Starting a theater or comedy club is an exciting and challenging endeavor. Whether you’re launching an improv school, building a stand-up venue, or creating a multipurpose performance space, choosing the right business structure is a crucial early step. Many new theater founders ask:

• Should I start a nonprofit improv theater?
• What’s the best legal structure for a comedy venue?
• Is an LLC better than a nonprofit for my theater?

The answer depends on your goals, funding strategy, and community mission. This guide will help you weigh the pros and cons of forming a 501(c)(3) nonprofit versus other models like LLCs and S-Corps — specifically for those in the comedy and performing arts world.

Why a Nonprofit Might be the Best Business Model for Your Comedy Theater

1. Funding for the Arts

YES! Improv is art, and funding for the arts can enhance community outreach, support DEI initiatives, develop educational programming, facilitate youth workshops, and ensure your lights stay on. There are more grants available to NPOs than to other business structures.

2. Tax-Deductible Donations

People enjoy supporting the arts. They also appreciate tax deductions. As a nonprofit, when someone donates to your theater, they receive a nice little tax write-off. That’s a win-win, making fundraising much easier when you can say, “Hey, this helps us AND helps you.”

3. Mission-Driven Focus

You’re not out here trying to become a corporate comedy overlord. You’re building community, teaching creativity, and making weird and wonderful art with a purpose. A nonprofit structure reinforces that mission; it tells the world (and your board, your staff, and your audience) that we’re here to serve.

4. You Can Pay Yourself (Yes, Really)

This surprises people. Being a nonprofit doesn’t mean you can’t make a living. You absolutely can and should pay staff, performers, educators, and administrators. You just need to be reasonable, document it, and ensure it aligns with your mission and budget.

5. Community Legitimacy

It opens doors. Being a 501(c)(3) provides a certain level of credibility. Schools, city governments, and foundations tend to take you more seriously when you have that nonprofit status.

Challenges of Running a Nonprofit Improv Theater or Comedy Club

1. Lots of Paperwork

Starting a nonprofit takes time, effort, and money upfront. You need to file articles of incorporation, create bylaws, assemble a board, submit your IRS forms, and maybe even hire a lawyer or consultant to ensure you do it correctly. It’s not impossible, but it’s definitely not a one-weekend project.

2. You Need a Board of Directors

You can’t go it alone. A nonprofit is governed by a board, and they technically have the final say on major decisions. That can be great… or it can feel like herding cats if you don’t have the right people. Choose individuals who believe in your mission and understand the art form. No one wants someone on the board asking, “Wait, what is improv again? It’s Stand Up, right?"

3. No Ownership

This is important for you to know: as a nonprofit, you don’t “own” the theater in the traditional sense. It belongs to the public. You can run it, lead it, and get paid by it—but you can’t sell it off one day and walk away with a check. If the organization dissolves, its assets have to go to another nonprofit.

4. More Oversight

The IRS is watching (kind of). You need to keep records, report your finances, and stay on mission. You must file a 990 every year. You can’t just start a puppet burlesque show and call it "educational outreach" without someone possibly asking questions. Just don’t do anything foolish, remain above board, and you’ll be fine.

Should You Start as a Nonprofit or Traditional LLC? 

If your goal is to create a community-centered, sustainable, long-term home for improv and comedy, and you’re open to collaboration, accountability, and a bit of bureaucracy, then yes, choosing to go nonprofit can be a significant advantage.

If your dream centers on owning your brand, expanding into other ventures, or maintaining a flexible structure, an LLC may be the better option. And that’s perfectly fine too. Different missions require different models. RISE Comedy operates as a For-Profit, while Improv Utopia is an NPO. I have distinct missions for both.

Whether you’re starting a comedy club, launching an improv theater, or building a space for live performance, choosing the right legal structure, nonprofit or otherwise, can set the foundation for long-term success. If you’re dreaming of opening a theater that serves your community and supports the performing arts, a 501(c)(3) nonprofit might be your next best step.

Frequently Asked Questions About Starting a Comedy Theater or Improv Space

• Is it better to start a nonprofit or an LLC for a comedy club? It depends on your long-term goals. Nonprofits are ideal if your mission is community-driven, while LLCs offer more flexibility for ownership and profit.
• What licenses do I need to open an improv theater? In most cities, you’ll need a business license, liability insurance, and possibly special permits for alcohol or live performance. Local regulations vary.
• How do I fund a nonprofit comedy theater? Grants, tax-deductible donations, sponsorships, and fundraising events are common strategies for nonprofit theaters.
• Can a nonprofit theater pay its performers and staff? Yes!  Nonprofits can pay reasonable wages to staff, directors, and performers. You just can’t take profits as a personal distribution like you can in an LLC.

Nick Armstrong is an actor, improviser, director, writer, and entrepreneur. His television credits include appearances on the Emmy Award-winning shows The Office and Grey’s Anatomy, as well as Brooklyn Nine-Nine, New Girl, Young Sheldon, Parks and Recreation, and Jimmy Kimmel Live. His TV Pilot Bulldozer was featured in Sundance, SXSW, and Tribeca Film Festival.

Currently, he is the Co-Owner and Artistic Director of RISE Comedy in Denver, the Co-Owner of Crowdwork, and Co-Owner of Haus of Comedy in Sacramento. He is also the Founder and Executive Director of Improv Utopia, a nonprofit network of adult improv camps that supports the improv community and other arts-related charities.

When you sell out your first improv show, it feels like magic. The energy is high, the audience is buzzing, and you can’t help but think, “This is it, we’re doing it!” But let’s be real, sustaining that success is where the challenge lies. How do you turn the magic of one sold-out night into a series of packed houses, month after month?

The secret isn’t just about putting on a good show; it’s about keeping the buzz alive, building a captivating performance, and marketing it with the same passion you bring to the stage. Let’s break down how to sell out your second and third improv shows and keep the momentum going.

1. Make the Show Irresistible: Show Quality and Format Matter

You’ve set the bar with your first show, but how do you keep it high? It all comes down to quality and curb appeal that keeps people coming back. For example, some shows at RISE Comedy in Denver are named: Mocumentary Now! or Hit and Run: The Improvised Musical — these shows aren't just “improv”; they feature strong, high-concept formats that elevate the experience. Additionally, they have great curb appeal for the audience. Here’s how you can do the same:

• Craft a Signature Format: Whether it’s an improvised true crime story, a live musical, or a completely made-up documentary, ensure your show has a concept that is fresh, specific, and easily marketable. A themed or genre-driven show will always have a hook.
• Polish Your Show: Improv is inherently unpredictable, but that doesn’t mean your show should feel unrefined. The second time around, your audience will anticipate more. Practice the fundamental elements of your format to ensure everything feels tight, polished, and professional. Rehearse, rehearse, rehearse. Without this, your show won’t thrive. Also, keep your introductions brief and get to the show quickly.
• Set High Standards: It’s not just about filling seats; it’s about making people want to come back. Every show should feel like an event.

2. Build a Brand Around Your Show

It’s not enough to simply throw together a show and hope for the best. You must create a brand that feels cohesive, fun, and memorable. When your show has a distinct identity, it becomes easier to market and helps keep your audience engaged.

• Name the Show and Troupe: Select a name that reflects the vibe of your show. Is it quirky? Highbrow? Heavy on pop culture? Choose a name that resonates with your concept and stays in people’s minds. Something current or part of the zeitgeist may work well.
• Professional Visuals: It's important to create posters, social media graphics, and promotional materials. Don’t skimp on design; you want your show to look as polished as the concept behind it.
• Develop a Tagline: It should be catchy, intriguing, and capture the essence of your show. For example:
  • “A Fully Improvised Murder Mystery – You Won’t Guess the Killer”
  • “The Musical That Never Was, But Should Have Been”

3. Market Your Second Show Like It’s a Limited-Edition Release

Here’s the point: your second show must feel even more exclusive than the first. Leverage scarcity to your advantage.

• Leverage FOMO (Fear of Missing Out): If your first show sold out, highlight that achievement. Promote the second show as an even bigger event. Use language like:
  • “Tickets for our last show sold out in 24 hours. Don’t miss out on this one!”
  • “Only 30 tickets left! Get yours before they’re gone!”
• Highlight Testimonials: Did someone say, “Best show I’ve seen all year!” on social media? Feature it. Testimonials and reviews are your best friends; they serve as social proof that your show is worth attending. Repost audience reviews on Instagram, Twitter, and your website.
• Clip Highlights: Share short, engaging clips (30-60 seconds) from your last show. People love a good teaser, and seeing the excitement from the first show will make them want to experience it live.

4. Keep the Buzz Going on Social Media

A strong social media presence can generate excitement and anticipation between shows. Don’t let your show lose momentum once the curtains close.

• Engage with your audience: Post regularly between shows, not just when you’re selling tickets. Use Instagram Stories, polls, and behind-the-scenes footage. Ask your followers questions.
  • “What genre should we improvise next?”
  • “Who should be the victim in our next true-crime improv?”
• Create Content: People are invested in the individuals behind the show. Develop content that goes beyond mere promotion; share improviser bios, entertaining sketches, or bloopers. This approach humanizes the team and fosters loyalty.
• Tease the Next Show: Don’t wait until the week of the show to hype it up. Build anticipation a few weeks beforehand. Inform people what they’ll miss if they don’t buy tickets early.

5. Expand Your Audience Beyond Improv Fans

It’s easy to market to improv fans, but you want a wide variety of people to experience your show. Here’s how to attract diverse audiences:

• Target Niche Communities: Based on your show’s theme, identify specific communities that align with it. Horror fans? Genre enthusiasts? Film aficionados? Collaborate with local communities, fan clubs, and businesses within these circles to help spread the word.
• Partner with Local Businesses: Collaborate with a nearby bar, restaurant, or coffee shop for cross-promotions. You can provide bundled tickets with a meal or discount codes for attendees.
• Work with Local Influencers: Identify bloggers, YouTubers, or local comedians who have a strong following. Provide them with free tickets in exchange for shoutouts or reviews. Social proof from a trusted voice can be incredibly effective.

6. Keep the Energy High for Every Show

Even when you’re feeling exhausted, every show needs to have that same spark. End strong and let the audience know that you’ll return with something even bigger. Maintain that sense of exclusivity, as if each show is the one to see before it’s gone forever.

By following these strategies, you can build a loyal audience that keeps coming back for more and never loses momentum. The key is to market wisely, fulfill your promises, and approach every show as a once-in-a-lifetime event.

With the right approach, you won’t just sell out your second and third shows—you’ll create a show that people can’t wait to come back to.

Nick Armstrong is an actor, writer, and improviser with over 20 years of experience in the comedy world. He’s the Co-Founder of RISE Comedy in Denver, Founder of Improv Utopia, Co-owner of Crowdwork, and Haus of Comedy in Sacramento. Nick has performed and taught improv across the U.S. and internationally, and his passion lies in building strong, supportive communities through the power of improv.

When the economy starts to wobble, arts organizations often feel the tremors first. People tighten their belts, entertainment budgets shrink, and suddenly, those crowded Friday night shows begin to look a bit… roomier. For improv and comedy theaters—already operating on a shoestring—surviving (and thriving) during economic uncertainty requires creativity, community, and a bit of hustle. Here's how to prepare for challenges and keep the laughs coming.

1. Double Down on Community

During challenging times, people seek connection. Comedy and improv are already grounded in community—now is the perfect moment to lean in harder. Offer “pay-what-you-can” nights, host community jams, or conduct donation-based classes. These initiatives foster goodwill, keep your theater active, and may attract someone who becomes a long-term student or patron.

2. Rethink Your Revenue Streams

Ticket sales alone probably won’t cut it anymore. Consider ways to diversify:

• Memberships: One of the best ways to build new revenue streams is through Memberships – a recurring subscription that hooks your patrons up with special benefits – mainly free tickets to selected shows and classes. Instead of the usual ticket-buying dance for each event, patrons pay one regular fee (monthly, weekly, etc.), and voilà - they're all set to enjoy included events without the extra hassle or costs!
• Classes: Offer a new or relevant curriculum to highlight the value of improv and comedy training in personal and professional development.
• Corporate Workshops: Companies still invest in team-building. Position your instructors as facilitators for creativity, communication, and collaboration.
• Gift Cards: Our Gift Card feature allows your patrons to easily purchase, redeem, and check gift card balances on your theatre's CrowdWork page. Provide your patrons with another way to support your theatre through gift cards and value pricing.
• Rentals: Promote your space to outside groups for events, readings, or podcasts.

3. Focus on Retention

Marketing to new audiences is important, but retaining your existing ones is vital. Prioritize newsletters, loyalty discounts, subscriber perks, and shoutouts to regulars. Make your patrons feel like the insiders they are by fostering consistent, genuine communication.

4. Stay Flexible with Programming

During an economic downturn, predictability can turn into a liability. Have a few show formats or ideas prepared to rotate in quickly based on what attracts audiences. Experiment with new time slots, combine shows for double features, or create limited-run events that feel special and induce FOMO.

5. Collaborate, Don’t Compete

Is the theater down the block struggling too? Collaborate. Joint shows, festival-style weekends, and cross-promotions—rising tides lift all boats. Especially in smaller markets, collaboration over competition can keep the scene alive and vibrant.

6. Get Transparent With Your Audience

People value their local comedy scene, and when you’re open about the challenges you face, they often want to help. Whether through volunteering, donating, or simply spreading the word, your supporters act as your secret weapon. Don’t hesitate to share your needs with them.

7. Use Downtime to Build Infrastructure

If show attendance dips, invest time in things that often fall by the wayside when you’re too busy:

• Update your website
• Schedule social media content
• Improve your booking and ticketing systems
• Train your volunteers
• Clean and organize your space

Think of it as off-season maintenance for your comedy engine.

Final Thoughts

The economy might be shaky, but your foundation—your performers, patrons, and mission – doesn’t have to suffer. Comedy has always been a response to uncertainty. Improv literally thrives on the unexpected. So embrace that spirit, dig deep, and keep saying “yes, and…” to creative solutions.

If you’re interested in learning more and gaining tangible strategies for your business, please check out Improv Utopia Evolve. It’s an all-inclusive retreat with both a business track and an advanced performer track.

Let’s keep the lights on and the laughs rolling.

Today we’re excited to announce a major new feature for CrowdWork, Memberships! This is something we've envisioned since the earliest days of CrowdWork (back then when we were Fourth Wall Tickets), and we’re thrilled to finally bring it to you.

Memberships enable recurring support from your community and students alongside the traditional ticket and class sales you already know. Since it’s deeply integrated into CrowdWork, you can offer perks in a way that’s easy, quick, and seamless. Together, we see this being a beautiful combo to reach both new audiences and keep existing patrons engaged, boosting your theatre’s revenue without extra overhead or admin work.

So, how does it work?

Do you have a gym subscription? Then you’re already familiar with how Memberships work.

If patrons choose to, they can purchase memberships to your theatre, giving them free admission to selected shows or classes of your choosing. Like traditional subscriptions, memberships renew automatically at an interval you pick (weekly, monthly, etc.). Everything is customizable by you to fit what works best for your theatre.

Why is this exciting?

Put shortly, we see this as a huge boost for the way theatres operate and receive income. No longer should a missed newsletter, bad weather, or summer plans have such a drastic impact on the amount you make. Our goal with Memberships is to smooth the revenue curve and help introduce more predictability.

Consider a common challenge, especially during summer: students hesitant to enroll in classes due to upcoming vacations or unpredictable schedules. Memberships can help solve this by enabling a flexible, "gym-style" approach to classes. Instead of committing to rigid course dates, students can drop into designated workshops or classes each week as their schedules allow. Adjusting to a more recurring class style can help reduce administrative work and can be more appealing to busy patrons who otherwise might never enroll to begin with.

Or help keep recently graduated students engaged. After completing a curriculum, former students can maintain their connection and continue enjoying previous theatre perks, transforming them into loyal, ongoing supporters.

Memberships aren’t just for classes, but also work with shows as well. Community members can help support your theatre, and in return get free access to performances. Our goal is to significantly boost attendance and help establish steady, predictable income each month.

How does this help my theatre?

In short, the biggest benefit is consistent, recurring revenue with minimal extra effort. Memberships don't replace your existing ticket and class management—they enhance it, smoothing revenue fluctuations, supporting easier financial planning, and reducing seasonal stress.

We're thrilled about the potential Memberships holds and view this as just version one. Your feedback is crucial, so please share your thoughts and suggestions as you explore this exciting new feature. Let us know your feedback as you dig in more!

We're thrilled—nay, ecstatic—to announce the launch of AudienceBot™, our latest groundbreaking feature designed exclusively for improv comedy theaters everywhere! Low ticket sales getting you down? Classes not selling out fast enough? We've got you covered!

How It Works

AudienceBot™ leaps into action whenever sales for your upcoming show or class fall below your preferred threshold. Our state-of-the-art AI-powered bots will automatically swoop in and proudly purchase tickets at full price. They may not be able to attend, but once you see the sales reports, we're confident you won't mind.

That's right—these revolutionary bots ensure you'll never experience the awkwardness of low attendance again. Your actors can confidently deliver their best performances to empty chairs, safe in the knowledge that someone—or something—cared enough to pay.

Pricing

We know you appreciate straightforward pricing, so we've made it simple: Each AudienceBot™ ticket costs exactly the same as your regular ticket price. Easy accounting? Check. Financial sense? You have a good line of credit, right?

Testimonials

Here's what our beloved (fake) bot customers have to say:

"Bought tickets to every show last month. Didn't attend one. Highly recommended!"
– AudienceBot #4372

"Per the previous command, I love supporting the arts!"
– AudienceBot #6529

"Is there a show tonight?"
– Human audience member Brian attending sold-out AudienceBot show

Disclaimer

AudienceBot™ may occasionally develop questionable taste in comedy (dad jokes and puns), but rest assured, their payment habits remain impeccable. After all, they've got digital wallets, not emotional baggage.

Conclusion

AudienceBot™ opens up a bold and brave new revenue stream and ensures you'll never again worry about tickets going unsold. Sit back and watch your sales numbers climb without ever having to worry about opening your doors to the public again.

Happy April Fools' Day from our (human) team!

At CrowdWork, we support a wide range of experiences. Accessibility is essential, which is why we recently launched the Payment Plan feature. This exciting addition allows patrons to pay for a show or class in multiple installments. By breaking larger payments into smaller, manageable amounts, we can make it possible for more people to enjoy our offerings! In this post, RISE Comedy owner Nick Armstrong shares how he utilizes Payment Plans and the benefits he’s experienced. Your organization can adopt these proven practices and achieve great success! Thanks, Nick!

How Payment Plans Transformed Class Sales at RISE Comedy

At RISE Comedy, we’re passionate about creating a space where creativity, community, and comedy can thrive. A huge part of that mission is our comedy classes, where people from all walks of life can discover their funny, hone their skills, and step onto the stage with confidence. However, like any quality education, these classes require an investment—not just of time but also of finances. 

Over time, we noticed a recurring barrier for many potential students: the upfront cost of enrolling in a class. While many were eager to join, committing to a large, one-time payment was a hurdle. We knew something needed to change if we wanted to make our classes more accessible. That’s when we decided to implement payment plans developed by CrowdWork, and the results have been nothing short of incredible.

The Rise of Payment Plans

When CrowdWork first introduced payment plans, the goal was simple: to give students an affordable way to pursue their comedic dreams. With payment plans, students can break down the cost of their classes into smaller, more manageable installments. This makes budgeting easier and removes financial pressure—especially for those navigating other life expenses.

It was an immediate hit. We noticed a substantial uptick in class registrations within the first few months.

The Numbers Speak for Themselves

Today, a significant portion of our class sales come from students using payment plans. Nearly 30% of our class enrollments now utilize this option. This isn’t just a convenience—it’s a lifeline for many. This flexibility empowers improvisers and actors just starting out, parents juggling family budgets, and students who might otherwise hesitate to invest in their creative growth.

Offering payment plans has benefited our students and is a game-changer for our business. The steady income from installment payments provides us with consistent cash flow, which helps us plan better and invest in the quality of our classes.

Building Accessibility and Community

At RISE Comedy, we believe that comedy is for everyone. Payment plans have allowed us to lower the barriers to entry, making our classes more accessible to a broader, more diverse group of students. This inclusivity is part of what makes RISE Comedy so special—we’re not just teaching skills; we’re building a community.

From a marketing perspective, offering payment plans has also given us a unique edge. It’s one thing to advertise your classes as affordable, but another to offer real, actionable solutions for people on a budget. For prospective students, seeing that we’re willing to meet them where they are financially builds trust and loyalty.

Looking Ahead

As we move forward, we’re exploring more ways to make comedy education at RISE Comedy accessible and inclusive. Whether through expanded payment options, scholarships, or other financial support initiatives, we’re dedicated to helping every student who wants to learn to find a way to make it happen. CrowdWork is making this easier for us and our community in Denver.

Please check out https://risecomedy.com/, and a show or class in Denver at Rise Comedy!

Written By Nick Armstrong of RISE Comedy

When it comes to running a successful theater, festival, or comedy club, it's easy to focus on the big shiny things like shows, marketing, and community engagement, but let's not forget the backbone of your operation— your ticketing system.

Your ticketing system can make or break you. There are huge differences between vendors, not just in the features they offer, but also the fees they charge.

Today, I want to talk about two ticketing platforms that I've had experience with: OvationTix (now AudienceView) and CrowdWork.

Our venue, RISE Comedy in Denver CO, used to use AudienceView for our ticketing. Here were the things that stood out to me about that experience:

OvationTix/AudienceView

1. Costly: The high setup fees and ongoing costs can strain the budgets of organizations. And if you want to cancel, be prepared to pay!
2. Overly Complex: There is a steep learning curve for theatres which can make it frustrating for teams without dedicated tech support, which leads me to my next point...
3. Support Variability: Their customer service can be slow to respond, or even totally absent - even in emergencies, which was one of the biggest reasons we knew we had to find a new option.
4. Customer Experience: Customer experience on AudienceView is complicated and buggy, taking many screens to get to a purchase. We had many complaints about this at both RISE Comedy and at Westside Comedy when I worked with them as well.

After working and being frustrated with AudienceView, we decided to make a change. We looked for new vendors, specifically searching for one which didn't cost a fortune but still offered a fully-featured platform. Eventually we landed on CrowdWork, and here's why:

Why CrowdWork:

1. Theater-Focused: CrowdWork was designed specifically for theater companies, so it caters to the unique needs of performance venues without unnecessary complexity.
2. Simple Setup: Setting up your box office is a breeze. You do not need to be tech-savvy. You can start selling tickets quickly and easily.
3. Transparent (Low) Pricing: No hidden fees or surprise charges. What you see is what you get, and the fees are lower than any other platform we looked at, which is a huge relief when budgeting.
4. Community Engagement: CrowdWork listens to its users, to the point where they actually ask us what new features we would like. They frequently roll out updates based on direct feedback from theaters.
5. Customer Support: Their support is responsive and helpful, especially in time-sensitive situations, so you won’t be left in the lurch if you need assistance. You can tell that it’s a platform built by people who genuinely care about the arts, and have been in your shoes working at a venue before.

Why CrowdWork is the Better Choice

For most theaters, simplicity, affordability, and ease of use are key. CrowdWork delivers on all fronts, offering a seamless experience for both venues and patrons.

Your ticketing system should be an ally, not an obstacle, and CrowdWork’s straightforward approach is a breath of fresh air. Their commitment to the community means you’re not just buying a ticketing system—you’re joining a supportive network that understands and supports your mission.

In the interest of disclosure, you should know that I eventually joined the CrowdWork team. But I don't think they're great because I joined - I joined because I thought they were great. I'm writing this because they are simply the better option.

With CrowdWork, you get a platform that’s easy to use, fairly priced, no contracts, and designed with your needs in mind.

Finally, a system that lets you focus on what really matters: creating unforgettable experiences for your audience.

Last week, the Federal Trade Commission (FTC) announced a major new rule targeting hidden fees (sometimes referred to as "junk fees") in the event ticketing industry.

This rule requires all ticketing platforms to display the total price, including all mandatory fees, upfront when advertising or displaying ticket prices. This change aims to eliminate surprise charges and make ticket shopping more transparent for consumers.

What This Rule Means for Your Venue

As a venue operator, you are now required to:

• Display the total price, including all mandatory fees, whenever you advertise or show ticket prices
• Ensure the all-in price is the most prominent pricing information in your advertisements
• Clearly disclose any additional optional fees (like shipping) before collecting payment information
• Maintain transparent pricing across all your marketing channels and ticket listings

This applies to all your promotional materials, website listings, and any third-party advertising platforms you use to promote your events.

Penalties For Violating the Junk Fees Rule

Non-compliance with this FTC rule carries serious financial consequences. Venues can face penalties of up to $51,744 per violation. With multiple events and listings across various platforms, these fines could quickly become substantial. A single non-compliant marketing campaign across multiple channels could result in multiple violations, potentially leading to debilitating financial impact for your venue.

When does the FTC's Junk Fee Rule take effect?

The new rule will take effect 120 after it is published in the Federal Register.

At the time of this posting (Dec 23, 2024), the rule has not yet been published to the Federal Register. It likely will be published in the coming days or weeks, meaning the rule will take effect some time in April or May 2025.

How CrowdWork is Protecting Your Business

CrowdWork (formerly Fourth Wall Tickets) understands that compliance with new regulations can be challenging. We also know that you're busy managing shows, performers, patrons and everything else.

That's why CrowdWork is here to help.

CrowdWork already has features to ensure your ticket listings meet the FTC requirements:

• Options to enable displaying "all-in pricing" to show the total price including mandatory fees
• Our reporting systems clearly break down fees while maintaining prominent total price displays
• Our support team is on stand-by to help assist as needed

REMEMBER: This rule does not only apply to platform fees or credit card fees. ALL fees must be included in the advertised amount. If your venue charges an service fee or convenience fee or anything else, no matter how small, it must be included as well.

Note that while CrowdWork is doing everything we can to help you become compliant, your business may have practices that fall outside of the CrowdWork platform. This post is not legal advice or a guarantee, and you should consult with an attorney in your area to make sure that you are in compliance.

If you're managing your venue's ticketing through another platform, you should contact them immediately to make sure you are compliant.

Interested in using CrowdWork?

Contact us today and our platform migration specialists can get your venue up and running. If you have questions, let's chat on a demo!

Want to learn more about how we can help your venue? Contact our venue support team hello@crowdwork.com

This post is not legal advice, and you should contact a lawyer in your jurisdiction to make sure that all your practices are compliant with any applicable laws and regulations.

When Nick Armstrong first started in the comedy world, he quickly realized that running a successful theater is about far more than just being funny. It's a delicate balance of artistic passion and strategic business thinking—a lesson he learned through years of experience with Improv Utopia, Westside Comedy Theater and RISE Comedy.

The Heart of Comedy: It's Not About the Money

Contrary to popular belief, opening a comedy theater isn't a get-rich-quick scheme. Armstrong is brutally honest about this: "If you want to make money in this industry, sure, you can—but that shouldn't be your focus."

The comedy world is fundamentally about community and art.

But art alone doesn't keep the lights on. Successful comedy theaters understand that behind every spontaneous laugh is a carefully crafted business strategy.

Finding Your Comedy Niche

Imagine opening a stand-up comedy theater in a city already saturated with comedy clubs. That's a recipe for disaster. Armstrong learned this firsthand while working in Denver, a city overflowing with stand-up shows and venues. The key is finding your unique space in the market. It would be harder to sell a stand up show on Friday and Saturday in Denver due to oversaturation of over 15 or more shows a night at breweries, bars, you name it. Not saying don’t have it, but it can’t be like the others.

This means asking tough questions: What type of comedy does your community need? Are there gaps in the current comedy landscape? Your theater shouldn't just replicate what already exists—it should complement and expand the local comedy ecosystem.

For Armstong, it meant not focusing on stand-up, but instead on improv, sketch, acting and more.

Marketing Begins On Site

Here's a surprising insight from Armstrong's marketing background: Your marketing begins the moment someone approaches your theater.

Think of it like a dental office—a place people typically fear.

“Walk into a dental office. People fear dentists, right?” he asks. “Well people fear comedians.”

We’ve all seen audiences which shy away from sitting in the front row.

So how do you make it inviting?

Take a hint from dental offices by thinking about the details:

• Paint your space in a way that creates warmth and creativity
• Ensure the space smells pleasant - something too many theaters overlook
• Create welcoming visual elements

As an example of the last point, Armstrong says this: “We have a potato guy on our front that says ‘I’m the potato guy and I’m the positive potato.’ And everybody always makes a comment about how cute it is. So just simple things.”

These might seem trivial, but they transform a potential audience member's perception from apprehension to excitement.

The Digital Comedy Landscape

Social media isn't just a marketing tool—it's your lifeline to potential audiences. But Armstrong warns against a one-size-fits-all approach. Different platforms serve different demographics:

• Facebook attracts the 25-44 age range
• TikTok is your gateway to younger audiences
• FB Group sites are becoming increasingly inactive

And don't just post randomly— Armstrong reminds us to create a strategic content calendar that keeps audiences engaged.

“You can go and make a calendar where you can put in… like a whole two, three weeks worth of content. Do it in one day; it takes a couple hours and then it’s just automatically going.”

Pro tip: Allocate about 7-8% of your gross revenue to marketing. This is the standard, but be strategic about how you spend it and if you don’t have that much there are free things you can do.

Beyond the Laugh: Building a Community

The most successful comedy theaters understand they're not just selling shows—they're creating experiences. Your audience should feel welcomed, understood, and eager to return. This means:

• All staff acting professionally at all times
• Providing clear information about shows
• Performers are portrayed well with professional photography & digital posters
• Making every interaction as simple and enjoyable as possible

The Continuous Learning Curve

Comedy, like any art form, is constantly evolving. Armstrong's biggest advice? Stay adaptable. Research social media trends, understand your audience's changing preferences, and never become complacent.

Conclusion

Running a comedy theater is a passionate endeavor. It's about giving back to a community that has given you so much. As Armstrong eloquently puts it, "You want to give that positive experience... You want them to walk in again and again."

Whether you're an aspiring comedy theater owner or a performer looking to understand the business side, remember: Success comes from a perfect blend of artistic integrity and letting people know who you are and why you exist.

Resources:

• Improv Utopia
• Rise Comedy

Naming things is hard. Naming things that grow and evolve over time is even harder. Fourth Wall Tickets is no stranger to this phenomenon.

When we first launched, the “Tickets” of our name worked great and made perfect sense: all we did were tickets. We didn’t have classes, gift cards, donations, or even a point-of-sale system. Truth be told, we were little more than a submission form people could submit their email and payment info to. But fast-forward to today, and we’ve expanded so much more beyond those humble beginnings and the label that “Tickets” implies. So with anything that grows, there comes a time to reflect and evolve.

So we’re excited to share that as our platform is evolving, so is what we're called. Starting in the new year, we will now be transitioning to use the name of "CrowdWork"!

We’re very excited about this update, and it aligns with our unchanged goal to be the best sales and management platform for theatres, specifically comedy and improv theatres. In fact, nothing else is changing with us other than the name. We haven’t been acquired, we’re not pivoting, we’re just better adapting to our current features and getting more settled for some exciting features in the near future!

A wise man once said, “The more, the merrier.”

Read about the new faces, features, and pricing structure coming soon to Fourth Wall Tickets. There’s never been a better time to explore Fourth Wall Tickets and learn how we can make managing your theatre and your patrons an absolute breeze!

The Newest Addition to the Fourth Wall Tickets Team

Fourth Wall Tickets is excited to announce the addition of Nick Armstrong to our team as a part-owner and advisor to our growing company. Improv, like any company, is a collaborative art form, and one of the goals is to support your fellow performers. No one knows this better than Nick, a mainstay in the international improv community and a successful theater owner for over 20 years.

Currently, Nick is the Co-Owner and Artistic Director of RISE Comedy in Denver, Colorado, and the Founder and Executive Director of Improv Utopia, a non-profit improv camp for adults held annually that gives back to the improv community and other arts-related charities.

With Nick’s insight and support, Fourth Wall Tickets plans to add key functionality to our platform to make it easier for theaters to manage and promote their shows while better-serving patrons.

“I joined Fourth Wall Tickets first as a customer who experienced their amazing product that saved my theater time and money,” said Nick. “I later had an opportunity to meet the founders of Fourth Wall Tickets, Matthew Hoelter and Charlie Anderton, and I immediately knew their heart was in the right place. To them, it was about taking care of theaters first.”

With Nick’s years of theater and improv experience combined with the technological and strategic vision of Matthew and Charlie, the goal is for Fourth Wall Tickets to revolutionize how ticketing software serves theaters and patrons alike.

“Together, we can create the ultimate resource for theatres. I fully endorse and support this company and this product and plan to assist in making the best service and product for the improv world and beyond.”

Full-Time Fourth Wall Tickets

That’s not the only team update we’re excited to announce: our founder Matthew Hoelter, pictured here front-row center with other co-founder Charlie, is going full-time on Fourth Wall Tickets!

"I’m incredibly excited to dedicate my full-time efforts to a project that I'm so passionate about, especially one that benefits local communities so profoundly. This is the realization of a lifelong dream, and the future is bright!"

The tremendous amount of positive feedback and growth we’ve had this year has made it possible — and necessary — to focus on Fourth Wall Tickets full-time. With this change, we’ll see updates faster than ever!

Important Update on New Pricing Structure

For almost three years, Fourth Wall Tickets has seen incredible growth as we have built an easy-to-use ticketing platform that focuses on the needs of theaters and modern customers. From the beginning, our goals have been to create a ticketing platform with…

• Transparent pricing with no hidden costs
• Powerful features to help your theater, troupe, and organization grow faster
• Industry-leading customer support to help you overcome every challenge
• Financial independence from outside influences

Our most recent customer survey indicated that we’re well on our way to meet these goals, with an overwhelming flood of positive feedback from theatres' experiences with their Fourth Wall Tickets!

What’s Changing:

Starting October 1st, we will implement a $1.00 charge per ticket rather than the current $1.00 charge per transaction. For example, patrons who purchase two tickets in a single transaction will pay a $2 fee to Fourth Wall Tickets, rather than $1 for a single order.

This model will allow us to further invest in our platform and deliver new features and services important to theaters while continuing to offer patrons a ticketing solution that is simple to use and far less expensive than our competitors.

Based on sales data across organizations that utilize our Fourth Wall Tickets platform, this change from a cost per transaction to a cost per ticket would affect less than half of all patrons.

How This Affects You:

This adjustment continues our commitment to a clear and fair pricing model for patrons while keeping Fourth Wall Tickets completely free to theaters.

Fourth Wall Tickets remains committed to transparent pricing with no hidden costs. This means theaters will continue to experience:

• No annual contracts, obligations, or sales limits
• Free shows that are still no charge to customers, with zero transaction or ticket fees
• A flat service charge combined with the credit card transaction fee that is easily and transparently passed along to the customer

Our Commitment to You:

We are dedicated to delivering exceptional service and quality. Your support allows us to invest in new features and improvements that will benefit the entire Fourth Wall Tickets community. We’re excited about the enhancements we have in store, and we believe this change will help us serve you better.

If you have any questions or concerns, please don’t hesitate to contact our customer service team at support@fourthwalltickets.com. We’re here to help and ensure that you continue to have a great experience with us!

Upcoming New Features

Our new pricing model allows us to further invest in our platform to deliver new features and services that are important to theatres. We’re excited about the enhancements we have in store!

• 📫 Email Marketing – Create, send, and schedule marketing emails all from Fourth Wall Tickets.
• 🔃 Subscriptions – Easily create show or class passes with monthly, quarterly, or yearly payments, similar to Patreon or season passes, which allows you to worry less about collecting payments and more about creating great art!
• 📈 Analytics & Reporting – In-depth breakdowns and key insights to manage your theatre more effectively.
• 🕑 Payment Plans — Create a payment schedule for a class or workshop to make it more accessible for potential customers.
• ✨ And more… these are just a few of the great new features coming to Fourth Wall Tickets!

It's a bright future for Fourth Wall Tickets, and we're excited to be working harder than ever to bring it to reality!

Zip zap zop!

We've written previously about the not-very-long history of improv comedy, but today we're going deep on one specific group you may not have heard of: The Compass Players.

The year was 1955. America was nearly a decade into the Cold War, and Americans were steeped in paranoia and thrills. While Joseph McCarthy headlined his congressional red scare, the culture continued forward at a breakneck pace. The polio vaccine is released, the first McDonald’s opens, and “Rock Around the Clock” whips U.S. teens into a frenzy and becomes the first rock and roll single to reach #1 on charts.

The most popular shows in America are “The $64,000 Question” and “I Love Lucy,” Disney’s “The Lady and the Tramp” wins the box office, and readers across the world are seduced and shocked by Vladimir Nabokov’s “Lolita.” With all of that and more in the background, a somewhat bohemian group of performers were concocting what would soon become The Compass Players.

Paul Sills and David Shepherd had been running together in Chicago theater circles for a few years already, having previously founded the Playwrights Theatre Club alongside Eugene Troobnick. While the theater mostly presented classic plays, company members rehearsed and trained using improvisational exercises developed by Sills’ mom, Viola Spolin.

Influential Figures: Viola Spolin

Who Was Viola Spolin? This is a question that opens the door to exploring one of the most transformative figures in the history of theater. Viola Spolin’s influence on the domain of theater education and improvisation is nothing short of revolutionary. Her pioneering work irrevocably changed the landscape of acting

CrowdWork (formerly Fourth Wall Tickets) BlogCrowdWork

The Playwrights Theatre Club evolved into the Compass Players—a group focused on improvisational theater. Sills was familiar with improv from studying his own mother, and Shepherd, a Vanderbilt heir raised in the old money circles of New York City, was passionate about making theater accessible to the common man.

The Compass Players officially kicked off on July 8, 1955 near the University of Chicago campus. Zealously collaborative, the group emphasized the radical power of “yes, and…” and supportive teamplay.

Their creative endeavors began with long-form improv, but quickly expanded into short-form games and audience suggestions. This format, in many ways the bedrock of contemporary improv, was groundbreaking at the time. As comedic revolutionaries, the troupe was constantly experimenting with styles, methods, and techniques. With a blend of scripted scenes and improv sketches, the players satirized the popular culture, developed characters and settings, and blurred the lines between theater and comedy.

The performances were quickly a hit in Chicago’s art scene. Many of the groups members began workshopping what would eventually become their signature styles. Iconic comedic duo Mike Nichols and Elaine May often partnered for scenes during their time with the Compass Players. When they left Chicago for New York later that decade, they turned many of the scenes they’d developed onstage in Chicago into their hugely successful two-person Broadway show, An Evening with Mike Nichols and Elaine May. (Nichols went on to direct hits like The Graduate (1967) and is one of only 19 people to have achieved EGOT status—securing an Emmy, a Grammy, an Oscar, and a Tony. May wrote the screenplay for the Nichols-directed hit, The Birdcage (1996), and has herself achieved a Grammy, a Tony, and BAFTA. Both are recipients of the National Medal of the Arts.)

While expanding their style, the Compass Players expanded their scope—opening a second troupe in St. Louis, MO. It was here that Del Close began developing his philosophies of comedy, later solidifying them as his 11 Commandments for Improv—now required reading for all comedy hopefuls. Close also went on to create the Harold, a long-form improv technique now standard practice for troupes across the globe. Del Close became a pillar of the improv world, and a mentor to names like John Belushi and Bill Murray.

Other names you might know who got their start with the Compass Players include Shelley Berman, Edward Asner, and Alan Alda.

While the Compass Players enjoyed success, with audiences crowding in 5 nights a week, it was short-lived. Creative differences and other opportunities split the players apart by 1959, with Shepherd and Sills heading in different directions.

Shepherd headed back to NYC, establishing several different performance groups and spaces. In 1972, he and Howard Jerome Gomberg developed the Improvisation Olympics, which would later become what we now know as i.O., founded by Charna Halpern and Del Close. Shepherd continued evolving his comedy doctrine, including what he called “Life-Play,” a series of improvised games one can play over the phone. Shepherd passed away in 2018 at the age of 94.

Sills stayed in Chicago and, alongside Bernie Sahlins and Howard Alk, co-founded The Second City—one of the most famous improv comedy enterprises in the world. The Second City has more notable alumni than we could name here, but a few you’ve definitely heard of include: Joan Rivers, John Belushi, Bill Murray, and Gilda Radner.

In the mid-1970s, the Second City became a veritable training ground for the nascent Saturday Night Live but SNL clearly has the Compass Players to credit in its formation as well. Without the pioneering work that went into founding and popularizing improv comedy that the Compass Players established, the entertainment landscape as we know it might look entirely different.

The Compass Players wasn’t just a place for performers to hone their craft. Rather, it was an institution and a canvas—empowering radically creative thinkers to take seriously the art of comedy. The group casually formalized improv techniques, and gave validity to the importance of experimental practice and play. By forming and performing as a troupe, the Compass Players gave shape to contemporary improv.

Fourth Wall Tickets

You do comedy. We do tickets. The best ticket platform for comedy theaters.

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Did you know corporations such as Google and PepsiCo have integrated improv training into their employee development programs? When many companies went remote (and sometimes stayed remote) over the past few years, improv exercises have been able to help pull colleagues and teams together. Companies utilizing improv principles report significant improvements in their collaboration processes and creative problem-solving abilities.

Far from the light-heartedness of its theatrical origins, the world of improv is making its mark in the boardroom, radically transforming business culture. It fosters resilience among employees, enhances team communication, and ignites a surge in creativity and innovation. Central to this transformation is the potent 'Yes, And' philosophy. Previously discussed, this approach now guides employees to shed conventional mindsets, paving the way for innovative solutions and cohesive team dynamics by normalizing high levels of engagement. Join us as we delve into the transformative power of improv in the business world, where laughter marks the start of an enriching journey towards organizational excellence.

In today's rapidly evolving business landscape, the pivotal role of employee engagement in driving success cannot be overstated. Imagine a workplace transformed by the principles of improv, where clear, effective communication thrives. In the realm of business, the core principles of improvisational theater offer innovative approaches to enhancing workplace dynamics. In the realm of business, the improvisational concept of "Yes, And" transcends mere comedy (although comedy is incredibly powerful); it's a tool fostering creative collaboration and innovative thinking. As we’ve discussed previously, this principle involves accepting a colleague's idea ('Yes') and then building upon it ('And'), promoting an environment where ideas are not just acknowledged but evolved. In business settings, this approach can be pivotal for brainstorming sessions and team-building, as it encourages open-mindedness and divergent thinking. Equally important is the principle of Active Listening. This isn’t just hearing but understanding and responding thoughtfully. In business, active listening can transform client interactions and team dynamics, ensuring all voices are heard and considered. Collaboration, another cornerstone of improv, in the business context, is about pooling diverse skills and perspectives. It's a powerful tool for project management and problem-solving, where the collective input can lead to more comprehensive solutions. Lastly, the principle of Quick Thinking, honed through improv, is invaluable in fast-paced business environments. It's not about hasty decisions but the ability to think on your feet, an asset during negotiations or when dealing with unexpected challenges. Each of these principles, drawn from the art of improv, has a distinct and practical application in the business sphere, underscoring the versatility and relevance of improvisational techniques in the modern corporate world.

This fostered creative environment is not just about harmonious agreement; it's an incubator for innovation, where ideas are nurtured and expanded into tangible, profitable solutions. The significance of such an engaging atmosphere is backed by compelling statistics. Highly engaged business units see a remarkable 23% increase in profitability and experience 18% higher sales. This is further echoed by Forbes (2022), highlighting that a positive company culture can quadruple revenue. However, the cost of neglecting employee engagement is steep; disengagement leads to a loss of $5,000 per departing employee (Training Mag, 2018) and an overall annual cost of $450-500 billion to companies (The Conference Board Inc., 2017).

The impact extends beyond financial metrics. Engaged workplaces report 41% lower absenteeism (Gallup, 2022), transforming employees into potent brand ambassadors. In healthcare, this engagement is life-saving, reducing patient safety incidents by 58%, and in manufacturing, it slashes product defects by 41% (Gallup, 2020).

Despite these benefits, employee engagement remains a global challenge. A staggering 85% of employees worldwide are not engaged (Gallup, 2017), with figures as low as 10% in Western Europe and 8% in the U.K (Gallup, 2017). The U.S. fares slightly better with a 36% engagement rate (Gallup, 2021). Thus, integrating improv-inspired communication techniques in the workplace is not just a novel idea; it's a strategic imperative to harness the full potential of employee engagement for overarching company success.

And then, there’s the embrace of imperfection. In an improv setting, stumbles and missteps are part of the journey, a joyful acceptance that in the pursuit of creativity, there are no wrong turns, only learning paths. This liberating mindset, when infused into the corporate culture, transforms the fear of failure into a fearless pursuit of innovation. It’s a shift that encourages risk-taking, fosters resilience, and breeds a type of corporate warriors who are as adaptable as they are visionary. This is the promise of improv in business: a culture where communication flows unhampered, ideas are born and nurtured in collaborative crucibles, and the fear of failure loses its grip, making way for an environment rich with potential and pulsating with the vibrant energy of possibilities.

Corporate work environments, especially when centered around remote or isolated tasks, can lead to feelings of disconnection and burnout. This issue has become more prominent with the increase in remote working, where nearly 29% of individuals working exclusively from home in 2020 reported frequent or constant experiences of burnout. One effective strategy to mitigate these challenges is fostering strong team cohesion.

Strong team bonds play a crucial role in not just surviving but thriving in stressful work environments. Engaging in group exercises that emphasize trust, support, and collaboration builds a foundation of camaraderie. This sense of unity is not just beneficial for individual well-being; it also contributes to overall organizational performance. When team members feel connected and supported, they are more likely to be engaged, productive, and innovative.

However, it's important to balance the level of cohesion within a team. Excessive socialization or too strong a focus on interpersonal relationships can lead to a decline in team performance. This can manifest as groupthink, where overly cohesive teams may avoid challenging the status quo or exploring new ideas, leading to stagnation. Therefore, while fostering team unity is crucial, it should be balanced with the need to maintain a diverse range of perspectives and a culture that encourages constructive dissent and innovation. In essence, while strong team bonds can serve as a buffer against the negative impacts of stressful work environments, including burnout and high turnover, it's crucial to manage these bonds to ensure they contribute positively to team performance and innovation.

In exploring the transformative power of improvisational techniques in business culture, it's essential to acknowledge scenarios where improvisation may not be the most effective approach. This balanced view not only highlights the strengths of improv but also underlines its strategic application in a business setting.

For instance, in highly regulated industries such as finance, healthcare, and legal services, the spontaneity of improv could clash with the need for stringent compliance and regulation adherence. Similarly, in situations requiring crisis management, where established protocols are crucial for quick and efficient resolution, improvisation might introduce unpredictability that could potentially aggravate the situation. This is particularly true in fields where precision and technical adherence are paramount, such as engineering or programming; the detail-oriented nature of these tasks leaves little room for the spontaneity inherent in improv. This is the reason why improvisational methods are typically used during the design phase of a sprint, rather than in the actual coding implementation.

Moreover, improvisation might not always be suitable in delicate scenarios like conflict resolution or in multicultural workplace environments. The unpredictable and spontaneous elements of improv could unintentionally escalate tensions or lead to cultural misunderstandings, given the varying interpretations of humor and spontaneity across different cultures. Additionally, when it comes to long-term strategic planning, the structured, analytical approach required might not align well with the inherently spontaneous and momentary nature of improvisational techniques. Understanding these nuances is vital in leveraging improv as a tool for enhancing business culture. It underscores the importance of context and discernment in applying improv techniques, ensuring they contribute positively to the organizational environment.

While it's true that improv can be a double-edged sword, its positive impacts are substantial when applied effectively and judiciously. Improvisational techniques can significantly enhance empathy in the workplace, as evidenced by various studies and surveys. For instance, a study by Businessolver showed a notable difference in work-life balance management under empathic leaders, with 86% of employees able to manage work-life obligations effectively, compared to only 60% under less empathic leaders. This suggests that empathic leadership is not only beneficial for employee well-being but also for their ability to handle professional and personal responsibilities effectively.

The perception of empathy within the workplace also varies between different groups. While 68% of CEOs believe companies are empathetic, only 48% of employees share this view, highlighting a potential gap in empathy perception between leadership and staff. This disparity is further illustrated by the fact that only 63% of employees view their CEO as empathetic, although 80% find their colleagues to be empathetic. Interestingly, both employees and CEOs largely agree that empathy is a learnable skill. About 73% of employees and 80% of CEOs believe empathy can be developed, indicating a growing recognition of empathy as a dynamic and cultivable trait within the professional environment.

Furthermore, the impact of empathic leadership is particularly significant among younger generations. For instance, 84% of Gen Z employees would consider leaving their company for a similar job under more empathic leadership. This underscores the importance of empathy in retaining younger talent.

Empathy also plays a crucial role in employee recognition and productivity. A staggering 93% of employees report a boost in productivity when their professional accomplishments are recognized empathetically by their employers. This is a clear indication that empathetic recognition is not just a morale booster but also a key driver of employee efficiency and engagement. The data suggests that empathy in the workplace is not just a desirable trait but a crucial element for effective leadership, employee satisfaction, and overall organizational health. By fostering empathic environments with the help of improv, companies can improve employee well-being, enhance productivity, and attract and retain talent more effectively. These findings highlight the transformative potential of empathy in shaping a positive and productive workplace culture.

In conclusion, improvisational techniques in the workplace serve as a powerful tool for enhancing collaboration, creativity, and empathy. By embracing the principles of improv, such as active listening, openness to new ideas, and the willingness to adapt, employees can foster a more dynamic and supportive work environment. This approach not only boosts innovation and problem-solving but also strengthens interpersonal relationships and understanding among team members.

The positive impact of improv extends beyond immediate team dynamics. It cultivates a culture of psychological safety where employees feel valued and heard, an environment that is crucial for fostering innovation and retaining talent. Furthermore, improv's emphasis on empathy aligns well with the growing recognition of emotional intelligence as a key driver of professional success. By integrating improv techniques into their daily interactions and decision-making processes, businesses can create a more agile, empathetic, and productive workforce. This adaptability and emotional intelligence are invaluable in today's fast-paced and ever-changing business landscape, making improv not just an artistic skill but a vital component of modern business acumen.

https://globisinsights.com/unlimited-insights/improv-for-business-professionals/

https://www.lowerthetone.com/corporate/research-study-improv-as-a-training-method-to-promote-effective-teams/

https://www.researchgate.net/publication/293010327_So_much_theory_so_little_practice_a_literature_review_of_workplace_improvisation_training

https://genesishrsolutions.com/peo-blog/employee-engagement-statistics/

https://www.designinginsights.com/portfolio/case-studies/improv-for-design-sprints-google

https://www.emerald.com/insight/content/doi/10.1108/JKM-07-2022-0506/full/html

https://improvteamculture.com/how-improv-boosts-business-innovation/

https://www.psychologytoday.com/us/blog/cutting-edge-leadership/202010/what-is-groupthink-and-how-can-leaders-avoid-it

https://officeneedle.com/empathy-leadership-statistics/

https://www.businessolver.com/workplace-empathy/

What is the Upright Citizens Brigade and how has it affected improv? In the vibrant realm of Chicago improvisational comedy, the Upright Citizens Brigade (UCB) emerged as a pioneering force, revolutionizing the art form and leaving an indelible mark on the world of entertainment. The UCB has garnered immense respect and prominence through its unconventional approach to improv comedy, leading to widespread influence across both stage and screen. Let’s explore the rich history of the UCB and delve into their profound impact on the evolution of improv and sketch, making it an essential cornerstone of modern comedic entertainment.

Founded in 1991 by a loose cast of sketch and improv performers, the Upright Citizens Brigade emerged as a dynamic ensemble in Chicago, most of whom were mentored by the legendary comedy maestro, Del Close. This was no surprise since the group had initially been born from Chicago’s ImprovOlympic venue (iO Chicago), an improv theatre founded by Del Close and Charna Halpern. The UCB Four included members Matt Besser, Amy Poehler, Ian Roberts, and Matt Walsh. By 1993, other talents that quickly gravitated to the UCB included Ali Farahnakian, Horatio Sanz, and Adam McKay.

The brigade flourished in Chicago where the appetites for sketch and improv comedy were palpable, bolstering the scene with their unique and vibrant contributions. Central to the UCB's approach is the emphasis on "long-form improv," a subgenre we’ve explored in previous posts that allows for extended comedic storytelling. Unlike short-form improv often seen on television shows, long-form encourages performers to explore complex narratives, characters, and themes. By focusing on organic scene work, UCB performers create harmonious and cohesive performances that captivate audiences and elevate the art of improv beyond punchlines and gimmicks. The UCB Four's approach to comedy was more than merely a breeding ground for talent. Their style was uniquely characterized by absurdism, blending intelligence with elements of gross-out humor.

“They had the thing that drew me to comedy in the first place: that energy when somebody’s putting it all out there, acting like a massive jackass, with no reservations. It was something that scared the shit out of me, and therefore I had to try it.” - Ed Helms

Importantly, their method emphasized collaboration, centering around closely-knit groups of improvisational comedians. This dynamic became particularly evident as top students from their classes graduated and started forming their own comedy teams. Their innovative style quickly gained traction, spawning a dedicated following and attracting aspiring comedians from all over the world.

McKay would later move to New York City in 1995 to take a writing job with Saturday Night Live. Eventually, the UCB troupe relocated to New York City in 1996, where they continued to refine their approach as Manhattan’s comedy scene was in the first stages of gentrification.

“Improv had been really important in Chicago, and it had a toehold in Los Angeles, where you had Pee-wee Herman, Phil Hartman, Lisa Kudrow—all coming out of the Groundlings. But in New York in the early nineties, nobody was talking about improv.” - Conan O’Brien

The market for improv in NYC was non-existent at the time, but with the grit and tenacity that came naturally to the UCB, they had a few regular shows running within several months, including ASSSSCAT 3000, where an impromptu story from a guest was used to create scenes.

“The first UCB show we ever did was called “Virtual Reality.” We would pluck someone out of the audience, and they would go with me and a cameraman in a car around the neighborhood—like we were doing sort of a Jack Kerouac drive around the country. Then we’d quickly edit the tape and show it to the audience ten minutes after we got back.” - Adam McKay

When the UCB Four arrived in New York City, their initial ambitions were to secure a television deal (which they achieved two years later) and to cover their living expenses through teaching improv classes. However, their impact evolved into a significant influence on pop culture. The performers who first occupied the former strip club (their first venue), and later the UCB's primary venue on 26th Street, went on to feature prominently in major comedy platforms. They became regulars on shows like "Saturday Night Live," "Late Night With Conan O'Brien," and "The Daily Show," participated in projects like "Human Giant," "The Hangover," and "The Other Guys," contributed to FunnyorDie.com, and filled a significant portion of the roles in NBC's Thursday night sitcom lineup.

Arguably, one of the UCB's most significant achievements lies in its commitment to nurturing comedic talent through its training centers. Offering a structured curriculum where aspiring comedians can learn the intricacies of improv, the UCB has equipped countless individuals with the skills necessary to succeed in the comedy industry. The founders of the Upright Citizens Brigade Theatre, Matt Besser, Ian Roberts, and Matt Walsh, provide a detailed manual to new improv artists. This guide covers essential aspects of improv comedy, including how to support fellow actors in establishing a "base reality" and identifying the humorous element, or "game," in each scene. The UCB Four started their teaching and performances at Solo Arts, a small, 40-seat venue in Chelsea without air conditioning. They taught their students a foundational improv philosophy known as “Yes, and…,” which emphasizes building upon another performer's idea. Additionally, they popularized a sophisticated format of interlinked scenes known as “the Harold.” Within a few years, performers from Harold teams such as the Swarm, Mother, and Respecto Montalban gained recognition as celebrities in the small-stage theater scene. By imparting their unique approach to improvisational comedy, the UCB paved the way for a new generation of performers, ensuring the continued growth and relevance of this art form.

The teaching philosophy of "yes, and" at Upright Citizens Brigade Theatre creates a supportive environment for both working and learning. This approach likely contributed to their success in winning the Readers' Choice award for the best improv training center on both the East and West coasts.

The UCB offers a series of core improv classes covering various levels, each designed to build a solid foundation in improvisational skills. Beginning with Improv 101 and advancing through to 401 and beyond, students gradually learn the UCB method, emphasizing the importance of agreement, commitment, and intelligent game play.

“I came from a film background and got interested in comedy and I think a lot of people think of it as an actors’ training ground, but it’s definitely also filmmakers and writers and everyone else. The training program is specifically for core classes that teach you the basics of improv to create scenes.” - Todd Bieber, trainee and Creative Director at UCB

Beyond the core curriculum, UCB provides specialized classes that cater to specific aspects of improv and sketch. These classes explore topics such as character development, advanced scene work, and more. By diversifying their course offerings, UCB ensures that students can further refine their skills and explore different areas within the vast realm of improv. These educational classes provide participants with the necessary skills to navigate the world of improv, focusing on improvisational scene work and group dynamics. Aspiring comedians and performers can harness the UCB's expertise to hone their comedic timing, spontaneity, and storytelling abilities. Moreover, the UCB's experienced instructors are renowned for their ability to not only impart knowledge but also guide and inspire students to embrace their unique creative voice.

Due to the theater's commitment to providing high-quality educational resources and its attraction of diverse talent, regular performers at the theater started advancing to prominent roles in the entertainment industry. Notably, Sanz joined the cast of "Saturday Night Live" in 1998, followed by Poehler in 2001. "The Daily Show" recruited Helms, Corddry, and Riggle. Additionally, MTV gave the "Human Giant" group their own show. The theater was increasingly recognized as a launchpad for larger opportunities in the entertainment world.

Empowering the Improv Community Beyond its educational programs, the UCB plays an instrumental role in nurturing the improv community through a wide array of resources. The institution provides a wealth of online content, including videos, podcasts, and articles, accessible to both students and improv enthusiasts worldwide. This digital repository enables individuals to benefit from the UCB's collective wisdom, gaining insights into improv techniques, refining their craft, and expanding their creative horizons. The organization also routinely hosts online Q&As for a variety of fascinating improv troupe subjects.

The UCB's impact on the world of comedy is immeasurable. Through their renowned theater in New York City and training centers in both New York and Los Angeles, they have nurtured countless talents who have gone on to shape the comedic landscape. Among those countless talented comedic performers, many have gone on to achieve remarkable success. Notable UCB alumni, such as Amy Poehler, Aziz Ansari, and Donald Glover, have reached great heights in film, television, and comedy writing, infusing their work with the UCB's distinct improvisational sensibilities.

As one of the founding members, Amy Poehler's journey began at the UCB in 1995. Following her time there, Poehler felt the pull to the big screen and rose to fame as a cast member on "Saturday Night Live" and later created and starred in the critically acclaimed comedy series "Parks and Recreation." Her background in improv and time with the UCB undoubtedly contributed to her improvisational prowess and played a significant role in her development as a multifaceted comedian.

“Some of us had opportunities to make money [by] splitting up the group. We fought that off for a while. Every once in a while, a sitcom would come up, and I didn’t torture myself by putting myself in the position to get things and then have to turn them down.” - Amy Poehler

Donald Glover, widely recognized for his roles in "Community" and his successful music career as Childish Gambino, started his comedy journey at the UCB. His experience there helped refine his comedic timing and versatility, as evident in his stand-up performances and award-winning television show "Atlanta." At the age of 23, Donald was hired on to be a writer for 30 Rock by Tina Fey.

Ellie Kemper, after honing her comedy skills at the UCB, gained recognition for her endearing portrayal of Erin Hannon on the hit TV series "The Office." Her time at the UCB surely influenced her ability to deliver authentic comedic performances, capturing the hearts of audiences worldwide and giving her numerous Emmy, Critic’s choice, and Screen Actors Guild award nominations.

In addition to their educational initiatives, the UCB is deeply committed to community outreach, using the power of improv to bring joy and laughter to diverse audiences. The UCB training centers have awarded well over $700,000 in scholarships since 2009. Their outreach programs extend far beyond traditional comedy stages, reaching schools (over 14 high schools in NYC alone), corporations, and even hospitals. The UCB recognizes the transformative potential of laughter and employs it to uplift communities, promote inclusivity, and spark connections.

Through workshops, performances, and collaborative projects, the UCB empowers individuals from all walks of life, providing a space where creativity and self-expression can flourish. By making this inclusive art form accessible, the UCB fosters a sense of belonging and cultivates empathy within communities, embracing the universal language of laughter to bridge gaps and foster positive change.

As the digital landscape expanded, the UCB readily embraced the internet, recognizing its potential to reach wider audiences. Through the launch of their online platform, UCB Comedy, the troupe provided an avenue for talented comedians to showcase their work and further extend the influence of UCB's improvisational techniques. This digital presence not only offers comedy enthusiasts access to the UCB's extensive library of sketches and performances but also introduces new talent to a global audience.

The Upright Citizens Brigade has left an indelible mark on the world of comedy over the decades, revolutionizing the improv scene by introducing a fearless approach to improv. From their humble beginnings in Chicago to becoming a cultural institution in New York City and across the USA, the UCB's influence has spawned a new generation of comedians who continue to shape the evolving landscape of comedic entertainment. By embracing new platforms and fostering an educational legacy, the UCB cements its standing as a driving force in the art of improv, captivating audiences and crafting laughter that transcends boundaries. We're absolutely honored and thrilled to be servicing an industry with such a remarkable institution.

https://www.nycplaywrights.org/2017/06/ucb-training-center-scholarshipsfellows.html

https://nymag.com/arts/comics/features/upright-citizens-brigade-2011-10/

https://ucbcomedy.com/trainingcenterpresents/

https://www.backstage.com/magazine/article/readers-choice-nyc-la-improv-training-center-upright-citizens-12454/

https://en.wikipedia.org/wiki/Donald_Glover

https://en.wikipedia.org/wiki/Ellie_Kemper

https://en.wikipedia.org/wiki/Upright_Citizens_Brigade

https://en.wikipedia.org/wiki/IO_Theater

You might not have thought about the origins and historical significance of intermissions, yet they play a fascinating and vital role in theater. They provide a valuable opportunity for creative set changes and building anticipation among the audience, as well as allowing for social interactions and concession purchases during the break. Let's explore the importance of taking a break and the creative freedoms it enables.

The practice of intermissions in theater, known alternatively as intervals or breaks, formalized in Europe during the 17th and 18th centuries, but date back centuries. In ancient Greece and Rome we have the earliest forms of intermissions with the structure of plays themselves often designed to incorporate natural breaks. In ancient Greek theatre, for example, plays were usually divided into sections separated by choral odes, providing brief pauses in the action. These intervals allowed for set changes, costume alterations, and gave the audience moments to reflect on the play's themes. In Roman theatre, the concept of an intermission was also quite structured, often featuring separate entertainments like musical performances, comedic sketches, or recitations during these breaks. These interludes not only offered a pause in the main event but also added variety to the overall experience.

It's interesting to note that these early forms of intermissions served both artistic and practical purposes, much like today. The evolution of theater during the 17th and 18th centuries was marked by playwrights delving into more complex narratives and character development. As a result, the duration of shows increased significantly, necessitating the introduction of intermissions. The concept of an intermission has since become a fundamental aspect of live performances, offering a structured pause during which viewers can reflect, socialize, and anticipate the continuation of the story.

Interestingly, the concept of an intermission was initially met with some resistance. Critics and traditionalists believed that it could break the emotional and dramatic flow of the performance. A key reason for doing away with intermissions is to maintain the story's continuous flow and emotional buildup. Intermissions can interrupt the audience's engagement and momentum in movies, plays, and operas, breaking the immersive experience. Additionally, eliminating these breaks can shorten the overall duration of performances, appealing to contemporary audiences who might favor briefer forms of entertainment due to their fast-paced lives or reduced attention spans. For theaters and cinemas, this could mean more screenings each day and potentially higher earnings. It would also decrease the number of staff needed throughout the performance, as there would be no intermission to oversee.

However, the practical benefits soon became clear. Not only do intermissions provide patrons an opportunity to stretch and socialize, but there is solid economic benefit to the venues that offer refreshments and snacks. A well timed intermission with a wide array of pleasures available can significantly boost concession sales, contributing to the venue's overall revenue. This economic advantage has been so pronounced that some venues have even optimized the timing and duration of intermissions based on consumer behavior data. The advanced features of payment processors allows some of the more sophisticated management platforms to provide real-time analytics on sales during intermissions, enabling venues to adapt their offerings and pricing strategies dynamically.

Moreover, intermissions can also be an opportunity for venues to promote upcoming events or sell merchandise, helping to provide future streams of income through this subtle form of free advertisement. In some cases, sponsors and advertisers leverage the intermission to engage with the audience through various forms of in-house advertising, such as digital screens or live announcements. And the obvious benefit to the cast is clear: intermissions offer a much-needed break for performers to rest, change costumes, or prepare for the next act. This can be especially vital in physically or emotionally demanding performances, where a short respite can greatly affect the quality of the show.

Let's also consider the additional advantages that intermissions provide to the audience. Strategically timing a break during a suspenseful moment or cliffhanger in the narrative can significantly enhance the audience's engagement. This pause allows patrons to eagerly discuss and speculate on the unfolding story, heightening anticipation and excitement. The shared speculation and debate during this break not only amplify the communal experience of the audience but also allow for a moment of collective breath and emotional processing. This can make the return to the narrative even more impactful, as the audience is re-engaged, their curiosity piqued, and their emotional investment deepened. In this way, intermissions serve as both a social catalyst and a narrative tool, enriching the overall experience.

Of course intermissions can be a double-edged sword, it's crucial to strike a balance. Extending the intermission too long in the pursuit of higher sales can disrupt the flow of the performance and risk diminishing the audience's engagement. And shorter performances or those with a more intimate setting might find an intermission disruptive rather than beneficial. In such cases, alternatives like pre-show or post-show engagement strategies might be more appropriate. Therefore, understanding the optimal timing and offerings for an intermission is key.

In the modern era, intermissions have also found utility helping to manage crowd flow and offer targeted concessions, among other logistical advantages. Thus, what began as a simple break in a performance has evolved into a multifaceted tool that benefits both audiences, the cast, and event organizers alike.

Although not technically intermissions, pre-show and post-show audience engagements serve a similar purpose. Pre-show engagement strategies might include opening the venue's bars or concession stands well before the start of the performance. Special offers or bundles can be advertised to encourage early arrivals and increase sales. Information about upcoming shows or merchandise can also be displayed or announced to the audience as they gather.

Post-show engagement, on the other hand, might involve keeping concession stands open for a period after the performance has ended or organizing a "meet and greet" with the performers. This not only increases the time patrons spend at the venue—thereby increasing the opportunity for additional sales—but also adds value to the overall experience.

If an intermission uses musical elements and its own ‘mini-play’ to help blend one act into another while the cast changes and prepares behind the curtain, it can be called an entr’acte. An entr’acte is typically a break in a play or performance that includes its own musical or theatrical performance. The Spanish had their own version of an entracte called a sainete. These small one act plays may seem of little importance, but they allowed authors to create nested plays or ‘plays within plays’ that enhanced the entire event. The evolution of intermissions is notably marked by creative expressions, where sometimes an entr'acte or sainete becomes a highlight or enriches the main performance with a detailed subplot. Shakespeare notably employed the meta-theatrical technique of a play-within-a-play in many of his works, including "A Midsummer Night's Dream" and "Love's Labour's Lost." "The Taming of the Shrew" is almost entirely framed as a play presented to deceive a character, Christopher Sly, into believing he is a nobleman, although this framing device is often omitted in contemporary adaptations because it doesn't directly impact the main plot. The musical "Kiss Me, Kate" incorporates a similar concept, revolving around a production of "The Taming of the Shrew" and interweaving scenes from the Shakespearean play. Similarly, "Pericles" references the 14th-century work "Confessio Amantis" by John Gower, using Gower's ghost to introduce and comment on the play to the audience. These instances illustrate how intermissions and framing devices have been used to add layers, commentary, or entirely separate narratives to the main story, showcasing a rich tradition of theatrical innovation.

The intermission, often seen merely as a break in a performance, holds its own as a powerful framing device that significantly influences the audience's experience. Even when not intended to be a distinct narrative element, it serves as a psychological and emotional boundary, allowing viewers to digest and anticipate the unfolding story. It can set the stage for a dramatic second act, give audiences a moment to engage with each other and the performance, and subtly shift the narrative's pacing and tension. This pause, whether filled with additional performance elements or simply serving as a break, is a testament to the nuanced art of storytelling, demonstrating that even the absence of action can be a critical component of the theatrical experience. As such, intermissions embody a unique form of narrative power, contributing to the depth and richness of theatrical and cinematic experiences.

https://en.wikipedia.org/wiki/Story_within_a_story

https://en.wikipedia.org/wiki/Intermission

https://en.wikipedia.org/wiki/Kabuki