ing practice to do deep lifting to
stay in the moment. You have to
say ‘yes, and’ and can’t say no to
an idea. It’s really a laboratory
for innovation and creativity.
Unlike a lot of theatre companies, we train up our talent. We
have our talent perform and
then we let them go, we don’t
try to hold on to them. That
leaves room for the next generation of folks to come through. I
think many businesses would
look at it this way: if you’re training all of this talent and you’re
spending all this money on them
and they’re yours, wouldn’t you
want to keep them? And while
that’s a perfectly natural instinct,
I think the fact that it wasn’t
our setup here has allowed this
work to be fresh for all of the new
generations. It’s a magical system that was already here when
I walked through these doors 26
years ago. And so for us, we’re
sort of care-taking the next part
of this arc of history at Second
City. Our job is not to screw with
the things that work, but to also
recognize that it’s an artistic endeavor and you’ve got to take
risks, you’ve got to fail, and you’ve
got to try new things. And we’re
doing that. We do that all of the
time, but the core things and the
stuff is what’s made us so successful.
Tell me about your book, ‘Yes,
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