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by Alison Zeidman for WitOut
June 5, 2012
In the year 2007, during a great time of growth for the Philadelphia improv scene, one man set out on a mission to team up in one-off shows with as many of the city’s players as possible.
By 2008, subconsciously fueled by short-form improv experience and a particular Andy Kaufman performance he’d obsessed over in his youth, that man decided to forge a more challenging show partnership: scenes with audience members encountering him—and improv—for the very first time.
The name of that man is Matt Holmes, and the name of his “duo” is Matt&.
Alison Zeidman: For people who aren’t familiar what you do, can you explain what Matt& is?
Matt Holmes: It’s a show that I do with an audience member, and I try to look for somebody who is not a performer themselves. I usually ask if there is anybody there seeing improv for the very first time ever. And then I pull them up onstage.
AZ: Is it sometimes difficult to get them to go up there with you?
MH: The rest of the audience tends to overzealously cheer them on as soon as the concept is brought up, so there’s only been once or twice where the person has been really like oh, no, I don’t want to, or just flat out refused.
Then I bring them up on stage and I tell them that the responsibility is all on me for making it all work, and they have free rein to do and say whatever they want, and to purposefully try to mess me up if they want to.
Then that gives me the opportunity to show off my skills and make things that for any other improv group might be sort of a stumbling block or a challenge into something impressive.
AZ: Is there a specific format that you follow for these shows?
MH: By the very nature of how it works I sort of have to be flexible, and I kind of prefer to work that way. I’ve been in a bunch of different groups and projects before, and I’m always the one who wants to keep it less rigid.
So with this show even if I tried to have an idea sketched out of [how I'll do scenes], it’s probably not going to work out that way anyway.
So sometimes it’s just scene after scene with whatever pops up into my head, and sometimes it’s more like a Harold where things will come back or there’ll be patterns, but I really have to not be too precious about format.
AZ: When you’re doing these shows, do you feel more or less in control than when you’re doing a show with an actual improv group?
On the one hand it’s so loose and you’re with this person who’s never done a show before, and you can’t really follow a format, but on the other hand being the only experienced performer onstage means you can drive the scenes and drive the action.
MH: Yeah, that’s one of the many dichotomies that I think is present in my show, is…maybe more than any show I’ve done, it’s exhilirating and a challenge and I still get nervous and find it thrilling, but at the same time I’m more relaxed when I’m actually doing it and it’s working and things are just falling into place.
So yeah, it’s kind of yes and no, I’m both in control and allowing myself to be not in control.
AZ: Are there specific things that you like or dislike about performing with an audience member versus being in a larger improv group?
You started to get into that with how you prefer the looser format, but are there any other things where having half of your group being inexperienced gives you more freedom?
MH: Yeah, I think it really falls right into place with how I like to work. I’m kind of a stage hog.
I like to be out a lot when I’m in a group, and in this show I’m in every scene. And I’m not always as good at supporting other people’s ideas and playing well with others in any other show, but in Matt& I have to.
I have to take whatever this audience member brings and utilize it. And it works best that way.
AZ: Can you think of any other ways in which performing with Matt& has enhanced your improv skills in general? It sounds like it forces you to be more agreeable and be more supportive of your scene partner.
Are there any other things where you’ve really noticed it improving your skills, and where you’ve been able to bring back some of those things to your group performances?
MH: I think it’s helped me be truly relaxed and flexible as a performer, and also be more confident and personable hosting and introducing a show, and talking with somebody not as a character beforehand, and then playing with them and helping them through what can be kind of an awkward situation for them.
AZ: So in general, you’re more comfortable being a character in a show setting than you are being yourself?
MH: Yeah. [Laughs.] I’m not nervous at all about being in some embarrassing situation.
One time I had to kind of improvise a song, one time I had to improvise a poem as a gym teacher, you know, weird, awkward, embarrassing things. That doesn’t bother me, because it’s not me. It’s just some weird character, so I sort of get to lose myself and hide behind that.
But hosting and talking to the crowd after and being myself, that’s more of a challenge for me. And I think probably for a lot of performers, in all art forms.
AZ: Is this a little bit uncomfortable for you now, speaking about yourself and your own performance?
MH: Well no, I’m getting better at it now, from having to do it at the begining of each Matt& show. I’ve had some shows where the audience member kind of demands that we stop playing as a character for a bit, and get back to the one-on-one interview part as ourselves.
There was one show I did when Penn State had an improv festival, and I got an audience member, and it started off like all Matt& shows start off, with “who am I?” and “who are you?” and getting to know each other, and then we got into a scene and that was over, and I wanted to get into another scene and play another character, and she wanted to get back to interviewing each other.
So It sort of became that pattern of I have to be myself again, now I get to do a scene, now we have to be ourselves again, now we get to do a scene.
And that became this great challenge where at the end I kind of wove those together into her playing my therapist, and working in factors of my own life, and the whole audience got on board with why that was so interesting, because everything that was in the show led up to it.
AZ: When you do the interview with the audience member, is that how you usually generate your material for the scenes to come, or do you get a suggestion from the audience once you have your partner up there with you?
MH: I’ll always get a one-word sgugestion to inspire the show just because I like that aspect of improv. I like exploring the scene or disecting a word or whatever that word leads to, but sometimes elements from interviewing my partner will come back later or I’ll use them. A lot of times I don’t, but it’s always good for a laugh and interesting to the scene when I do.
AZ: Has an audience member ever taken you by surprise with their adaptability, or have they ever just displayed some sort of surprising inherent improv skill, even if they’re just getting up there for the first time?
MH: Yeah, surprise is probably a big, big part of my show. Me being surprised to have to play with somebody who’s really hesitant at first, and then the surprise when they start playing along and offering things. Surprise when somebody leaves the stage and I have to figure out what that means for the story, and how to work that. That’s happened a lot.
AZ: Do they come back after they leave?
MH: One time I brought them back, and one time I kind of worked it in like I was yelling up at them in the balcony of their window, kind of a Romeo and Juliet serenade thing, and then I ended the set after that scene instead of trying to convince her to come back onstage.
But yeah in terms of being surprised at how good they are, that happens a lot more than you would think. I’ve had people have these great insights into a cultural reference that we’re bringing, where they’ll bring back stuff the way that a really good improviser will, or they’ll make these jokes that you’d swear they had written beforehand.
There are a lot of great surprises. The one that stands out because it’s such a “joke,” is when I was at the Del Close Marathon, my first time performing Matt& there, and the show was going really well.
I was really pleased with how well it was going, and then at a certain point my audience member partner, who was not a performer and hadn’t taken an improv class or anything like that, brought up the concept of if you were to rape a prostitute, would it be rape or would it be theft?
And it got this huge laugh. Afterwards, I went and Googled to see if that was from some movie or TV show, but I think that it somehow came up in the story, and I think she just said it off the cuff, and it was great.
See Matt& perform in Duofest at the Shubin Theatre on Saturday, June 9th at 9 pm. Get advance tickets (or full weekend passes) to Duofest online.