Six white adults standing in a row looking at the camera and smiling, wearing different costume pieces for a theatrical production, including wigs and feather boas. — Still-frame of the finale of Maybelle Center's 13-minute improv film, "Purloin Pickled Pig's Feet"

The crucial role of Improv Theatre in belonging and connecting with something bigger

An interview with staff member Shane (they/he) and Member Tim (he/him), the "hero" of our improv short, Purloin Pickled Pig's Feet (which you can watch online here!)

Why did you introduce the theatre program at Maybelle Center? There are certainly easier things to do.

Shane (they/he): My colleague Jennifer and I have been friends for a long time. Our whole social group and community were built through theater. So we both have this understanding that getting together to create art through theatre takes a lot of vulnerability with each other and a lot of bravery. But doing that together is such a fast way to build relationships and connections because you’re doing something scary together on purpose.

There are many theatre genres you could have picked. Why did you settle on improv?

Shane: A full community theater production is a two or three-month commitment, five days a week, for two to three hours a night—which doesn’t work for us. We get an hour and a half once a week.

More importantly, we went with improv because we want everyone to be involved and show up however they can. A lot of members can’t show up at every class, so we needed to find a way to include everyone. Improv was really the only way I could find to do that.

I hear “Purloin Pickled Pig’s Feet” is an original work. How did the story come about?

Tim (he/him): Shane and Jennifer both had their notepads and were like, “Give us your ideas.” We sat around the four couches building the show. The ebb and flow of the discussion was fun. For how short the 13-minute film is, it took well over 100 hours.

Shane: We just we just kept asking questions. “Okay, so this is happening. What should happen after that?” And then we would put it on its feet by acting it out and improv their way through the storyline, over and over again until we filled all the gaps.

White woman smiling at camera wearing long sleeve yellow sweater and holding clapperboard up to show the scene and shot number of filming — Jennifer (she/her), staff member, in the middle of filming

White man holding up glass vase or tube to eye, looking through it, while wearing red bandana, cow-print vest, and cowboy hat infront of painted red backdrop of dessert scene with two cacti — Tim (he/him), Member, playing role of "hero" in film

White man with glasses and blue long-sleeve shirt under dark green overalls smiling at the camera and standing next to a tripod, infront of a print background of green trees — Shane (they/he), staff member, in the middle of filming

How did you witness relationships growing between theatre members?

Shane: It took time. We started with a lot of improv games, which is really scary. And it was very clear from the start who was more apt to jump on stage and take chances in front of each other. But as more people were vulnerable, took chances with each other on stage, and supported each other, the stronger those connections were. The group was very strong by the time we started shooting.

Q: What have you learned in theatre that you can apply to other parts of your life?

Tim: The diversity I’ve learned, the camaraderie, the coming together, and just being human beings. You’re able to experience what togetherness can do. For me personally, it’s an opportunity to do something that matters to other people. It’s something I was looking for. And I think that was true for a couple of people—the feeling of making a difference. I tend to be a private person, but I’m not here. I’ve learned some stuff about myself, and I’ve surprised myself—especially when I keep watching it. Yeah, I’m critiquing myself—we do that to ourselves. But it’s a growing experience for me, and it’s good.

Shane: So much empowerment happens when you create a supportive environment with the end goal of telling a story. You have to face your fears in front of each other, learn how to take chances, and how to trust your intuition. With improv, whatever comes out of your mouth is right. You have to make space to be a little messy, to say the wrong thing, and just keep moving.

At the same time, there’s also this hierarchy of theatre. But it’s not a hierarchy of power but more of a hierarchy of roles. We each have a piece of the pie that together makes this big picture—the actors, director, stage manager, stage crew, set and prop designers—all of us are important.

Q: Do you have a favorite memory from making the film?

Shane: At our public viewing of the film, one of our cast members, Jennifer B, saw the film for the first time. Her reactions to seeing herself on film were so amazing, I was watching her instead of the audience!

Tim: I have a lot of them. The empowerment and accolades we gave each other. Getting over ourselves and just doing something. But one of my favorite memories is how Maybelle Center staff not involved with theatre would regularly poke their head in and often sit and listen to us. And we always say “hi” to you.