Madeline Evans - Part 2

In part two, Madeline and I dive into a packed round of community questions from friends and students across Atlanta. Madeline shares what she'd change about improv in Atlanta, the biggest mistake she sees new improvisers make, how she creates and casts her shows, and what's going on in her mind in the first ten seconds of stepping on stage.

We also get into what separates a decent improviser from a truly magnetic one, how to support a scene partner when you have no idea what's happening, and why intentionality is the secret ingredient to a great scene. Madeline talks about wanting to explore clowning, how diversifying your interests outside of improv makes you better on stage, and why she swears by The Artist Way for building creative confidence.

There's a whole section of the episode dedicated to positively shouting out members of the Atlanta improv community. We talk about Malik, Kim Richardson, Joseph Lopez, Cecil Walker, Forrest, Lauren Staten, Brad Lasky, Jessica Gansky, and so many more. Madeline also opens up about the unexpected journey that led to her solo show Always the Goat, from writing it after a breakup to selling out five shows at Dad's Garage.

She closes by reading her full list of 2025 accomplishments out loud as a reminder to all of us to track our wins, practice gratitude, and celebrate ourselves. And yes, we did eventually get to the Gollum impression.

Madeline's plugs:

Website
- https://www.madsjoy.me/

Instagrams:
- @madsimprov
- @roadtripimprov
- @noalibi_improv
- @albertonedgewood

Follow us on Instagram - @thejoyofimprovpod

Support the podcast with a small tip - https://ko-fi.com/thejoyofimprov

Email any questions or ideas to joel@thejoyofimprov.com

Host: Joel Camargo - Insta - @joelc1225
Audio Editor: Matt Issacs - Insta - @mattisaacs20

Transcript

Community Questions Begin

Joel 0:09

Community questions. You got you got the most community questions so far out of every anyone.

Madeline 0:17

There's only like four.

Joel 0:21

Oh, four, five, six, seven, eight, nine.

Madeline 0:23

That's a lot of holy shoot.

What Would You Change About Improv?

Joel 0:25

I thought you were talking about the end of what? The hell? I'm just gonna go. Here we go. If there is one thing about improv you wish you could change, what would it be? And this is submitted by Kim Richardson.

Madeline 0:40

A friend who could just ask me. I mean, all these are friends. Almost all these are friends. If I could change one thing about it. Oh man. I think what we've been saying about like putting Atlanta on the map a little bit more, um, like bringing industry here to see all of the talent, I'd love that. Um I for Atlanta specifically, more theaters would be awesome.

Joel 1:08

Yeah.

The Biggest Mistake New Improvisers Make

Madeline 1:09

And oh my gosh. Uh I also like just more of the awareness of it. Uh it's becoming more mainstream with dropout, which is really cool. Yeah. And the accessibility of the podcast and stuff. But like I would love it if people who are local who go out and pay to see Ben Schwartz and Dropout, and they drop like a hundred bucks to see these people. I wish they knew that that stuff that is like that that come see us, come see us every week. Yeah, that there's stuff happening in their backyard at all these places around town. And yeah, so I just that awareness. I love that. I love that. Okay. This question comes from Jessica Gansky. What's the biggest mistake you see new improvisers make and how do you correct it? I guess there could be multiple uh answers to this one. Um fortunately, I haven't encountered many people punching down. So we've been doing a good job at creating a community of support, and I think that's just like maybe an awareness across people in general. And for someone who doesn't know, what would what would you say punching down means? Uh making someone's identity the joke. Um yeah, mocking people, not empowering, punching up, lifting up certain identities. Fortunately, I haven't encountered much of that, though it does exist. I don't want to deny that that doesn't exist. Um, I've been working with a lot of people who are a little bit more experienced, so maybe that got drilled out of them in level one or so. Um but I think allowing people to be vulnerable, people don't really access that vulnerability and tap into their emotions because it's scary and because the world again tells us that we can't feel that way. And so letting yourself be affected and feel and kind of realize that improv is more than just comedy, it is theater. And so if you bring that theatrical aspect to it, the uh the scene itself will be more grounded and the audience will latch on to it and be more invested, and you'll be more invested because you care about it rather than doing the gimmicky stuff.

How Do You Create, Cast, and Pitch Shows?

Joel 3:28

Yeah, love that. Love that. Thank you for your question, Jess.

Madeline 3:32

Okay, what is oh, this is like three questions. Let's see. What is your process of creating and casting your shows and what has pitching ideas been like by Brad Laskey? Let's see, maybe this one was answered by the podcast already, though. Oh, Brad. Yeah, I feel like we talked about creating your shows. Oh, you know Brad Lasky? Yeah, also a former student. There you go. Love you guys. There you go. Uh creating and casting shows. Uh, I just if you see something that you want to do, make it happen, right? Like all of the forums and shows that I have, it's because it's formats that I really love and um and styles that I want to play and access in myself. Um and then putting the fun spit, what would I like to see? Um, what would help grow the show? So, like something like Road Trip, like featuring guests, like that taps into an audience that I might not normally get. So, what will help sustain and grow the show? And then as far as casting, yeah, we did talk about that a good bit on the podcast. A good bit. Uh just like who uh who is working hard, who's exciting me, who's somebody who uh offers a certain style that would benefit the show, which type of show also would support their style too. And then like you're forming a cast, an ensemble, so who compliments each other while also keeping in mind diversity and um diversity in all sorts of elements, including skill set and also like whether or not they're a veteran or they're newer. Uh it's a lot of things to think about, and I think about it all the time. Not easily. Like the other night, uh I uh the other night, I uh the other night it was like 2 a.m. and I like turned to Nate all of a sudden and I was like, is June Pride month? And he was like, Are you casting road trip right now? And I was like, Yes. So I'm just always thinking about it. Sure. Yeah, and it's and that's great. It's you need to be aware of that stuff too. Just being aware of that, I think being conscious of that is a part of you also bringing your kindness and intentionality into producing your shows. Yeah, uplifting different voices, exactly. Yeah. Uh and then there was there a second part to that. Uh the second part was in what has pitching ideas been like? I have pitched ideas to some theaters and leaders, and the in their uh programming maybe it didn't have uh space for it. So um I just made it happen somewhere else. So just yeah, make it happen. If you believe in the idea, then it it can

How Road Trip Landed at Dad's Garage

Madeline 6:17

happen.

Joel 6:17

Always be pitching. I mean, that's how road trip you pitched it at dad's.

Madeline 6:21

Oh, road trip happened at dad's because um, well, it was happening at Dynamic, and I had Tim on it at one point, but it was really Amanda Lee who had these BYOT nights. Oh, yeah. And then you yeah, so you had to uh bring your own team. Uh you like applied for it, and then people had a residency. And so like Tipsy Zone got a residency, Measure Island, Red Pill Players, basement party, and Road Trip. And Road Trip's the only one that kind of kept coming. So um it was through that that it happened, and then I guess uh Tim and Amanda were really the main reason. And then I've just been really fortunate that um John has renewed the contract uh each each um quarter, or I don't even know how uh six months. I I don't know how long it usually is, but yeah, each quarter, I guess. Yeah, so very fortunate. So if you produce a good product and quality and you're and if you keep driving at it, people will come and people will want to be a part of it too. If you build it, they will come. Religious. Oh no, that's that's uh um field of dreams. No way, yeah. Field of dreams. The guy builds the baseball field on his farm or whatever. And they came. Yeah, and the voice. So we just need to build a theater, yeah. Too hard. Oh, but as far as pitching, I did like my solo show.

Pitching a Solo Show

Joel 7:42

Oh, yeah.

Madeline 7:43

Yeah, I uh so that's just a whole different kind of like situation. I was I'm very fortunate to be a company member at Dad's. I teach level one and level four there. And so as a teacher, I get I'm a company member, and if you're a company member, you can pitch shows. And so I was really nervous to pitch my solo show in 2025. I'd written it in 2023, and I they were like begging people to pitch, and I was like, okay, if nobody's gonna pitch, then I I guess I'll do this thing. So I messaged Eve and I was like, is this even good? And she was like, I will actually direct it. And so uh for the pitch itself, I just was like, This they had a lot of requirements of how does this fit with the mission? What does it offer like the community? What kind of um there just was like a lot of questions that you had to answer, and so I I in my pitch just like answered those questions and then I performed

A Scene That Lives Rent-Free in Your Head

Madeline 8:35

a little bit of my stand-up to kind of give uh a taste of my voice and and it got voted on and then selected for the season. So I yeah, I was very lucky for that. So I guess when you're pitching, just like what's your voice that you're bringing and what's the value that you're bringing to the space? I love that. Thank you, Brad. What's a scene that lives rent-free in your head forever by Lauren Staten? Oh. An improv? There's so many. Yeah. I bet if you started over years too, there's a lot of new stuff. I bet if you started recounting like certain shows, I'd be like, oh my gosh, yeah, and then that happened. Um I think the first thing that popped into my head was well my sister will quote scenes that I did when I was younger, like uh in college and stuff. I'm a very like innocent person, so I was even thinking about like my upbringing too, like kind of the first time you get laughs when you're doing improv. I remember in ninth grade, I was a birch tree, and I was like, I'm not your birch, I'm that guy's birch, and everyone was like, Oh, haha, that's funny because it's the B-word. I just was saying birch, but I guess I was like clever and like I didn't realize I was clever. And then the same thing, like another show, someone said instead of chum bucket, they said cum bucket, and they thought that was so funny. Again, I it went right over my head because I guess I'm a little innocent, but like they were all like, Oh, that's hilarious. So those things, um, like just moments of like unintentional uh Freudian slips. Uh, but uh the thing that came to mind was uh when we were six kids at relapse, Scott Adsid played with us and he played a fetus in someone's body, and that was really, really funny. Also, Carl Tart on a hoverboard during DCM in LA was really fun. Uh the first time I ever saw Big Grande. Oh my gosh, the first yeah, just first time I saw Big Grande, uh Brian Stack, um, not improv, but I saw him improvise with Scott Adset at DCM, and that was incredible. He wrote for Conan, and he has just like Conan, like uh he had this salesman character where he's just very slapstick, and that like sometimes comes to mind. Um, oh, and then sorry, I I don't know, I don't know the answer, but things that like I watch something I do watch a lot is Big Grande's live on set, and like I'll quote that a lot. So that's something that I guess lives rent-free in my head. Live on set is where they like uh they get um they put them all in costumes and on a set and they don't see what they look like, and then they have to improvise, and it's really delightful. If you've been my student, I've sent you that link. You should watch it.

How to Support a Scene Partner's Unexpected Choice

Joel 11:34

I've seen it, it's good.

Madeline 11:36

I even said to Drew Tarver when I met him once, I was like, I love live on set, and he was like, What you've seen that? So, like it impressed him, which is so cool. Nice. The next one comes from Forrest. Oh, every single person, I'm just like, oh. How do you stay in a scene when you have no idea how to support your scene partner's choice? That deer and headlights feeling is all too common, and sometimes it's easy to feel stuck when your partner throws you a curveball. We kind of talked about this earlier. Yeah. Love something about it, feel strongly about it. Uh, confess something like how you feel about what they're doing. Just go to how you feel. Uh, because then they'll like, and if you treat them like as a person too, like it might ground them as well. Of just like, hey man, what's going on with you? Or like give them a gift of like, did you and Char Charlotte break up or something like that? Just something that they can react to too. Uh, don't panic. Um, I know it it's happens, but yeah, uh, love it, love whatever so fiercely, make it look like the best thing ever, react strongly, I think would be the advice. Yeah, I gotta, I gotta go back to a jam. Let's see if I can put this into practice. It's been a while. I mean, last week with the kickers jam. Oh, that was great. So fun. It was so fun. It was wild and fun. It was so fun. The person just on the sideline, they were doing a group scene, and the person on the sideline just was like, huh, they're on a boat. And then I was like, I was like, hell yeah. This is fun. Yeah. So fun. That was so good. Um, okay, what do we got here from Cecil Walker? Uh, what is it about you that seems to work so well on an improv stage? Hey, this is

What Makes You Work So Well on Stage?

Madeline 13:21

a compliment.

Joel 13:21

I don't know.

Madeline 13:22

This is actually this is just a compliment. What? Yeah, what is it about you? That is so awesome and works so well. That's really kind, Cecil. You're a very kind person. You're really pulling off the mustache right now. Um that's really sweet. And you know what, Cecil? Someone has really sung your praises to me lately, Will, right? Um, which is really kind. We should all say the nice things people are saying behind our backs to each other. Um, that's really kind. I think something when I was at the I.O. intensive, they did this thing, which actually Six Kids Improv Athens used to do, where you have someone go on the front and everyone says something really kind, like, what do they do well? And then people are like, what do they need work on? What could you challenge yourself to do more? Like sandwich it kind of um, which love doing that with Six Kids and Improv Athens in the past. It was like, you're really great at characters um at I.O. And it's something that I I do think I do really well. They called me a Swiss Army improviser, Swiss Army knife improviser, like I can fit myself into any situation. Um, so I think it it's that. Like I I really want to be there, I really care, and I just wanna that's I don't know, that's a really nice thing to say. I don't even know how to answer it, and I'm getting in my head about it. But I I feel like that the Swiss Army reference, I feel like um says a lot, speaks a lot because I feel like you do something I've noticed about you and that I love about you is that it doesn't matter what your scene partner gives you, what kind of energy they have, doesn't matter. I've seen you turn a scene into gold with whatever your scene partner gives you. And I feel like Swiss Army knife. I think it's like you know what tool to pull out when, when it's appropriate. That's really kind. So, like I think that's accurate. I think it helps that my background also was so like different types of styles, and that's also how I teach. I teach a little bit of annoyance style, like F the Rules, I teach IO, like a little bit of I.O. And of course, like I haven't taken full-room classes there, but I've like read and obtained as much as I can with my limitations. I also pour pull from UCB. I also pour pull from per per Yeah,

The Value of Learning from Different Schools of Thought

Madeline 15:37

you pour from it.

Joel 15:37

You pour your whole being.

Madeline 15:40

I pull from Johnstone, like I'm pulling from all these different schools of thought, and I think when you're able to access all these different philosophies, and that's why I think it's so important to learn from different schools of thought as well. You can play anything, you can play any format. And I believe that about myself too. Like it's so interesting, like having to have to believe in yourself. So having to have to believe in yourself. Well, like, because I I do believe I like like I said earlier, like you belong in the room. Like, I do believe that I can play in any form and I can do well at it. Uh, it's just like, give me that chance though to do so. You have to kind of amp yourself up to do that and to believe that. Um, but yeah, we all we have to be a little bit brave to do what we're doing. It's so scary. It's so yeah, yeah, it's so scary. It's very vulnerable. Yeah, 100%. Um, thank you, Cecil, for the question. Um Cecil dropped another one. Um let's see. What makes a good improv scene good? Of course, besides being funny, I think that's trying to ask what oh, maybe he's just talking to me here. Hold on. Of course, of course, besides being funny, I'm just gonna read it how it is. I think that's trying to ask what quality separates the okay from the way better than just okay. In music and a lot of art forms, I think the answer is intentionality. Like there's purpose behind any and all of the pieces. I think he's got it. You got it. Yeah, I think you can equate that to music to improv, like the intentionality when we're like, okay, we're seeing this this scene, this slice of life for a reason. Why are we seeing this scene? So why are these characters feeling the way that they're do feeling the way that they do? Why are they interacting in this way? Why do they feel this way towards their partner? So the why the intentionality. And I also think like the lack of panic too, like like taking letting a scene breathe, taking your time in it, and that intentionality, that care. Because yeah, if you're caring about it, the audience cares about it too, instead of going through the motions.

What Makes a Good Improv Scene Good? Intentionality.

Joel 17:51

I love that. I love that. Got another one

What Else Do You Want to Explore? Clowning, Dance, and More

Joel 17:54

from Kim.

Madeline 17:54

Okay, again. Yeah, we could chat. You all are my friends. This is so sweet. Friends, this is so cool. Besides improv, what else do you want to be exploring? Oh my gosh, I love that clown. Oh, clowning. Yes, I'm gonna do it. So you're growing Glenn clown. Yes, oh my gosh. So cool, uh, so cool. Like a lot of the people I have worked with in the past who were really in their head, once they started doing clowning, it unleashed something in them. This confidence and this fear of failure, this lack of fear when of fit when it comes to failure. So, like they're so bold, they're so brave. And I think just like improv and stand-up correlate and really help each other, just like improv helps sketch, like clowning can very much help you develop characters to find game, connect with the audience. Um, of course, you could probably pick up some bad habits as well, but like good habits for clowning. I was in fringe last year with Edgewood Avenue, and I got to see a lot of clown, and then I went to Edmonton Fringe last year, and I also saw some clown there. And I just was like, oh, this feels so fun because it's all about discovery, it's all about game, and those are the things that make improv so brilliant and spontaneous and wonderful. And like my favorite thing about stand-up is crowd work too. Like, I love connecting with people and connecting with an audience, and clown is all about connecting with the audience, and so I saw Don Toberman by Chase Brantley, who like our lives we were supposed to meet because our lives have connected in such weird ways, but we've never met. We both taught at the same camp at different times. We both were in Athens and I performed at the theater he owned, but he was never there when I performed there. So finally we've met and I've uh been able to do um his class. Uh, I only did um, I only popped into one, but I remember leaving that class being like, I already have a bit, and I haven't felt that like inspiration since doing stand-up when you get like excited about writing something. And I love stand-up too, because I can didn't consider myself a writer at all. And then I started doing stand-up, which made me more observant. It helped me create my point of view a lot, uh, bet a lot stronger. Um, and once you kind of get a gauge of your your creative voice, you're able to bring that into your improv as well. And so, like just tapping into different art forms. I also just want to, I do want to explore dance. I want to get more in tune with my body. Uh, and I also just I keep putting it on my list of wanting to do, but I really want to do a um sprint triathlon. I love swimming. I you and I ran a half marathon watch most of it because I was out of shape. We we it was like half and half. Half and half, but you were training and I did not train. Um, but there there was it was still hard. Yeah, it was very hard. That was a huge accomplishment. It was awesome, and I'd love to tap into that again because I think when you're taking care of yourself and you're tapping into this exciting excitement outside of our craft, then you can pull that stuff in. And so when I feel very capable physically, like when I was rock climbing and when I was running more, I felt like I was on I was playing volleyball weekly and frisbee weekly. Like when I was more active, I was able to like feel more alive and like kind of bring that in. So just making sure that I'm diversifying my interests again. That's kind of what was that the like what you want to pour into? Yeah, just what you want to be exploring. So in general, yeah. Yeah, yeah. Yeah, definitely. And that's some advice for like improvisers. Jams are great, classes are great, but make sure you're exploring other things. Yeah, just living life so that you have stuff to pull from and that you can bring it into your scene. 100%. Thank you, Kim, for the questions. Uh, we have uh a question from Malik and then four from Clay Butler. Oh. I'll probably ask two from Clay. All these cutie paties with great smiles. Clay, you're obsessed. Uh, I love Clay. We call Clay our son. Who's we? What if I just say them? You and Nate called we should cut. Hold on, no wait. Uh one Clay has spent the last couple Dragon Cons with myself and Nate. So it's just the three of us. I see. And it's very delightful. We talk about life, we talk about relationships, and we just wish the best for you clay. Big Clay fans.

How Diversifying Interests Makes You a Better Improviser

Madeline 22:20

Big Malik fan. Malik was in my first class. Come on. Malik was in your first class ever. I didn't know that. He did stand up at the time. And he was the one that now I quote in every foundational first day, where like, because he was like, Oh, I guess we don't have to be cool. And I'm like, you can't be cool doing improv. Like you might as well commit. Because the minute like energy is infectious, the minute someone like pulls out and is like, uh, this is lame, or like I'm not gonna commit fully. Like, we can feel that. So, like, you're here, might as well go all in. And so, like, I I love that he said that that first day because it like became a teaching moment that I bring up every single class, and it's been so cool to watch him grow. Oh, one I yeah, yeah, I spoke to Malik recently and said that to him. Yeah, I agree. Seeing Malik grow and become such a great performer has been so fantastic. The last road trip, he was on fire with game recognition. And like that takes being really attentive to what other people are doing and making sure that you're piling on and supporting. And I it was a really proud moment when he recognized the game that was happening, and I was like, yes,

Malik: You Can't Be Cool Doing Improv

Madeline 23:22

and it happened multiple times in the set, which I was like, Yes. Yeah, I mean, I've seen a lot of sets with uh uh the last sets I've seen with Malik, whatever show it was, he's just been on fire. He's just been on fire, listening, attentive, just like you said. What if we just positively gossiped about everything? Oh my god, we could love that. We could. Uh Malik, we love you. You're doing you're doing great. Oh my gosh, wait, I feel like we shouldn't shout out everyone else on this. We're going, yeah, just because we were on Malik. Um, oh Kim Richardson, what a sweetie! Honestly, the kindest person you'll ever meet. Kindest person. Kindest person you'll ever meet. Runs the F-Word, which is an all women cast. Let's shout out really let's shout out our friends and their projects. Yeah, okay. F-Word, one of one of my favorite shows to watch. Uh, is probably some of the best improv I've seen around. And something I've said in class before, it's okay. Matt, that's number five, four, five. It's five. But this time that sounded like a timpany drum. Whatever. I hit. What if they didn't hear it? Only we heard it. I kicked something. They heard it. Sorry, wait. F word. Wait, continue. You were saying nice things. Yeah, F word, F words keep making noise when you say nice things. Um, F word is so incredible and so powerful and meaningful. Uh, for those who don't know, F-Word is an all a female presenting cast, um, produced and produced by Kim Richardson. And there's a something, yeah. I think I may have said this in the episode with Anna also. But I I tell my students, especially the men, if you want to see good improv, watch women play together. Watch women play together because there's so much connection, so much listening, so much support in a cast of all women.

Kim Richardson and the F-Word: Watch Women Play Together

Joel 25:10

Hell yeah.

Madeline 25:10

And I'm like, and I tell, yeah, level one and two, like like when I people are talking about shows to go see, I plug the dad stuff and I'm always like, if F words are on, I'm like, go see F-word. I highly recommend go see F-Word. Yeah, and the Coven is very similar. Oh yeah, Coven also, yes. Just so fun. Beautiful, beautiful stuff. Uh Kim, you're doing great. Yeah. Kim is also in Edgewood Avenue, which is a blast. Uh, I'm also on that group. Joseph Lopez, creator, showrunner. Yeah, and for those who are listening that don't know, what is Edgewood Avenue? An improv puppet variety show. It's like SNL and Muppets meet each other. And it true we did Dragon Con last year and we did Atlanta Fringe and we won Best Ensemble. Truly, like it is a magical experience. I remember uh like watching Edgewood Avenue. I wasn't in it for the very first show. Brett was in it, who was my duo partner at the time. And I remember watching that and being like, I'm so inspired by this. I want to be in this. And that like I always want to play, but like that, I was like, I want this. And I found out recently, Joseph was like, Well, I was scared to ask you to be in it. I was like, oh my gosh, like intimidated.

Joseph Lopez and Edgewood Avenue

Joel 26:20

Yeah.

Madeline 26:20

And I was like, I was like frothing at the mouth to be involved. And I'm so thankful for that group because like it's hard to be in an independent group. Yes, and learning how to communicate. And like, we even had like a an awakening after fringe because it was like consistent shows back to back to back, and just like communication and understanding is so important when you're in an independent group, and like Joseph just handled that all so flawlessly, like he had one-on-ones with all of us to check in, laid out his plan for it. Yeah, it's really cool watching him as a leader grow because he he's gonna make it in some way. He's so brilliant. I'm really honored to be a part of Edgewood Avenue and improvising with puppets in general is just like so liberating. And there's been a like just like musical improv has taken the scene by storm. Puppets are also due to Scotty and Teller productions. Yeah, so follow um Puppet Jam. A T L. Puppet Jam A T L. If you just type in Puppet Jam, it'll come out on Instagram. Um Edgewood Av, follow Edgewood Av, Kim Richardson. It's Albert on Edgewood on Instagram, which is confusing. Oh, okay. But Albert on Edgewood. Yes, we're all dinosaurs. Um, but shout out to Joseph. I agree. Um, such a kind human being, so creative, just pours out with the creativity. Kim, amazing, such a beautiful soul. Cecil Walker. Scheme, right? No. Scheme. New team, yeah. New scheme and uh new scheme, new new team. New scheme. New scheme. This is really challenging us. We didn't look up for anybody. We're like, uh, how how well have I stalked people? Or how well how good is their marketing? Uh scheme. Uh their first show, I think, is actually this Friday. Is it? Well, this podcast won't be out by the time that show to promote that show, but uh Cecil's also a great piano player who's been. Oh my god, a beautiful piano player. So talented, also another beautifully kind soul and individual. This is so funny that we're just like I look, I I kind of love this though. This is I do too. This is this is so cool. Do people care that we're just like fangirling over all of them? I feel like I just think of uh our friends listening to this podcast podcast

Cecil Walker and the Power of a Good Mustache

Madeline 28:36

episode and being like, oh, they're talking about me. It's just like that just warms my heart to think about. So sweet. So sweet. So cute. Um, Cecil, I'm so excited that Cecil's in the community. Uh, I met him last year. I don't even think it's been a year that I've known Cecil, but um he's someone who, man, just such a such a positive, loving energy around Cecil. Um, so kind and so uh uh inclusive, supportive. Um yeah, I just want to do more stuff with Cecil. That's why I like I'm excited to get to know him better because I've really only collaborated with him once and then seen him in passing. So I'm really excited. Yeah. And that mustache. I'm sorry. And that mustache, killing it. Cecil, you're killing it with that mustache. Looks incredible on you. Forrest. Oh, moving away. Forrest moving away, breaking my heart. Getting married got married recently. Uh yeah, Forrest, great at character work, always wanting to learn more.

Forrest and the Improv Maniacs

Joel 29:36

Yeah.

Madeline 29:36

And also has a knack for game. Uh, yeah, and just kind. I I remember there was a scene in the musical improv class with Godzilla, and I was like, oh, he's right on the same page as me. And that's always a great feeling when you play with someone. Yeah, he's such a great listener, so attentive and supportive in a scene. Um, he's he's so great. I love having him in musical improv too. Always so curious, always wanting to grow, yeah, eager to grow and learn, and just so open to it also. You can find him with Improv Maniacs in Roswell before he moves. Oh, yeah, yeah great plug. I didn't know that one. I didn't know I didn't know the names of it. Yeah, I remember when he joined it. And then he yeah, it's just so sweet. He always used

Lauren Staten and Yap: Forming Teams with People You Love

Madeline 30:18

to be like, My coach said this, and I was like, You're awesome. It's just like so like just retaining everything he can. It's really, really cool. Yeah. Um, Laura Nestat. Oh, an angel. Angel. Part of Yap and which is an all-women group. Yes, they uh not all of them met in my class, but they started it during my class, and I've coached them a few times. Uh just all awesome. Women truly fantastic group. Um, so so fun, so playful, so silly. And there's nothing like a like a group of friends making an improv team. They genuinely love each other, and that's the thing with like making an improv, might as well put in some advice. Uh, when you're forming teams, like make sure it's people that you can that you like. Yeah, so important. You're gonna have to do some hard stuff together. Have some hard conversations. Yeah, so make sure it's people that you love, you like and respect. Yeah, like and respect. And like, just because you're on a team doesn't mean you have to stay on it forever, it can always fade out, but like also align on expectations because it's hard when one person wants like is is insane. Like, I was the insane person who's like, we're gonna be the best, okay? Like, and it's like everyone else is like, we're doing this for fun, and so like that can create tension. So, like, just make sure that you're aligned on expectations and what you want out of the group. And if the group's just for fun, then have another group who's a little bit more serious and still keep main. Remember at the end of the day,

Advice on Forming and Sustaining Independent Teams

Madeline 31:46

they're your friends. Yeah, one of the hardest things to keep going is a team where the commitment level is different across the board, the level of uh emotional investment, the people, the amount of people who care and don't care is is hard. Yeah, because you're doing I mean, when you're independent and you don't have a space, your booking venues, your marketing, you're you're coordinating rehearsals, you're like kind of coaching each other, giving each other notes, like it can just be a lot, a lot of energy. And so I think a team that does like that responsibility sharing really well is nobody's mad at you. When I coach them, it was like they take turns uh each week leading each other. And they have a very healthy way of approaching. Oh, I love to hear from them. All of them also have like assignments that they do. Like I know Stuart does a lot of the design work. Um and oh, that's great. I love divvying up the admin work is issues. And Mary's a marketer, so she does the marketing. Yeah, yeah. Um, I love that because usually giving notes to each other on a team is like poisonous. Yeah, and uh uh something that helps is sandwiching things, so like complimenting, giving feedback, and then another compliment, but also instead of pointing at like, well, you did this, uh eye statements really help, and also like saying like how you feel and what you could be doing better too, or like uh patterns you've noticed just in general. The set because like when you single people out, that can kind of be tough. And that's where like sometimes a coach can also help. But if you are just working on your own and on a budget, like that makes sense. Um following those guidelines kinds kind of helps because yeah, tension. You don't want to have tension happen. Yeah, because that's a bummer. We're doing this for fun. 100%. Yeah, Lauren's a beautiful soul. Lauren's a beautiful soul. Thanks, Lauren. Uh Brad Laske, I don't know him. Brad, this is all you oh my gosh. But I love you, I love you still, Brad.

Brad Lasky: Made for Improv

Madeline 33:46

I will love him. You will love Brad. Brad was made for improv. I'm really excited. Wow, made for improv? Yeah, well, I mean, I I just he's he's newer, but like he was someone who took my foundational class because he saw it on Facebook and I was like, oh my god, the marketing worked. It was so cool. Because most of the time people take it because of word of mouth or take it because they're looking to add more tools to your tool belt. That's kind of like the beauty of my class too. I can't really offer you anything. So people just take my class to just get better, which is really cool. And I think that also kind of creates that environment where like people are just learning because they're not, they don't have the angle, they're not trying to get on an ensemble or a certain stage, like they just want to learn. And I think that's like really, really cool. So yeah, he just like kind of took it because he saw a post, and from that, he was on the class with Lauren and like that whole crew. I mean, every class, oh, they're all they're all awesome and they all end up loving each other. It's so special. That crew really loved each other a ton too, and um he just understood game. I know I've I've brought that up a lot, but it's just I think that is something that is not focused on a lot in Atlanta, and so like when someone has just a knack for it, I'm like, great, we can work on emotions and stuff, but like um someone once said that you can't teach someone to be funny, and that's not true. Like, you can teach somebody, yeah. I I don't agree with that. I don't agree, but I think like pattern recognition is just a muscle that is sometimes difficult, and so he's he recognizes pattern very well. Uh and I'm he now is in my level four, which is cool because I was like, oh reunion. Uh and I've noticed his character work get a has gotten a lot better too, and his storytelling efforts. So yeah, I just yeah, big Brad fan. Hey, keep doing your thing, Brad. Yeah, keep working at it, keep working at it. Yeah, right after class, he joined the improv annihilation show, and um, so he just was like eager to play, and like it's cool, like no, not limited, just continually going out there, which is great.

Jessica Kagansky: Clowning Unlocked Fearlessness

Joel 35:46

Okay, Jessica Gansky.

Madeline 35:48

Oh my gosh, also providing so many opportunities for people. Poultry in motion. Oh, that's I love that group. Oh, yeah. Um yeah, and uh Pound Foolish, a clown clowning is something that has really like opened her up yesterday. She's taking my class again. So she's taken my class a few times, but there were characters that I've never seen her play, and I know clown has had a huge part of that for her. A huge, I remember um, Jess, I remember being in a class with you level three with Avery. I think it was level three. Um, and that man, how many years ago was that? Three yeah, maybe like three years ago. And where where she's come since that time, holy crap. Yeah, yeah. Holy crap. Yeah, incredible growth. Um I and I remember Jess even in that class pushing through uncomfortable exercises and games, um, to the point where I remember I remember Jess would like be so if a game was like too uncomfortable or difficult. I'm gonna set this one out. I'll set this one out. Now she's fearless. Now she's a badass she's an advocate for people. Yeah, yeah. She's really awesome. Oh my god, what a transformation. Truly. Um, the the improv, the clowning, um, the support the support of the community, and like also looking for new ways. How can she support the community? Um, uh, it's fantastic. It's

Malik's Question: Balancing Drive and Relaxation

Madeline 37:20

fantastic. I love this. I love that we're fangirl. It's so cute. This is so cool. This is so fun. I love this. Um, okay, Malik's question. That all started with Malik. It all started with Malik. If people are listening, oh my gosh. It's the balance between driving and relaxing. Like I found that doors open when I least expect them, but it's almost like it's so cliche, but when you look back, it's like, oh, it was meant to happen this way all along. Uh, something that comes to mind is rejection is redirection. Um, because at any time I've been rejected, another door opens, and it's led to such a beautiful thing. Rejection is redirection. And yeah, that's a helpful, like, I'll probably like say that a lot, and even on like the podcasts coming up too, because uh it's like something that you with dating that to keep in mind, but like it also applies to to auditions and like opportunities too. Um I couldn't have predicted anything that happened. It's not I don't think my path is very traditional, but I also think that's just like the thing in Atlanta. But like when people do think Atlanta, they think specific theaters and places, and I think what's so cool is that I don't know, I I I said that mix of intensity and insanity. Like I just loved this so much that I just kept doing it, and then came road trip, and road trips opened some doors for me, and I loved in the last I've been doing improv 16 years. Um, I did stand-up for like tennis. Um, but all all of the material that I did in stand-up, all of my like solo sketch that I did over the last couple years, like I never thought I'd audition for SNL, but that opportunity came. And then I was like, oh, maybe SNL's kind of a dream of mine. And then the solo sketch characters that I wrote for SNL ended up leading in with my stand-up, which ended up being my solo show. I never would have imagined doing a solo show. I guess this is where I could kind of talk about it. Um, it just was like, it's like the the steps had all built over time to reveal like the this this this piece that I I never even anticipated. And from that, like my show Always the Goat, like which is one of my proudest achievements I've ever done. It's something that I truly believe I can build into something more. Beautiful show, beautiful, beautiful show. I want to tour with it. I want it to be something it's fantastic. Sam Reich had posted about like wanting to do like pick up solo shows, and I was like, I feel what a like so confident. I feel like this could be there, but truly like seeing the impact. So it had a four-show run, and each of those sold out, and then to the point where they added a fifth show that also sold out, and just there was a line of people after every show wanting to talk to me, and I heard people share their own stories of love and grief and awkwardness. It just resonated with people in a way that I never that I didn't necessarily expect, but like when I was writing it, I was like, this needs to be told. I talked about like something that I what like hadn't really shared before um on stage. Well, I had shared during a racola actually uh on stage about my my brother passing, and that was the first time I had said it like in public, and I remember the feeling of relief of just like connecting with an audience and was like, oh wow, this like it wasn't me trying to be funny at all, but like I experience uh I feel like comedy has always helped me with grief and understanding of my life and others and perspective, uh, as it does with many people, and so like putting that story on onto pages and like processing that and being able to, I don't know, experience just being able to experience that with with people was just unbelievable. That whole experience, I was very lucky to have Eve Kruger as my director, Ticket Knowlton as my stage manager, uh have Dad's Garage produce it, all the people on the production team at Dad's absolutely spectacular. I'm so so thankful for it. Anywho, all to say, like I never expected that to be a thing. And so, like, I never imagined that I would pitch that show that like came from me writing it as a from a breakup. Like everything has just like unfurled so spontaneously, so wonderfully. The only reason I'm at Dad's garage is because uh Magged Rushdie had called me and uh brought me in for Christmas Carol in 2021 or 2022. Um yeah, 2022 and 2023, I think is when I was in Christmas Carol, and that was just because us a member dropped, and so they brought me in like last minute, and that like changed the course, and now I teach at Daz Garage. Like it's just like all these things, and that happened when a door had closed in another aspect of my life, and so the journey continually changes, and I can't really plot out what will happen next, but what I do envision is like I do want Atlanta to be bigger on the map. I do want to continue to do this, I want to continue to challenge myself to grow. I mean, the solo show was challenging myself to grow. My mom was like talking for an hour on stage is a long time, and I did it. Um, and I did it in a way that people really resonated with. So I don't know what's next necessarily, but I want to keep performing. I would love to do some film, I would love to do clown, I would love to who knows, like I I want there's a musical idea that I've been wanting to write for a while. Yeah, yeah. So hopefully um opportunities present themselves. I think I've just been fortunate to collaborate with really amazing people as I continue to work and people continue to give me that chance. And if it doesn't happen in one place, hopefully it happens in another. I'm hoping like the festival's coming up and applying to fringes in some ways. I hope that opens some other doors. So yeah, um the only thing I guess that's really changed is I don't know, like uh Well a lot, right? I feel like it's a a lot. Yeah, I think things are constantly in the the artistic goals, projects. I think taking it little by little though, like relaxing a little bit, but also like being consistent. Not holding it like Like holding it so firmly, um letting it change, letting it uh letting it transform. Kind of like oh, we talked about transformation and improv. Like the goal might not come the way you expect, but what will come is really awesome.

Clay Butler's Rapid-Fire Questions

Joel 44:18

That's beautiful.

Madeline 44:19

I yeah. I'm yeah, I'm just excited. Lots of excitement. Like yeah, the I'm gonna be on yes also soon. And like that was something that Oh my god, that's huge. For y'all who don't know, Yes also is another improv podcast, probably the biggest in the world. I like it. In my world, I think it is in our world. Um and

First 10 Seconds on Stage

Madeline 44:40

they, I mean, I I just I just looked at it recently, actually. In the last this year, in the last few months, they've interviewed TJ Jagodowski. I love him, a bunch of people from the dropout uh uh environment sphere or whatever. Um they interviewed uh Matt Walsh, um Ian Roberts, like the original four of BCB. Yes, it's like the like all the big dogs in improv and comedy like get interviewed on this podcast, yes, also with Susie Barrett. And Madeline's gonna be on that podcast. Which is insane. You might hear the same exact things that I'm saying here. Sure, but but we um but yeah, it's just wild. Like, and that's something that I messaged, I emailed her two years ago, just being like, here's some questions I have, uh, literally like you're asking right now. And I also was like, if and if you're ever in Atlanta, and then never with the thought that I'd be on the podcast. And so incredible, it's just really, really cool. So I hope your comedy journey works out the way that you want to. Just keep. I mean, this is from Malik who we've

What Separates a Decent Improviser from a Magnetic One?

Madeline 45:50

seen grow so much in the last five years. Great musical. Um, I'll do that every time. Um but you continue to work hard, continue to surround yourself with people who lift you up and push you to be better, and it's gonna whatever you want, it's gonna happen, my guy. You're great. Oh, I love that. Yeah, uh okay, Clay Butler. Here's what I'll do. There's four questions from Clay. Oh. Some of them sounds like we've answered something similar before. Okay. I'm gonna rattle off four the four questions and then we can Okay. First one. What's happening in your mind in the first 10 seconds of stepping out on stage? That's one. How do you stay present when something unexpected completely derails a scene? I feel like it's similar to forests. What separates a decent improviser from a truly magnetic one? Um simil uh we talked about a good scene, but this one's about improviser. Uh, next uh next question is Do you rely more on instincts or patterns you've trained over time? Hmm. Okay, the first one was first 10 seconds of stepping on a scene, what's going on in your mind? Emotion. I I that really helps ground me. No matter what, if you have an emotion, it's kind of like Clay, you've been in my class before, but the annoyance philosophy of like hold on to your shit. Like if you can take care of yourself, you can take care of others. It's not you forcing or like planning the scene out, but it's like if I have this certain feeling or emotion, I know whatever you throw at me, I'm gonna see it through that lens and it's gonna ground me. Uh, the second question was how to stay present, similar to forests. Mm-hmm. Yeah, the similar to forest answer, and also when in doubt, go to your environment. You can find so much about how you feel through how you engage with your space. Yeah, and going to your environment buys you a little bit of time to process also. If my scene partner says something wild to me, I'll take a moment, I'll physically turn, walk, interact with something, and be like, okay, process. Okay, yeah, think of my response. You can repeat it back to them, or also use silence as you're processing. And we can see it in your facial expression, how you feel. That's where emotion can also help too. Yeah. Great. And then the magnetic improviser. Yeah. What separates a decent improviser from a truly magnetic one? Hmm. I feel like that's all personal, like what people resonate with. Yeah, what people what somebody perceives as a magnetic thing. Yeah, I think that's all a personal thing. Like someone

Instincts vs. Trained Patterns

Madeline 48:20

might resonate with a certain style more than others. Because there's I mean, everyone offers something unique to the space. Um, I think I've emphasized this a lot. Someone who can really just make someone else look better is like I I'm locked in with those people. I'm like, oh, you're magic. What you're doing is magic. Um, I also didn't talk about it earlier in like my upbringing, but like TJ, TJ and Dave, and then Improvised Shakespeare were like some of the first professional groups that I saw. And um TJ and Dave just have such a patience and a confidence about them. So, like, not that I mentioned not panicking earlier, um, and they really live in the character rather than doing like an archetype of the character, they're living in them. Um, and they're bringing it to light, they're not forcing the laughs. So I think that confidence and that security of like, I'm not gonna force the laughs, I'm just gonna live in this thing. Because you can tell when someone's forcing a joke. I mean, I've done I've done it before, and I'm like, that did not land because you're not actually responding to respond. Um, and then improvised Shakespeare and why I think people are also drawn to Ben Schwartz and Friends, um, is that and even drop out, like there's a playfulness about it, a playfulness, and specifically with improvised Shakespeare, a like the yes and is so prevalent of like the celebration of other each other's ideas. They are so open to whatever is thrown. No hesitation, there's no hesitation in accepting the other person's offer. They love it so much. So yeah, I think that's and you can tell that they're just like they're in this playground and they're just loving the heck out of each other. So yeah, I think that that's beautiful. Thank you. Last one for Clay. Do you rely more on instincts or

The Artist Way and Building Creative Confidence

Madeline 50:10

patterns you've trained over time? I don't know about patterns over time. Um I think instincts, because like I'm just listening to whatever every uh the statement everything is in your partner is so true. So how how do I feel based on what they say and then leading from there? Or like what's this character's lens and then leading from there? Which I think, yeah, sometimes people have characters that they might have go-to's, and I certainly oh, I love to play a man. I love play I can see, I see the posture. Yeah, come on. Uh uh, yeah. I love to play a man. Uh despite people making me lady all the time. I love make I love being a guy. Um, yeah, I think instincts, probably. Um instincts, probably. Uh yeah, which which I've been reading well a lot more for the expanded version. I've just been like boom, boom, boom, trying to like get retain more uh information, make sure I'm as informed as I can be. So like revisiting impro for storytellers, uh, can Adams, how to improvise a play, and then also reading Meisner stuff because I don't have time to dedicate like to a Meisner class. Yeah, I I bought the book also, the Meisner book to read up on it. Yeah, it's just him leading the class. So, and when you talk about instincts, like that's all Meisner is. We talk about reacting, yeah. Listening and reacting, yeah. Um I love that because Johnstone also one of my highlights in Johnstone is um he he says we tell actors to listen, but it's much more prevalent to tell actors to react. Because if we tell actors to if we train them to react, listening is inherent. Because you if you react, you were listening, you know what to react to, kind of thing. And uh that's just stood out to me. There's like, yeah, reacting is so key. So just make something matter. Anything goes stales, make it matter. Um, yeah, so instinct, I guess. Yeah, instinct. So yeah, that's why like going, we talked a little bit about getting to know yourself better outside of improv, like beyond reps. So getting to know yourself better will help you with that reaction or that instinct. Well, how do I feel in this moment? How does Madeline feel? How would like Madeline if she were blank feel? Um, and that's why also in class in continuous, I tell students to do the artist way because they get to know themselves a lot better through that. They nurture their inner child, which we talked about like earlier. Like you this is all about accessing art play and inner child and having fun. Artist way. I I also can't um plug artist way enough, also. I I attribute artist way to me to having the confidence in making the musical improv

Madeline's 2025 Accomplishments List

Madeline 53:15

classes.

Joel 53:15

Yeah.

Madeline 53:16

And be into me me having the confidence to take a leap and like, oh, let me start this thing, is because I did the artist way. Yeah. It gave me the artistic confidence, the creative confidence to do that in myself. It's it's life-changing. It's life-changing. If you find yourself like getting bogged down by the rules or feeling stale, like artist way is great, improvise freely is great, improvised by McNapier is great. Like, all of those that are like F the rules, just be present, trust yourself, and like who nurture and love yourself, like those are all really great for that.

Joel 53:48

Yeah.

Madeline 53:50

Those are all the community questions that we we have. Yeah, yeah. Um, do you want to talk more about your solo show? Was there anything on your mind? I already I was able to kind of force it in. Yeah, that's okay. And no, it wasn't even forced, it felt natural based on the question that you got. Um this also isn't gonna be the only time you're gonna be on this particular podcast. I guess like brag the brag about like the the accomplishments. Oh yes. Uh yeah, you're 2025. And then like the last advice, I guess. Let's do it. Let me pull up my list. Uh Madeline and this is actually like a beautiful beautiful thing. I had an old manager tell me the same thing about making sure um to keep track of your own accomplishments. Well, because we were talking about in a business sense for like promotions and stuff. Um and it's so important to keep a a list of your own accomplishments, and uh not just for professional purposes, but for yourself to remember. Because oftentimes I would look back on a list and be like, oh yeah, I forgot I did that thing. Um, and I'm assuming you're listed something similar. Leading to this, I was like, oh shoot, like that also happened. That also happened. Like trying to like being asked the question of like what was the scene that you remembered? I was like, oh like because even oh my gosh, I was looking, I was thinking of Improv Athens back in the day, and I was like, oh my gosh, we played with Second City, we opened for 80 Bryant, like we did some really cool stuff, and we worked with Mick and Scott. Like, that's just so cool that we got to do that. And I like forgot that we opened for 80 Bryant. Like the hell?

Joel 55:33

What the hell?

Madeline 55:33

And through Second City, like we uh when we went to Chicago, the guy who we met through playing with them gave us free tickets to see Second City when we were in Chicago, and it turns out that guy, Adam Archer, was in his wedding. I was like, the world is so small, and that's where I talked to Eve for the first time. She was she was giving us advice. Small world. Yeah, and now Eve was my director. It's just like crazy to think about like, man, there's so many things that happened. Count all your wins, try to remember, and yeah. And more on there you want to share? Oh, well, that was just like from Improv Athens. Yeah, I mean, just like uh I was be practicing uh and boasting, boasting about yourself, yeah, and just gratitude too, because it's so easy to caught up get caught up with like I didn't get that thing. It's something that I think is a constant um challenge, and I know there's a lot of improvisers out there who like audition for things, and like it's hard not to equate our worth and value to this thing that we love so dearly. That is a part of our identity in a way. Like the identity in terms of like it's that playfulness, it's us on stage, it's that vulnerability, it's something we love so dearly, it's our community, like it's just a really beautiful thing, and it's hard not to get caught up in like the negative aspects of it potentially, or like the competitive aspects of it. So I think practicing gratitude and being aware of your accomplishments throughout are helpful. So I wrote a list that I read at Thanksgiving. Oh, so cute! My sister was like, get over yourself, so but it just it helps ground ground me of like, man, maybe that again that door closed, but like there are doors that open in other ways. So, like I in a year, I like made it to the solo showcase finals, and before that, like got to be in front of the SNL finalists, like D I got to play in DD and and have my character grow a little bit, and I got to do Renfare DD and like Renfare DD, which I'm also doing this weekend, so fun. It's truly magical. It's like I got to be a Disney princess in a park. Like, that's the feeling that it feels it is, and that's like my dream. I was trusted to host Wowie Zowie of multiple times, and especially at Dragon Con. And I love Wowie Zowie so much. I love kids. Um, Fringe Atlanta with uh Edward Avenue, and we won Best Ensemble, Fringe in Edmonton, Matt Horgan, invited a few people up to Canada. Never would I have expected to be there. I got to meet rapid fire people, which is like the sister theater of dads, got to hop in a ton of shows, just like live as an artist for a few days, few days, and that was so amazing. We did I.O. Fest in all of Chicago, or all of Chicago, all of Atlanta was in Chicago, and that was so cool for all of us to hang up and like see how amazing our teams were and like spread our show that apparently people came up to Allison and David and were like, Atlanta has a scene, and it's like, yeah, we have a scene, and we're amazing, and like it's just so so cool to spread that joy. Uh, I took a sketch class, I took a musical class improv class, like just expanding my knowledge of things. And when I was in the sketch class, I was like rapid fire on game. I was working a lot harder. Musical improv is always something I wanted to get better and more confident at. Did classes with Patty Styles, with Susan Messing, with um Chris Catan and um Eli, I don't remember his last name, but he was an SNL writer. Just like taking classes to get better, started No Alibi, which I had been wanting to do forever. I had Jim O'Hare on Road Trip, which it was it felt unreal. And we put that show together in two days and it sold out. Uh, I was on the West End Comedy Festival last year, and I almost they were like, Oh, you were so close to winning Besta Fest, which I hadn't been doing improv or stand-up in so long that like being considered and even being in a festival was like unbelievable. And doing West End led me to be the open mic resident of the school in March, and then all of that kind of led to like, I'm doing reps, I'm doing reps to get ready for my solo show. Uh, I got accepted. I pitched a solo show and I worked on it, and it freaking was so wonderful. Oh my god. My classes expanded. I started teaching four times a week to the point where this last uh session I taught five times a week and then even built out the third iteration, which I've been promising for a while and people have been asking for. I led an improv retreat, I took two improv retreats, I started a musical improv group with Cody Sanders, who's really talented. Uh, we recorded Edwood Avenue songs and sketches, and I love that crew to to death, they're amazing. I've uh started my building out my corporate offerings, and so I've had a good number of corporate um gigs. Clients, yeah. I have clients who like really enjoyed me that like when they reach back out now, they've been like, we still do those exercises. So like different environments need this life-changing thing. I saw a lot of amazing shows uh because of Jess K and some other wonderful people. I saw Parade, which like blew my mind. If you like Parade was powerful, Mama Mia, waitress, saw the musical. Oh, so I'm glad you I'm gonna I'm glad you all saw Saw the Musical. So fun, so silly. Oh my gosh. And then just uh there was a road trip that was a part of a wedding. Faith um what uh had Road Trip as her wedding, which what a compliment. She's a beautiful person, beautiful, so talented. Such a fun solution. Faith, you were in it, it was so good. Uh, I finally felt confident in an MSI, which was super fun. Edward was at Dragon Con. I started writing a movie with people. I got to invade and I got featured in a few articles, and a ton of my students have started their own stuff, and they're absolutely crushing, and that's uh the biggest accomplishment of them all. And I um this was just 2025. This is just 2025. And I got to be uh the movie that uh I was in Lamb of God was uh finally out, and I got to go to like an opening, whatever. I've never been in any of that, and so that was cool to like see my face on the big screen, like all these other talented actors, and to be a part of Brett Schultz uh piece, just so moving, so powerful, so honored. And um, people were very complimentary because I was so nervous. Yeah, and I have like two lines, but like so cool, uh so proud of him. And I just oh man, and like 2025 I did 140 shows, and like that's just so cool that we get to do this. Like, it's just so so cool. And then this year has already started off with a bang, and I'm just so excited to see where it goes. Like, it started off with my solo show, it started off with five classes. It like this yes, also, like it's you're you're keeping a 2026 list already? No, not yet. Okay, I started up. I'll have to get sad about something. Yeah, um man, what a beautiful list. You can do it without a title, you can do it without telling you that you like you don't need someone to tell you yes. So, like, I think like that's the biggest

Practicing Gratitude and Celebrating Your Wins

Madeline 1:02:50

thing. And then we're all people, we're all trying hard, we're all doing our best. And like, so giving other people grace, giving yourself grace, like, and being proud of yourself. That was so was that lame to like read out like things. I don't think it was lame. I think it was beautiful. I mean, we're talking about we're talking about getting more comfortable shouting ourselves out. Yeah, I love that we walked other people out. I loved you just uh sharing your accomplishments um on the podcast. Man, that was beautiful. Congratulations. We sold out multiple times last year, which was crazy. Crazy. It was oh, and we both won awards, didn't we? We both won awards. I won the Tommy Futch award. I I think mine was the community impact, which was cool because like I love that I love the community. I think that's I mean, if we could spend we've already spent like three hours, if we could spend three more hours being like, and this person oh 100%. What honestly, maybe that's uh be a type of episode we just come back and shut shout out. Yes, like people submit names to and like we just compliment them. Truly, I think compliment circle episode. Yeah, I would love that. I would love that. I love hearing other people in the compliment circle say things because they they notice things that I'm like, oh my gosh, yeah, that that was brilliant. And people articulate things in ways that are is so impressive. Here we are complimenting them again. But truly, the community has uh poured so much into me and you, and truly I'm so grateful. And yeah, thank you so much to anyone who has ever been to a show.

Thank You to the Community

Madeline 1:04:30

Thank you to to every student, thank you both at Dad's, both at Madsjoy. Um, thank you to any person who has been in the show, watched a show, said it, sent a nice message, took a picture, said something kind. Oh my gosh, best compliment I've ever received. Barnaby said I was the Mr. Miyagi of Improv, which I was like, oh my god. Wow, Mr. Miyagi of Improv. Hey, that hits. Yeah, that makes sense. That's website material. Yeah, put that testimonial on the homepage. I am an old man, and there we are, wrapping it up. Old man. Uh yeah, just thank you to everyone. Thank you, Julian. I love that. Thank you so much. Thanks for being here. I love nerding out with about improv with you and just sharing in the joy, literally the name of the podcast, The Joy of Improv. And we share in that together all the time. We spread that all the time. And uh, it's so fantastic. It's at the core of why we're here, the joy and remembering that, even when like it becomes more of a serious thing for you. Like if you feel yourself getting too serious, remember why you took it. Yeah, remember the core of it. Yeah, which is joy. The playfulness and the joy. Why we both have things named after it. Madsjoy, Mad's joy and the joy of uh and yeah, the joy is just such a centerpiece of the whole thing. Um, and we need more reminders of that. Yeah. Yeah. Yeah, we do, because life is heavy, and just getting to access that childlike wonder and just to play is so crucial. It's so crucial.

Remember the Joy

Madeline 1:06:00

Madeline Evans, thank you so much for being here. It's been such a treat. Such a pleasure. Yeah, we're both looking at our watch. But now we can tap the picture. I'm tapping it. I'm tapping the microphone. Tap the mic, yeah. Go ahead. Tap the wires, the table. Yeah. That was applause. That was Yeah, yeah, that's the audience. They're all ghosts from Lord of the Rings. Um, it's been such a pleasure and a joy to have you here. Thanks for and we'll do this again for sure. What? You forgot something? You want to say something? I feel like you wrote down when I wrote Gollum at the beginning, and I feel like I'm Oh, we did there were the checkoffs, the checkoffs, Gollum. The checkoffs, Gollum. That's not good. You just gave me a meaning. Yeah, that was wrong. You did the wrong, you did the wrong voice. Uh Joe, this is supposed to be about joy and play. Can you say it? Show me. Stupid. Okay. Hold on. Yeah, you gotta shoot. Yeah. You gotta like it.

The Gollum Impression We Almost Forgot

Madeline 1:07:00

Stupid, spots, habits. No, is that bad? No. That's a stitch. I can't do it. If I do it, you'll all be turned on. That's true. And we don't want that. This is not the right listener base. Red Hobbitses. That was so good. Pretend that was me. Do it with me. Do it to me. Oh my god, that's so good. Go ahead. This is gonna be the great sound bite. She's like what happened. Gargling our throats. Um Aaron Goldenberg does a great shout out. Another shout-out. Um hysterical. Yeah, Comedy King. Um does a good does a great schmeagle. We were about to end, and then I was like, hold on. Hold on. 30 more minutes. We gotta do, we gotta do a little bit of golem. Do a little golem here. And we did it. I appreciate you bringing that up. Yeah, let's go back, baby. Because I feel like I I wouldn't have slept well. Because if I were remembered later, like, damn it. We never did the golem. So we did it. But it's like when you do a set and you're like, oh, that thing didn't happen. But it's like it's okay.

Joel 1:08:26

It's okay.

Madeline 1:08:27

It's okay that didn't happen.

Joel 1:08:29

I guess that's true.

Madeline 1:08:31

But here we are. But it's really sweet. But it's really sweet. We did it. That was cool, but we did it. Okay. Thank you so much. You're so welcome, Madeline. Um, and everyone, thank you for listening. And we'll see you next time. Say enjoy of your improv. Love you guys. Love you all. Bye. I want to say thank you to Matt Isaacs. Thank you so much, Matt, for editing these episodes. Matt is a talented and kind member of the Atlanta Improv community. If anyone out there has any audio editing or song mixing needs, please reach out to me at Joel at the joyoffimprov.com. I'll connect you with Matt and get you on your way to getting some clean, fresh audio. If you are enjoying the podcast and you want to support and keep this podcast going, you can support in one of two ways. You can leave a five-star review. And if you do, please leave an improv topic that you want us to discuss or perhaps a question for a future guest. Another way to support the podcast is to give a monetary contribution on our Ko-Fi page. Anything helps, a dollar, five dollars does not matter. Anything helps in keeping the podcast going. You can find the link to contribute in our Instagram or in the link in the episode description. Thank you so so much for listening. It means so much that you're here. See you next time and scene.