like a great comedy show, it circles around a primary story line and a few smaller secondary ones, making the whole show flow together seamlessly and move along effortlessly. 

The primary story line is a love story of course, but it challenges the traditional silver screen romance as it is rooted in real life where relationships are bumpy and have awkward edges that need smoothing and love - or rather admitting you are in love - is scary. It challenges the audience to take that leap of faith and conquer the fear of falling. After all, what is the worst that can happen?

All of the performers, under the direction of Billy Bungeroth, were pure perfection and there certainly were a lot of them! This collaboration was made up of five choreographers, three writers, six actors and two dozen dancers. At times, it was difficult to tell the comedians from the dancers as each tried on the others role with dancers delivering well timed punch lines and comedians flexing their dancing muscles. The writing was witty and fun, and the choreography was exceptional, highlighting the extreme talents of the dance company as well as their humorous side. In a piece completely improved by both the comedians and the dancers, it draws some unexpected similarities between the art of improv comedy and improv dance. 

Part of the appeal of this performance is that it continually surprises the audience with more and more creative, imaginative and inventive pieces. After the first act when you think they cannot top themselves, they prove you wrong with a second act that just keeps on impressing. All of that said, I leave this review here so as to not ruin the magic for you. You have to see this show for yourself. As it wows the audience with its cleverness, it also touches the heart and inspires the audience to take just let go, and not be afraid of falling.

Be sure to get your tickets now and catch The Art of Falling at the Harris Theater through June 19th!

We look forward to the TBS Just for Laughs Festival every year to get a week long dose of great comedy from dynamite Chicago locals and some of the best headliners in the business.

So when it was cancelled this year, we figured it might be nice to catch the one group of TBS comics on tour from the critically bashed TV show Sullivan and Son, where the whole gang was performing at Improv in Schaumburg. Atwww.BuzzNews.netwe are always hoping to show our support and possibly feature individual comics who might be talented but underutilized on their current project. 

Unfortunately, it was a huge waste of a night.  The entire set was nearly identical to last year’s Park West set at The TBS Festival. Right down to the closing "skit" where a female audience member gets a lap dance from the comics and some hapless audience members. Come on guys, how many huge and potentially comedic topical events have occurred in the last year? Yet, not one of you had written anything new, not one.

The normally smooth, funny and pleasant Steve Byrne had some awful aggressive rant in his material about his wife. Roy Woody Jr. went on and on about getting a "blowjob from a woman in a Walgreens' parking lot" until even his fellow cast members onstage were telling him to move on. Ahmed Ahmed gave his little bit of covert sexism to the night by apparently stealing one of John Leguizamo's funny transvestite voices AGAIN to portray women in his life who refuse to pick up the check.

Owen Benjamin, whom I can only describe as the "Master of Mediocrity" was so completely forgettable and bland that I couldn't roll my eyes hard enough to express the "blech" feeling his tired routine was causing. Benjamin proudly calls his vanilla brand of comedy "broad". Bill Cosby was broad, the late great Robin Williams was "broad", and unfortunately Owen Benjamin's comedy is just plain "shallow".

I feel sorry for the actually talented women on the TV show, including wonderful, adorable Christine Ebersole, Vivian Bang and tartly funny Jodi Long. 

If you are one of the few beer guzzling, simple minded fans of this show, which tries but fails miserably to recapture ANY of the warmth and edginess of 'Cheers" and "All in the Family",  I still recommend that you not take the time or spend the money to see these guys live.