The Backline - An Improv Podcast

This week on The Backline, Rob and Adam talk about stage fright, nerves, anxiety, and all the things that can make stepping onstage feel terrifying. Is stage fright just a silly emotional response, or is there something more serious going on? Why do some performers get nervous before every show while others seem completely unfazed? And if you’re experiencing stage fright now, does it ever go away—...

This week on The Backline, Rob and Adam talk about one of the trickiest parts of being on an improv team: giving and receiving notes. How do you give someone useful feedback without turning the notes into a list of things they did wrong? How do you take notes, learn from a bad show, and then walk onto the stage next time without bringing the last show with you?

This week, Rob and Adam tackle one of the most dreaded words in improv: jokes. What actually makes something a joke? Are jokes bad for improv? And if we’re not trying to make jokes, how are we supposed to get laughs? Rob and Adam dig into the difference between earning laughs and trying to be funny—and what improvisers can focus on instead

This week, Adam and Rob revisit a recent monoscene in which the context wasn't revealed until surprisingly late. They discuss the value of playing the dynamic from the top, waiting for the right moment to define the scene, and why the who, what, and where remain essential in every scene we play.

This week on The Backline, Rob and Adam discuss: danger. Most training teaches us how to avoid confusion, conflict, and uncertainty onstage—but what if those uncomfortable moments are exactly where the best scenes come from? If you've ever wondered why some scenes feel thrilling while others feel perfectly competent (bad), then this episode is for you.

This week, Rob and Adam discuss "energy". What is energy onstage? What should you do if your show is low energy and is that always a problem? Whether you're trying to slow a scene down without losing momentum or wondering how to make silence, restraint, and authenticity exciting to watch, this episode offers practical advice for finding the right kind of energy—not just more of it.

What makes improv in Toronto feel different from Chicago? Why does Los Angeles produce a different kind of performer than New York? And where do cities like Vancouver, Montreal, and Mexico City fit into the larger improv landscape? In this episode, Rob and Adam answer a listener's question about the distinct styles of North America's major improv hubs.

This week Adam and Rob discuss competition, egalitarianism, and how the politics of the classroom affect improv teams, shows, and theatres. Should improv delineate between amateur and professional? What's the best way to transition students into shows with experienced vets? Also, Backrooms is like Obsession but for babies.

This week on Backline, Rob and Adam break down their favourite longform openers and put them to the test, ranking different approaches based on flexibility, inspiration, ease of execution, and how well they serve the show that follows. From monologues to monologs to organic openings, they discuss the strengths and pitfalls of each approach and why certain openers work better for certain ensembles

This week on Backline, Rob and Adam explore how improvisers can create characters with greater depth, vulnerability, and gravitas. Beyond funny voices and quirks, what makes a character feel like a real person? The hosts discuss techniques for building emotional weight, making meaningful choices, and finding humanity in even the most heightened scenes. They also break down "counterpoint" character...

This week on Backline, Rob and Adam tackle one of the most fundamental skills in longform improv: pulling premises from a monologue and turning them into strong scene initiations. What information should you actually be listening for? Which details are useful, and which are likely to send you down a dead end? Rob and Adam break down the difference between jokes and playable premises, discuss commo...

This week on Backline, Rob and Adam dig into the competitive spark inside improv — when it helps, when it hurts, and how great scene partners turn rivalry into fuel instead of friction. They talk about using your partner’s moves to elevate your own game, navigating ambition in ensemble work, and why the best improvisers push each other without trying to “win” the scene.

What's better? Harold or Armando? Spokane or Close Quarters? This week, Rob and Adam help a new team choose their signature longform format through a grueling bracket of 18 possible formats.

This week Rob and Adam, discuss the painful but necessary process of “Paying the Tax” , while trying to stay present, apply class lessons, and putting in the reps. Despite all of that, the laughs still aren’t coming. If you’ve ever felt stuck between learning and getting laughs, this episode is for you.

This week, Rob and Adam open up the Backline Mailbag and find, wouldn’t you know it, two questions about rehearsal.  In this episode they discuss the strange shift that happens when rehearsal turns into performance — why things that feel easy in practice suddenly feel impossible on stage. They talk about whether it’s okay to revisit ideas that worked before, and why a team that looks great in rehe...

In this episode, Monika Smith—actor, writer, and comedian—dives into the art of solo improv, sharing how she transforms a single suggestion into an entire world of characters, stories, and unexpected turns. Drawing from her years touring with The Second City and performing at UCB in iconic shows like ASSSSCAT and Harold Night, Monika unpacks what it takes to hold the stage alone with nothing but i...

This week, Rob and Adam turn their attention to the concept “Day of All Days.” It’s a phrase that suggests high stakes and life-changing moments, yet so many of the most memorable scenes revolve around the smallest, most ordinary situations. Why do mundane premises so often lead to the biggest laughs? And what does “importance” really look like in an improvised scene?

This week, Rob and Adam explore how to navigate scenes with a partner who brings a limited emotional range. Together they break down the difference between performing emotion and truly embodying it, and offer practical ways to create better scenes using radical acceptance.

In this episode of The Backline, Rob and Adam explore why performers lose their footing, from overthinking to disconnection, and share practical ways to stay present, reconnect, and move forward without spiraling into shame when you get lost in a scene.  Also, a question about basketball, bullying anyone about anything, and the special relationship between a man and his dragon.

Advanced improv can be tricky—students freeze, forget the game, or feel overwhelmed by structure. This week Rob and Adam discuss practical strategies to reduce overload, and motivate students who may never perform but just want to have fun. Also, "Missiles", door-Ohs, and your new favourite mantra "It's just a body".

Mick Napier is an acclaimed director, teacher, and author of Improvise: Scene from the Inside Out.  Mick founded Chicago’s Annoyance Theatre, served as the artistic consultant at The Second City, and worked with comedy icons like Tina Fey, Stephen Colbert, and Amy Sedaris. This week, Adam and Mick discuss directing in Toronto, what makes a strong scene, and why bold choices matter.

This week Rob and Adam discuss how to create interiority in a character, how focussing too much on heightening can create undesired outcomes, and how intentionally burning your own Game of the Scene can make for a more interesting, and psychologically complex character.

This week, Rob and Adam discuss shady improv classes, incompetent improv teachers, and what to do when you’re dissatisfied with your experience in the classroom.

This week Rob and Adam discuss different methods of teaching improv, what's the best way for a teacher to get their ideas across, and how context changes an improv teacher's lesson plan.

This week, Rob and Adam unpack a major shake-up at The Second City. Starting January 22, 2026, the historic e.t.c. Stage shifts from scripted sketch to Improv Supernova, a fully improvised show—the first change in its 43-year history. They explore why the move makes sense now and what it means for the future of Second City, improv, and sketch comedy.