Sheila’s Sister and Her Musical Cousins
theSpace @ Surgeons Hall (Fleming Theatre)
Dates: 4–19 August 2023 Time: 12:00 (0hr50) 4–12 August; 19:40 (1hr) 13–19 August
Chicago’s modern-day Nichols and May improvise scenes based on spontaneous songs their band creates from audience choices.
Her Musical Cousins are surrounded by instruments waiting to be blown, picked, shaken, struck, and strummed. The band gets a suggestion from the audience: four musical notes (the chords to be played); a number from 60 to 200 (song’s BPM); choice of instruments (to be played); a rule or limitation (the musicians must follow); a number from one to eight (chord progression); a button on the keyboard (pre-set music genre); a number from one to seven (time signature); or a volunteer to join them.
Once they’ve begun to improvise a song, the improv duo, Sheila’s Sister, creates characters and performs a scene. Throughout the scenes, the actors and musicians constantly influence each other in equal collaboration. The performers periodically sing. The audience is always enthralled.
I'm just reading the description of how the show was created. How on earth did anyone develop this kind of process, and is in it one of the most challenging things imaginable?
When we started improvising at the University of Chicago, musical accompaniment was there from the start. It was only when we began to perform elsewhere and see shows beyond campus that we realized that was not the norm. It was so obvious to us that music makes everything so much better. We've had the great fortune to work with many great musicians over the decades since.
Many of whom had never accompanied an improv show before, but were great artists in their own right. And after decades of improvising, you are always looking at ways to keep things fresh. So, Dana and I selfishly decided that we no longer wanted words to inspire us, but sounds. We also wanted our musical partners to feel like they were equally driving the show, and not just supporting us. As to the most challenging thing imaginable?
That was a show we developed years ago called Sheila's Instant Odyssey where a single suggestion inspired a two-act improvised play following the 12-point story structure of the Hero's Journey. That was tough. Our musicians made it easier. One of whom, Ben Lorch, will be joining us from Berlin to perform with us at the Fringe. We can't wait.
Is there a danger that things can go wrong? Has there been any situations where the audience suggestions have simply been too awkward or difficult to fulfil?
In improv, we don't like to think of things being able to go wrong. Every mistake is a gift. And sometimes awkwardness inspires the most fun. Especially when an audience member thinks they've stumped you, only to find that it forced you to try something completely new. For instance, our musicians were told to play the piano and the recorder with their noses. They did it. The sounds they made inspired a scene like no other. And the audience was blown away.
How you feel about coming to the Edinburgh fringe? Is it a good place to find new audiences, or perhaps a place to hone your skills over a longer run?
This will be our third time at the Fringe. The first time in 1991 with our University of Chicago sketch/improv group was a big success. Not only did I fall in love with the city and was introduced to such great theater and other performers, but it inspired me to switch career tracks.
Until then I was on a path to go to grad school to become a historian in academia. But seeing full houses laughing at shows each night made me realize I had talents that could take me beyond campus. We returned in 1995 with a show at The Gilded balloon that was another big success. Again, we loved the city, loved the shows we saw and the people we met, and loved the audiences and press who loved us.
We figured we'd return again and again and again. But we didn't. Until now. And this time we're bringing our children. Our oldest is the age I was when we first performed at the Fringe and will be one of Her Musical Cousins. We can't wait to see the city again, take in tons of shows, meet all new people and, hopefully, find that international audiences enjoy us as much as Chicago and Los Angeles audiences have during the past 28 years.
Are there any particular improvisations that have stood the test of time or memory for you?
I certainly recall moments, characters, stories, and lines of dialogue. But for every one I remember, there are hundreds I've forgotten. I was digging through some old files to see if anything from our 1995 Fringe production would help in planning this one and I came across an old notebook from a show where our director made us write a journal entry in a fellow castmate's book after each rehearsal and show. So, I began reading detailed shout-outs of things I had done way back then and couldn't recall any of it. It was on brand for who I was as an improviser then, but my brain decided other memories should replace them... and be forgotten as well.
Are there any companies that have inspired you, or that you might be interested in seeing this year in Edinburgh?
The only other improv show we know that will be there is Baby Wants Candy. I used to perform with them for a while in Chicago. And some fellow Second City teachers are staging an original comedy they wrote, Macbeth by the Sea.
Unfortunately, Foil Arms Hog, who are former students of mine that I later consulted on scripts for one of their first Fringe shows, will be performing after we leave. I've yet to see them live, so that's a bummer. But we can't wait to be inspired by all of the shows we don't know about yet.
Comments