Status - some schools of thought talk about status in improv a lot - but what do we mean when we ask someone to play high or low status and how much do we need it to build characters and on stage dynamics?

Love this podcast? Help it keep going here: https://supporter.acast.com/the-improv-chronicle-podcast

This episode features:

Will Hines:
Will has set up the "World's Greatest Improv School" - check out their classes
http://www.wgimprovschool.com/
He is the author of the book "How To Be The Greatest Improviser On Earth" which you can buy here:
https://www.amazon.com/How-Be-Greatest-Improviser-Earth/dp/0982625723

Logan Murray:
Find out more about his Zoom writing courses on his website - www.loganmurray.com/news
His book is called ‘Get Started in Stand Up Comedy’ published by Hachette. You can buy it here:  
https://www.amazon.co.uk/dp/1473607183/ref=cm_sw_r_cp_api_i_4ohFFbMJDNHER

Rebecca Sohn:
Take a class with Rebecca, hire her to coach your time and find out more about her work here:
RebeccaSohn.net

Episode transcript:

This is the Improv Chronicle Podcast. I'm Lloydie.

Rebecca Sohn: I just really love status, I love playing in it, and I think it's because in some ways it's so easy and so elusive. 

Lloydie Lloyd: Status. Some improv schools talk a lot about it, others not so much. So, what do we mean when we ask someone to play high or low status? And how much do we need it to build characters and on-stage dynamics? 

This episode, you're going to hear from three people who come at the concept of status from different schools of thought, at least to some degree. And you'll hear how they use status, not just for comedic impact, but in some cases, to challenge preconceived ideas that audiences might have as well.

Will Hines: My name's Will Hines. I'm an improv teacher and performer from the United States and in particular, the Upright Citizens Brigade Theatre.

Lloydie: What do you understand to mean, when we’d ask someone to play high or low status?

Will: It's generally an acting thing. First, it affects how you talk to the other person. It's part of your reality. It's part of the who, what, where. So, like, are you deferential? Are you bullying? Are you dismissive? How direct you are, how polite you are. That's the first thing that status affects. It's like your performance, your attitude towards the other person, and that's the first thing that comes to mind. 

And then the second thing is a comedy thing, which is low-status people acting high status or high-status people acting low status is always funny. And then switching status is funny; going from low to higher or going from high to low. Having something happen that changes your status is always funny. 

Lloydie: And how do we find it at the beginning of a scene? 

Will: I think it's usually a simple choice, based on the best reality. Like status is the thing where I tend to not start off as a joke or anything. It's just like, well, if I'm the bellman in a hotel and you're the customer checking in, I am a low status to you, because that's just is what's sensible. If I'm a parent, you're my child; I am high status. Or if we are just two friends, but just my natural performing energy is a little more Alpha, Lloydie, because I'm a huge alpha; that just comes out swinging. 

Lloydie: You are an Alpha. 

Will: I might start off as… I might start off as slightly high-status, just because that's how it feels. So, I start with base reality and just simple direct acting choices. What does reality tell me what my status would be?

Rebecca: My name is Rebecca Sohn. I'm an improvisor; been improvising since 1987. I am an ensemble member of the Annoyance Theatre in Chicago and alumni of the Second City, and I love improvising.

Lloydie: When we talk about status in improv scenes, what do you view that as meaning?

Rebecca: There are really a lot of ways to look at it. The way I focus on it is in terms of what we're able to control and play with in a scene. And so, I focus on physical status. 

And in America we say it correctly. We say status, not status.

Lloydie: Really? I mean, I think we invented the language, Rebecca. I mean, I don't wish to be, you know… 

Rebecca: And we perfected it. 

Lloydie: I don't know. We've got a former imperial power and a current imperial power {crosstalk 3:34}.

Rebecca: So, anyway - obviously, I'm kidding.

Lloydie: You hit my {indistinct 3:42}.

Rebecca: There are so many different ways of looking at it. So, there's the status of your job and the job relationships. So, status is in relation to something. Although, I suppose you could have your own status in a vacuum. I don't know what point it serves. 

So, in improv, when I'm teaching it, I focus on the physical because we can immediately make a physical change to raise or lower our status in relationship to our scene partner. 

And so, status to talk about it, it's very much the way you carry yourself in the world. And I think it has very much to do with confidence of a very specific kind.

Lloydie: Logan Murray has been in comedy in the UK since 1984. He's got a background in stand-up, which he also teaches, and he's appeared on numerous UK TV shows and he's also an improvisor. 

So, what does he think about what we mean by status in the context of comedy performance?

Logan Murray: It just cuts through an awful lot of - For me, it cuts through an awful lot of crap. So, your status is what's your relationship with the people you're working with. And how does that change through the scene, but also what's your relationship to object. So, you know, you can be incredibly high status, but very clumsy or think your high status. 

As Keith Johnston, I think, says in his book - it's been years since I've read it -but I think he says that status doesn't mean necessarily financial gain. You know, you he could be a really, really high status, big issue seller or you could be very, very low status, minor head of royalty or president of the United States. So, it's just how you relate to other people. 

And we're doing it all the time. 

So, my understanding of status - The nice thing about status is all I've got to think is, “What's my relationship to them? Do I think I'm better than them or do I feel better? Do I think I'm prettier, more spiritually aware, in a higher tax bracket, more knowledgeable about a subject?” These are all things that could lead the monkey brain in me to thinking that I'm, in some sense, superior. 

And then, of course, because there's a height there, then that's begging for the comic drop, when you find out. 

I was doing a writing workshop in the Isle of Wight this weekend and somebody reminded me about the Mitchell Webb’s sketch. The guy goes, “It's not brain surgery, though, is it?” Do you remember that?

Lloydie: Oh, yes. Yes. 

Logan: Yeah, I think as Rob goes, “It's not brain surgery, though. It's not brain surgery.” And then the end of this case, they come up and say. 

And also, he thinks he's high status. I love the game when people – and some go completely fontange in it – but high status and low status isn’t interesting in itself. It's when the person is trying to pass themselves off as high status, like the crap teacher you had at school, trying to keep control of the room. Anyway, that’s a little sidebar. Yeah, that's the sketch where he's got the comeuppances when Mitchell comes in and goes, “I'm actually a rocket scientist.” So, the rug pull moment comes from there.

Lloydie: It's clear status is something that we can use in improv. But how important is it, Rebecca Sohn?

Rebecca: Well, I mean, it exists in a scene. Whether you work on it or not, it just is. It is a part of a relationship. And how important it is, is how important you make it. It's another tool in the improvisor tool belt. 

So, to me, it's very important to know that this is an entire world available to me to play in, in a scene. It's a way to relate to my scene partner. It's a way that I can create character. So, it's really important. 

And to me, it's more important just to be aware of it as an option for yourself.

Lloydie: And if we were ranking all the different things in improv, like the fundamentals, the most important, you know, obviously some schools would have like, yes. And as the absolute fundamentals, some would prioritise game of the scene high. Some, you know, wouldn't focus on that. Where for you to status kind of come in like that list of priorities?

Rebecca: But that's a hard one. I mean, I think to me, the most important thing in an improv scene is relationship. And that covers an enormous ground. It's the improvisors relationship to their character or to whatever they're presenting, the improvisors relationship to the other improvisor or improvisors, the improvisors relationship to the space in the room that they're playing in, the improvisors relationship to the audience, and, of course, the reverse of all of that. Within that is status.

So, to me, it's an important part, but you can successfully spend your entire career improvising without thinking specifically about or working on status and know that it is occurring, whether or not you focus on it.

Will: It's one of those things that for some people, it's the key that unlocks everything. And you tell them to be aware of status and suddenly they are playing with a range and options that you've never seen before. And for other people, it means almost nothing. It just seems to have no effect. 

So, I think it's like one of those tools that unlocks acting for some people and means nothing. So, I don't know; it's case by case. To some people, it's crucial. 

I know I read Keith Johnstone's impro book; like I felt like half of it was about status. That was like a big concept. I mean, I'm not a John Johnstone sort of expert, but even a cursory reading of that book like status was all over it. 

And at UCB, it's more just like a little tool that you just kind of use when you want. And it's not essential.

Lloydie: The status part of the impro book is the only bit that I can remember. I mean, I read it, I don't know, 12 years ago or so. But it's interesting because I don't know whether the UCB book talks about it at all, does it?

Will: Very, very little. It talks about it in their base reality section when they're doing who, what, where. And it's a status effects; like how you talk to the other person. And it gives some examples that are like the same line of dialogue, said from a parent to a child is different than a patient to her doctor, for example. 

Like a parent might say, “You're being weird” and a patient would say to the doctor, “Um, excuse me, I don't mean to be rude, but I think that's a little unusual.” That's the only time I think it's clearly mentioned in the manual.

Lloydie: Weird question, but if you had a like a hierarchy of things like, you know, yes and game of the scene being like foundational things, I'd like you'd kind of done a big list of all of the things that you need in improv; object, work, etc, etc. Where would you put status or does it belong with something else?

Will: Oh, gosh. Yeah, I know that some people would put it very high. I'm embarrassed to say I would put it like in my second tier; like my first tier is sort of like, you know, say yes, based reality, unusual thing, commit. And then my second tier is kind of like stuff you use to mix it up and shake it up, you know? And that would be like a stage picture, status, specifics, which I feel is sacrilege. 

And it probably speaks to how I came at improv from a writing mindset first and acting came second to me. You know, I was much more of a ‘what is the right thing to say person’ for a long time. And then much later, I like actually existed in my body. And I think status is more naturally an actor thing.

Lloydie: Will Hines find status more actor leading choice. I wondered how Logan uses it in stand-up and where he would rate it in terms of improv essentials as well. 

Logan: When I'm doing the stand-up courses – because it's only 10 weeks or, you know, or 30 hours or might be six weekends – there's so much to get through that I sort of just do a little bit of breaking down with status on the first or the second session. And it's not the entire session. And then hopefully they've got it. And then, then off they go. 

And sometimes, I have to go, “Well, the thing we did last week do bear that in mind because we can't go back to it. But you're doing it anyway every day. So, just remember it. Just remember it when you're on stage, because it's my reputation on the line, not yours, you little bastards.” And usually, that's that cows them into submission.

So, I think status is quite important. But everything you mentioned, the things where you - I mean, I think – This is going away from status slightly – But I think – I began my book with this quote – You probably are familiar with it – The child psychologist, Winnicott, he was looking at child development, but he said, “All creativity comes out of play.” 

So, this brilliant quote. And everything; everything in culture, on some level, must have come out of play. Even though when they're interviewed in The Sunday Times, he goes, “It's totally hard work.”

Lloydie: I'm going to bring you back to the question, though. Where would you place status in your hierarchy of improv essentials? 

Logan: Oh, really, highly. Really highly, too. But that would be much more succinct, wouldn’t it?

Lloydie: I mean, that's succinct. 

Logan: Yeah. 

Lloydie: Our last episode of this podcast was about accents. And reflecting on the role of status had Rebecca bring us back to the role accents can play in a scene and how they can denote status.

Rebecca: It's so funny, too, to me to be talking about this to you over in Great Britain, because in America, we do this all the time on TV. When we want someone to have status on TV, very often we hire a Brit.

Lloydie: I mean, I am available.

Rebecca: Yeah. And by we, I don't mean me. I'm not hiring anybody. But I mean we, you know, Americans, by and large, perceive people with a British accent as having higher status. It's much more elegant to us.

Lloydie: And I have never been to a British city centre on a Saturday night. That's all I can say.

Rebecca: Well, you know, and that gets into like most of us just hear just one dialect. You know, it's just the British dialect. We've decided that certain people, certain languages, certain accents are high status or low status; it's really typical in America for people who aren't from the south to look at the south and that accent as a lower-status accent. It's not, but that is how we perceive it. 

In that way is this really great tool for an improvisor, too, because, you know, in the moment, you're trying to very quickly establish status, if that's what you're working on. 

And so, the easy reach is for British accents, for a high status. And let's say a Southern drawl for a low status. 

But what makes it really cool and interesting is to then flip that status and have the improvisor using the British accent to lower their own status in some other way; either to say things that are really dumb or to take up less space and to have the person who chose the Southern drawl to actually speak quite eloquently about a topic that is elevated.

Lloydie: So, how does Logan think about status when he's on stage?

Logan: I think the thing I love about status is if you start realizing it – I mean, the example I always give is like the way you walk through customs and airport. That's unconscious, isn't it? Are you happy with that? Are you happy with that slightly tight-arsed feeling? Are you? 

If you're just going in a trance and you're reactive, you'll never be aware of the status games that you're playing, but you're missing out on a whole raft of human communication, if you never think about it or even observe it. 

I mean, so I think it's – it sounds a bit messianic – but I think it does make you a much better performer, but it also makes you a much better interactor with other human beings; a much better communicator. 

Will: Even though I think of status primarily as an acting tool, you can use it as a sort of writing comedy tool. And that's when your like labelled status is the opposite of what you're doing; like a General apologizing or a child taking command of the parent. Like whenever somebody is doing the opposite of what their station says, that's funny. That's irony.

Lloydie: In which case, in this scenario, who is high status? Because you are the expert being interviewed. So technically, I'm trying to get the information from you, but equally, I edit the podcast and host it. So, I decide what eventually goes in it. 

Will: Yeah, what a puzzle. 

Lloydie: Yeah, right?

Will: What a puzzle. I would say. Okay, I'm definitely high status, initially, because you are coming to me for advice and you're saying, “Oh, Will, I want to hear your expertise.” 

Lloydie: Yeah. 

Will: The initial set up is me high status, a you, low. But you are able, at any moment, to switch that status. I just won't be around for it. So, you can exert power over me. And if you do that, it will be funny. 

Lloydie: So, it's a status switch then? 

Will: Yes, it'll be a status switch. If you edit me, like, I don't know. Do it making – like I was going to say, farting – then you would undermine me. And if the audience knew that you did it, after you interviewed me, they would giggle in delight at this low status member of the dynamic having his way with the high-status boob. 

Lloydie: {Farts} I mean, can you imagine me editing fart noises into this?

Will: Not at all. Never. You're too dignified.

Lloydie: I'm British. 

Will: Because I've never – No, no comedian from the land of Britain would ever stoop so low as to use scatological humour. It's never happened. 

Lloydie: We've never done it. It's just not in our nature.

{More farts}

Next time… on the Improv Chronicle Podcast.

Dealing with Imposter Syndrome: Any art form is subjective, and it can lead practitioners to question themselves. But how do experienced improvisers and improv teachers deal with the phenomenon of imposter syndrome? 

If you've been performing and teaching for a while and find it difficult to deal with or have found particular coping mechanisms, get in touch. 

The Improv Chronicle Podcast is produced and hosted by me, Lloydie James Lloyd. You can help a podcast by subscribing and writing us on your favourite podcast app. 

Check out the show notes for this episode to find out about current projects the contributors are involved in. And if you have an idea for a possible episode, get to improvchronicle.com