Memorable Characters: Mini-Series (part 3)

 In the third and final edition of this series, I explore the question of how a memorable character is created.

Especially in improvised long form narrative, where every player is simultaneously (co)writer and (co) director, their actions on stage having implications for other characters, and for the development of story. How do you construct and arrive into the skin of this under-construction persona?

When a need is perceived- through a call for action or an opening in the story, how do you respond? Do you decide with your brain, body or gut? Do you step in or hold back? Do you wait for someone else to endow you? Do you make a move first and explain it later? And what if you have to do it all in song?

In this piece, Elena tells us about these in-the-moment choices and the voices in her head as she pulled herself from the ‘velvety void’, to enliven the character of the protagonist’s mother. 

When & where? The Unplanned Musical, Christmas 2023 show at easylaughs

So tell us about the story, what was happening on stage?

Vanessa (played by Soa) had a lovely boyfriend Andrew (played by Deniz). They used to get drunk on Glühwein, and started to think that was the basis of their relationship, it wasn’t true love. So Vanessa breaks up with him but then starts to feel sorry. In this moment, Soa was standing in the middle of the stage, wanting to talk to and get advice from her mom, a character that hadn’t appeared before.

Was that your cue, to come forward and play Mom?

I am not going to lie, playing mother feels typecast. Seeing my age difference with the rest of improv community, I have been cast in this role many times. When you play a mother, you don’t have a name, you lose your personality and become your reproductive function. It is tiring, and my first reaction was: sigh, ugh, again! OK!

Totally understand. So what else was going on for you?

I saw Soa looking around to the players standing on the sides. I looked around too and noticed that I was the only person who could play it, the rest of the cast already had a role. I also looked at the clock; we only had five minutes to get to the finale. This scene must give the twist and solve the problem. At the same time, I didn’t want to be a loving mother.  As I tell you, it sounds like I had a clear train of thought. But in reality, it went like this:

Idon’twanttobethemother.anyonebuthemother.it’shappening.sheislookingatme.acceptitelena,clockdamn,5minutesthisisthescenewiththesolutionorplottwist.idon’twanttobealovingmother.

Ah yes, that’s how the brain-train travels. So what did you do?

In the few steps I took towards Soa, I was able to step into what I call the ‘velvety void’. It is when you can quiet your mind and listen to the soft voice underneath the really loud voice of your mind. This small voice is your muse, your inspiration to do great scenes. That voice was saying just one word: NOTHING.  So I played a really mean mother. I started the scene and when she asked for help, I told her I couldn’t help her because I had nothing to say.

And that turned into a song?

Yes, David (on the piano) started playing a disturbing sad melody. The audience was laughing and I was thinking- I’m not going to listen to that! I’m going to listen to the voice that tells me ‘nothing’. So that is what my song was about- doing and being nothing. The mother was someone who hadn’t resolved her issues or developed her potential. But eventually, she helped her daughter by showing her what it is like when you don’t dare to make decisions.

Wow. Do you have the lyrics for us?

I did nothing

I let it happen.

I just stayed there

And did nothing.

I got pregnant

I had a daughter

And did nothing

That’s who I am.

I am nothing (X3)

And my daughter should be doing something!

Do something with your life

Go after that guy!

Go after him

He loves you

You  love him

You have more than I ever haaaaaaaaaaaaaad!

So in this case, Elena’s unnamed, unsupportive character’s non-intervention gave the protagonist not what she wanted, but what she needed, to take charge of her life, and to bring the musical romance to its happily ever after.

And with this, this series too comes to its happy ending! With promises of returning soon with something new, something fun. Hope you enjoy the rest of your summer, making space for both spontaneity and structure, memory and forgetfulness, in your lives within and outside of improv.