Join us for our 5th Annual Fall Ball happening Saturday, November 8th at 9pm.
Students and friends of students are invited to get dolled up in their best party clothes and join us for a night of laughs, prizes, food and one crazy dance party!
The night starts off with a talent show at 9pm in the JCB featuring hilarious, dramatic and musical acts by some of The Training Centre's students, grads, faculty and alumni.
After the show follow us to the Charlotte room (19 Charlotte St) where the party really gets going. We'll have food, drink specials, great prizes and one crazy dance party with Dj Josh Murray!
Tickets ($5) on sale now at the front desk of The Training Centre.
This is going to be a great night! See you there!
Oct 30 2014
Join us for our 5th Annual Fall Ball happening Saturday, November 8th at 9pm.10/30/2014 Comments (0)
Oct 30 2014
Written by Christa Nannos
The Second City Alum, Ithamar Enriquez, has created his own, one-man show called, Ithamar Has Nothing to Say, and though he doesn’t say a single word throughout the show, he captivates the audience with body language, music, and impeccable characterizations. Having moved to LA a few years ago, he quickly realized the benefits of creating his own work. I had the privilege of interviewing Ithamar to get the inside scoop on the show, and to hear how much he does, in fact, have to say about his creative process and advice for upcoming comedians.
CN: What was your inspiration behind the show?
IE: This type of work is something I’ve always been drawn to. Since I was a kid I really loved all the physical comedians. Charlie Chaplin, Laurel and Hardy, Steve Martin, Jerry Lewis, and, of course, Mr. Bean who is a huge influence. I remember seeing Rowan Atkinson’s One Man Show on video, and that changed everything. There are a couple of scenes in that show where he doesn’t speak, and I thought to myself, ‘Oh my gosh, you can actually do this’. Once I started getting more into sketch and improv, I tried to figure out ways I can create sketches that aren’t typical. Physical sketches, musical sketches. So this show has been in the back of my brain for a very long time.
CN: Why is it so important to create your own work?
IE: Once I got to LA, I realized it’s very easy to sit back and ask why certain things aren’t happening for you as an actor. ‘Why aren’t I getting an audition? Why aren’t I booking the role’? So the cure for that was to write my own show. As an actor you literally have to create your own job out here. So I decided to write this show. I knew it would be a challenge and really fun, and it’s been all those things. The very first version of the show was 25 minutes long. And since then it’s grown into a 50-minute version and now we’re also working on a web series. In the past year I have worked on it creatively and now see more doors opening for me as well as opportunities for it to be exposed to a bigger audience.
CN: Your characters never speak in the show but are extremely physical. How did you train for this show?
IE: By watching those who did it before me. I always tell students, when you’re in this work you have to throw yourself in completely. Watch every movie, read every book, do anything and everything that has to deal with comedy. It really makes me sad when I mention Buster Keaton, the Marx Brothers or Laurel and Hardy, and students will have no idea who I’m talking about. If you don’t know those people you should not be doing comedy. You can take every class in the world that you want, but if you’re not throwing yourself into this world and making it your life, then you’re not going to benefit from it. I think that’s what I’ve always done.
CN: What came first, the music or the characters?
IE: It depends. Sometimes I would think of a funny, physical bit and then try to find the perfect piece of music that would try to fit that. There’s one scene I do with a puppet, and at first that scene had a completely different song. By the time it got to the show I changed the song, knowing the bit wouldn’t change that much. For another scene I knew I wanted to do something to the song “White Rabbit” because it’s such a weird and funny song with such a great build, so the bit came after the song.
CN: How did you come up with your bits? Did any of them come from real life experiences?
IE: I think just like any show, some of it comes from personal observation, and some of it comes from just sitting and brainstorming ideas. I think Jazz Face came from noticing how people react to Jazz music. And then the Luchador scene is basically what I was doing as a kid. I’ve always loved wrestling and Luchador masks, so that scene was inspired from that.
CN: You tackle so many variations of body language and physical movements in this piece; you really stretch the audience’s imagination and change all expectations of what might happen next. Was it difficult coming up with so much diverse physicality?
IE: When you give yourself the task of coming up with a 50 minute show where you can’t speak, you have no choice but to vary it up. Just like a standard sketch show will have blackouts, some political stuff and relationship scenes, I had to translate that into a show where I didn’t speak. Some of the scenes have to be high energy, some of them, a little bit smaller. For some of it you use other parts of your body, ‘Oh, cool! I’ll use my hands and only my hands’. Some scenes you play multiple characters and some you just play one character. And variation in music. Making sure I’m hitting a bunch of different time periods. For the most part my taste tends to be really, really old. So I thought ‘Ah, I should throw some Daft Punk in there’.
CN: I love how you use some improv, and audience participation in the show. Why did you decide to layer in that art form, and did you find it difficult?
IE: It was another challenge for me. Can I do pieces that are improvised while not speaking? So I came up with this scene that is mad-libs like, where the audience gives me suggestions and then I act it out. Here’s the thing: I love this type of work so much that I can sit and think about it forever and still come up with ways to do the things that standard comedy shows have, but without speaking.
CN: Can you tell me a little about the web series idea?
IE: It follows a curious, whimsical character as he experiences life without speaking. Frank Caeti (director of the live show) and I are writing and producing it along with Maker Studios, Principato Young Entertainment, and Key and Peele. Some of it is taken directly from the live show, and some of it has been written exclusively for the web series. This character experiences everything from a hipster coffee shop to a jazz club to his thoughts that wander when he’s at a laundromat.
CN: Ithamar Has Nothing to Say is a one-man show, but how important was it to have a creative team to collaborate with, such as working with your director, Frank Caeti?
IE: Once I knew I wanted to do this show, there was no question in my mind who I wanted to direct it. Frank and I have known each other for so long, and we’ve been working together for so long that it’s such a great, fun, working relationship. He is so smart when it comes to comedy. He’s such a good director because he’s such an amazing performer and writer. I couldn’t and wouldn’t do this without him.
CN: Can you give some advice to upcoming comedians who might want to create a one-man show but don’t know where to start, and who want to get seen more but are afraid of failing? What are some things you learned during your process of creating, Ithamar Has Nothing to Say?
IE: First thing I’d say is you have to see a lot of comedy and do a lot of comedy. There’s something to be said about creating your own work. Taking all of the stuff that you’ve learned, and really going out there and writing something for yourself. I remember watching this documentary about comedy, and the one thing that remained constant was everyone saying, ‘The whole time we were writing, we were just writing to make ourselves laugh’. Trust your own comedic instinct and just try it. Don’t be afraid of it failing because the good thing about it not working is that you figure out a way to make it work. Give yourself the opportunity to try it somewhere in front of people. You have to be willing to throw yourself out there without a net. Otherwise you won’t succeed and you won’t create. Also know that you’re never done with something you create. There’s always stuff to work around with and a year from now who knows where this show will be? Maybe I’ll be in another show where I’m talking non-stop. You just never know what’s ahead. So do the thing that you’re excited about now and trust that it’s going to grow into something else and might lead you in other directions.
ITHAMAR HAS NOTHING TO SAY can be seen every Saturday at 8pm through Dec 20th at Second City Hollywood. TICKETS The Second City Studio Theatre is located at 6560 Hollywood Blvd. LA, CA 9002810/30/2014 Comments (0)
Oct 24 2014
TBS has just given pilot orders for "Wrecked," the single-camera comedy from SC Comedy Study alums, Justin and Jordan Shipley. Congrats guys, can't wait to see the pilot!10/24/2014 Comments (0)
Oct 23 2014
"The Mayor's Aide: Free Speech" by The Second City Network will be screened Tuesday night, November 4th as part of the Midwest Independent Film Fest at Landmark Cinema. Congrats to SCN and please join them for this exciting evening!10/23/2014 Comments (0)
- Oct 14 2014
Oct 14 2014
The Second City partners with The Hubbard Street Dance Company for "The Art of Falling" with the preview tomorrow evening and shows the rest of the weekend. This is a limited run, ending Sunday October 19th. New City Stage interviewed a few ensemble members for more information:10/14/2014 Comments (0)
"Without giving too much away (which is pretty much impossible considering the fragmented rehearsals) the structure of the show loosely follows a Second City mainstage production: two acts with intermission, three separate but interwoven plot lines interspersed with short vignettes. A writer/choreographer team developed each thread, and the score, by Julie Nichols, includes a lot of original music performed live on stage along with pointed, referential excerpts of pop songs. The theme is falling—in love, primarily—and requisite risk-taking to make it happen."
To read the entire article, click here.
Oct 2 2014
In an unprecedented partnership, Goodman Theatre and The Second City join forces to present “comedy gold” (bePortland) with the holiday send-up Twist Your Dickens, Or Scrooge You by former The Colbert Report writers Peter Gwinn and Bobby Mort.
Directed by Artistic Director of The Second City Training Center Matt Hovde, this “riotous havoc” (Los Angeles Times) finds Scrooge and Tiny Tim hopelessly mixed up with characters from the Peanuts holiday special, the island of misfit toys and even little orphan Annie, all in The Second City’s trademark improvisational style. Twist Your Dickens runs December 5 - 28 in the Owen Theatre (opening night is Thursday, December 11).
Tickets ($15 - $45; subject to change) are on sale online now or you can order by phone at 312.443.3800 or at the box office (170 North Dearborn). The production complements the Goodman’s 37th annual production of A Christmas Carol, which is directed by Artistic Associate Henry Wishcamper in the Albert (November 15 – December 28).
“We’re thrilled to partner with The Second City as part of our 90th Anniversary Season,” said Executive Director Roche Schulfer. “A Christmas Carol has been a longstanding tradition at the theater, and we look forward to the humor and surprises that come with The Second City’s irreverent interpretation.”
"Adding The Second City's Christmas Carol: Twist Your Dickens, or Scrooge You! to their holiday schedule alongside the time-honored production of A Christmas Carol is a perfect example of what makes the Goodman a forward thinking and innovative Chicago institution," states Andrew Alexander, CEO/Executive Producer of The Second City. "We're honored to partner with our friends at the Goodman this holiday season."
The seven-member cast includes:
- Francis Guinan (currently in The Night Alive at Steppenwolf Theatre Company) as Scrooge
- Frank Caeti (MADtv) as the Ghost of Christmas Past
- Writer Peter Gwinn as Jacob Marley
- Sayjal Joshi (The Second City’s Incomplete Guide to Everything) as Tiny Tim
- Beth Melewski (The Second City Guide to the Opera and Chicago’s Cash Cab) as the Ghost of Christmas Present
- Robyn Scott (Ask Aunt Susan) as Mrs. Cratchit
- Tim Stoltenberg (The Second City’s Incomplete Guide to Everything) as Bob Cratchit
Peter Gwinn (Writer) was one of the original writers for The Colbert Report, for which he received two Emmy Awards. Other written works include Moulin Scrooge! (WreckingBall Theater Lab and iO Chicago), Listen Kid! (UCB Theater and iO Chicago), PeterGwinn’s The Confidence Ladder (UCB Theater) and The Awesome Show (iO Chicago). He is a founding member of Baby Wants Candy, a troupe that improvises one-act musicals. Other performer credits include ASSSSCAT (UCB Theater), The Armando Diaz Experience (iO Chicago), The Second City Touring Company and Late Night With Conan O’Brien.
Bobby Mort (Writer) has won an Emmy Award for his work on The Colbert Report and performed as part of the ensemble People of Earth (iO Chicago) and sketch trio Maximum Party Zone (iO Chicago). He was also the screenwriter for Circle of Pain and Beatdown.
Matt Hovde (Director) is the Artistic Director of The Second City Training Center. His directing credits at The Second City include Let Them Eat Chaos, Sky’s The Limit (Weather Permitting), Second City’s Game Night, Studs Terkel’s Not Working (Jeff Award), America: All Better; Rod Blagojevich Superstar!; and Between Barack and a Hard Place. He has directed productions for The Second City in Atlanta, Dallas, Detroit, Denver, Baltimore, Vienna, Brussels and others. He previously directed Twist Your Dickens at Portland Center Stage in 2013. 10/2/2014 Comments (0)
Sep 29 2014
Congratulations to SC Toronto for an incredible opening night! Last night their latest Mainstage revue, "Rebel Without a Cosmos" opened to rave review. It was said to be "sheer comic bliss: as funny as you could dream of, but also full of real wisdom and razor-sharp satire."9/29/2014 Comments (0)
What more could you ask for...oh maybe to also get four out of four starts -- which it did!
Click here for the entire review from the Toronto Star.
Sep 26 2014
The holidays are on their way and The Second City has teamed up with The Goodman Theatre for "Twist Your Dickens or Scrooge You" playing at Goodman for the month of December.
An irreverent send-up of the holiday classic, Twist Your Dickens or Scrooge You is written by former The Colbert Report writers Peter Gwinn and Bobby Mort and features Second City's trademark improvisation. Scrooge, Tiny Tim and those know-it-all ghosts find themselves hopelessly mixed up with characters from the Peanuts holiday special, the Island of Misfit Toys and even little orphan Annie in a heaping host of holiday hilarity for all.
Tickets are on sale now and you can either order them by phone by calling the Box Office at 312.443.3800 or ordering online!
9/26/2014 Comments (0)
Sep 24 2014
Andrew Alexander, Executive Producer & CEO of The Second City, Inc., will be honored for his contributions to Chicago’s cultural life by the Chicago alumni association of Phi Beta Kappa, the prestigious national academic society, at its Annual Dinner and Scholarship Benefit on Friday, November 14, 2014 at 6:30p. The event will be held at The Casino (195 E. Delaware Place) and is open to the public. Tickets and additional information are available at www.pbkaca.org.9/24/2014 Comments (0)
Past recipients of Phi Beta Kappa’s Distinguished Service Award include Lois Weisberg, former Chicago Commissioner of Cultural Affairs; Project Exploration’s Paul Sereno and Gabrielle Lyon; the Lyric Opera of Chicago’s William Mason; the Art Institute of Chicago’s James Cuno; and Arne Duncan, former CEO of the Chicago Public Schools and current U.S. Secretary of Education. The full list of past recipients can be found at www.pbkaca.org.
In addition to presenting the Distinguished Service Award, Phi Beta Kappa Chicago annually awards scholarships to outstanding CPS high school students and advocates intellectual pursuits and the benefits of a liberal education.
Andrew Alexander is best known for his leadership of The Second City theatre company and the hit television show SCTV. Alexander is a major presence in the entertainment scene and also works as a theatre, film, and television producer.
Alexander was born in London, England. He studied at Tri-State College in Indiana and Ryerson University in Toronto. Working as a cab driver, truck driver, speakeasy operator, waiter, tree salesman, marketing manager, ad salesman, magazine editor, and producer in the alternative theatre scene in Toronto positioned him well for a career in the Comedy Business. That chance came in 1974 when he became the head of The Second City in Toronto.
As leader of the Toronto theatre, Alexander produced and developed content for live theatre shows in collaboration with the legendary performers of the 1970s: Gilda Radner, John Candy, Dan Aykroyd, Andrea Martin, Catherine O’Hara, Eugene Levy, and Joe Flaherty, among others. Two years later, he forged a partnership with Len Stuart to create The Second City Entertainment Company, whose first production was the groundbreaking television show SCTV. After almost a decade developing the Entertainment Company, Alexander and Stuart became owners of The Second City Chicago in 1985. Since then, Alexander has actively led The Second City in Canada and the United States for over thirty years.
Alexander has produced or executive produced over 200 Second City revues in Canada and the United States. Under his leadership, The Second City has created innovative revues that have inspired generations of comedic creators. Over the past 35 years, The Second City has made its mark by operating resident theatres and/or improv training facilities in Chicago, Toronto, Detroit, Las Vegas, Los Angeles, Edmonton, London Ontario, New York, and Cleveland. Never forgetting the company’s Windy City roots, The Second City has at one point operated three resident theatres in Chicago alone.
During Alexander’s prolific career as a television producer, he has co-developed and executive produced more than 185 half-hour shows and produced over 150 hours of television comedy for SCTV. Throughout the length of SCTV’s run, the comedy series garnered an ACTRA Award, two Emmy Awards, and 13 Emmy Award nominations.
Alexander has also developed television programming for numerous networks such as ABC, CBS, NBC, Fox Television, Comedy Central, HBO, Showtime, A&E, and the CBC. Alexander has had co-production deals with MGM Television, Imagine Films, Disney Studios, and United Artist. He has also produced movies and television shows with some of North America’s brightest stars including Ed Asner, Dan Aykroyd, Jim Belushi, Bill Murray, Chris Farley, Bonnie Hunt, Shelly Long, Andrea Martin, Steve Carell, John Candy, Mike Myers, Catherine O’Hara, Harold Ramis, Martin Short, Stephen Colbert, and Tina Fey.
Recently, Alexander served as Executive Producer for Second City’s Next Comedy Legend on CBC (2007). He was also executive producer of the Canadian feature film Intern’s Academy (2004), written by Dave Thomas and featuring Canadian comedy virtuosos Dan Aykroyd, Dave Foley, Dave Thomas, and Maury Chaykin.
Alexander was a founding shareholder of the Pay Television service Super Channel and also served on the Board of Directors.
Alexander serves on the Columbia College Board of Trustees. He is Chair of the Gilda’s Club Toronto Honorary Board and acts as an Honorary Member of the Chicago Gilda’s Club Board. Alexander has also served on the Board of the League of Chicago Theatres and the Canadian Walk of Fame. In 2008, he coordinated a reunion of the cast of SCTV in Toronto and launched the Alumni Fund, a fund that in its first months raised over $200,000 to assist actors and support staff during times of illness or economic hardship.
Alexander has received numerous awards including the Canadian Comedy Awards Chairman’s Award, Gilda’s Magic Award from Gildas Club, and the League of Chicago Theatres’s 2009 Artistic Leadership Award. That same year, Alexander was named Chicago Tribune’s Chicagoan of the Year. He has also been featured in Crain’s 2011 Who’s Who Chicago Business and Chicago Magazine’s 2012 Power 100.
Since acquiring The Second City Chicago in 1985, the company under Alexander’s leadership has collected 148 Jeff Award Nominations and 28 Jeff Award wins. Since 1975, Second City Toronto has been nominated for 19 Doras and 2 Dora wins. On behalf of The Second City as a whole, Alexander has accepted the Spirit of Innovation Award 2011, the NAB Spirit of Broadcasting Award 2012, Lifetime Achievement Award from Just for Laughs, and the 2012 Big Shoulders Award from the Chicago Film Critics.
In his current capacity as CEO and Executive Producer of The Second City, Alexander ensures that Second City’s empire of funny will stay on top.
Phi Beta Kappa
The mission of Phi Beta Kappa is to inspire enthusiasm for pursuits of the mind.
Individuals are elected to Phi Beta Kappa as a result of the intellectual curiosity, discipline, rigor, and achievement they exhibit over the extended course of a liberal education.
Providing such persons with a locus to apply and further develop that mindset, the Phi Beta Kappa Association of the Chicago Area advocates intellectual pursuits and the benefits of a liberal education. Through diverse activities drawing upon the resources of metropolitan Chicago, our goal is to inspire enthusiasm for pursuits of the mind, a sense of discovery, and independent judgement.