After becoming pioneers in the UK scene by opening the first-ever improv-based theatre, the company enters its third decade with an impressive track record of shows, positioned artists, and the largest educational program for this genre across the country. Guillermo Nazara chats with the company’s leaders to reflect on its legacy and the future of the industry, as well as learn about their upcoming special lineups to celebrate this twenty-year milestone.
How does it feel to be celebrating twenty years after opening London’s first improv theatre?
SR: It feels really fun and exciting, and also really confusing! Fun and exciting because it’s amazing to have hugely successful improv acts like Showstoppers, The Improvised Musical, Abandoman and the cast from The Comedy Store Players all back and performing at Hoopla. It’s also really fun, as right now we are programming in the new up-and-coming groups, and it’s exciting to see all the new shows they are creating and how vibrant the future of improv is going to be. Celebrating 20 years also feels slightly confusing as it doesn’t feel like 20 years. It feels like we set up Hoopla only one year ago!
AP: Incredible! I feel really proud to be part of the Hoopla team. I joined as a Show Producer back in 2017, but have been in the improv scene since 2014, and I actually started my improv journey at Hoopla!
How did the idea for this space come about in the first place?
SR: When Hoopla first started in 2006, we were just running one drop-in workshop a week in a room above a pub. It was really fun, and we rapidly got to meet lots of amazing people from across the London and UK improv scene who would pop in to play. There were various different improv shows and teams back then, but they tended to perform ad hoc shows in various venues around town. There wasn’t a set improv theatre back then, and there wasn’t a massive improv audience. We felt that was one of the first purposes of Hoopla: to make an improv theatre that would help bond the flourishing improv scene and let these shows have a regular central place to perform as well as growing an audience for them.
We experimented with teaming up with various pubs, including The Bedford in Balham, The Round Table near Leicester Square, and The Black Horse near Tottenham Court Road. In this places, we run once-per-week improv nights, inviting in different groups from across the improv community. Things really took off when we moved to The Miller in London Bridge, where we still are today. We rapidly went from running two shows per week there to taking over the whole week with improv shows running full-time, and converted their function room to a fully professional improv theatre. This was really exciting to be part of, as it also coincided with groups like The Showstoppers, Austentatious, Abandoman, The Mischief and more, all of whom took improvised theatre into a super professional level. We were lucky enough to have them all perform at our theatre while developing their shows, and we’re lucky to have many of them back performing at Hoopla this year as part of our 20th anniversary!
AP: In the early days of improv, shows were splitting audiences by taking place all around London. Hoopla found a venue to bring all the improv teams together to play and help each other build their audiences.
How have you managed to preserve and grow the space’s relevance during all this time?
SR: By never stopping! No matter what happens, we are always putting on shows and bringing in a lovely audience. Angela Pollard (Hoopla’s Producer) does an AMAZING job of keeping track of what’s happening in the improv scene, including new groups that are popping up, new headline acts that are being created, and spin-off shows forming from existing top groups. The theatre stays relevant because it is alive and also because the UK improv scene is booming.
AP: One thing both Steve and I ask ourselves when making decisions about the theatre is what will be most fun for our audience. From there, it helps us create a theatre space that people want to visit regularly. It sounds like an obvious thing, but it can get lost.
Also, I think something we do well both for our courses and shows is that we listen and reach out to the community to find out what’s missing. We are always open and evolving to what’s needed.
It’s often said that theatre is where true actors are forged. Is it the same for comedians when it comes to improv?
SR: I think it’s a mix of things these days, to be honest! The new Saturday Night Live team is a great example of this. Some of their writing team come from an improv background, like Lorna Rose Treen (who used to perform in one of the regular improv groups at Hoopla). Some other performers come from a sketch-stage and online background like Al Nash (who used to perform at Hoopla sketch nights). And some come from stand-up. I don’t think there is one set way to make it in comedy anymore. For instance, I think the Edinburgh Fringe pathway has been disrupted, and I think that’s a good thing.
AP: I think improv can definitely help you find the comedian within you. Finding your comedic voice can be tricky and can take people a lot of time to find, but by doing an art form like improv can speed up that process massively. Also, for those who are already comedians, I think Improv will build on the skills they already have and can only help with their careers in various spaces from the stage to TV and writers rooms.
Hoopla has been called the biggest improv school. What do you think makes it deserving of that title?
SR: In the UK, not worldwide. Probably in Europe too, but I haven’t checked that. Biggest in terms of number of courses and classes put on over each year, and therefore the number of improv students over the year.
AP: The size of our spreadsheets! I think it’s safe to say we are the biggest school in the UK for sure. We have a huge number of students starting courses every 6 to 8 weeks, and we have such a wide variety of improv courses with so many amazing teachers! Shout out to Jessie, our course manager, who does an incredible job!
Over these last two decades, improv’s popularity has risen exponentially all across the world. How do you explain this increase in interest?
SR: Various factors. At first, many people’s jobs went screen based. So did entertainment. Consequently, we ended up carrying around little screens we look at all the time, too. Eventually, people get sick of all that. We want to do something in the real, world with real human connection and real laughter experienced there in the moment. Improv is one of the things that does that really well. I think improv is part of a big joyful human rebellion.
Over time, improv became better known to the public. I think it started with people like Tina Fey and Amy Poehler making amazing comedies and regularly referencing their improv training as inspiration.
The UK improv scene has also done a good job! There was a huge push to make improv more professional about 18 years ago or so, with Hoopla making the UK’s first improv theatre happen and groups like Showstoppers and Austentatious forming and taking improv to the West End. In addition, by putting on great classes and shows over the years, Hoopla has rapidly grown through word of mouth and people’s increasing desire to get involved.
AP: Not sure I can speak for across the world, but in the UK I think a lot of it comes from TV shows, where a lot of actors are trained improvisers who are developing shows, like Parks and Rec and Superstore. But I also think Improv classes are just an amazing way to meet people in your city or local town, especially if you have recently moved there. Making each other laugh on a weeknight by playing silly games is such a wonderful way to bond. It’s also where mistakes are celebrated!! That’s a big thing in improv — making mistakes both in class and on stage can bring the most joy!
Despite its popular demand, what particular challenges has this sector faced throughout all these years?
SR: I feel bad saying this, as it affected everyone, including many in a worse way than me, but the COVID years were challenging. We were built on bringing people together in real life to laugh and play. I’m very grateful to all the people that carried on coming to Hoopla online during those years and kept us going.
AP: I think the biggest thing threaning the whole arts scene, not just improv theatre, is all the ‘re-developments’ that keep happening, taking away venues where people can practice their craft without the pressure of high costs.
You hear on social media about venues closing, but also about people not going out as much. I would say to the venues that are struggling that they should reach out to those in the arts and give them a chance to build an audience, without worrying about renting the space or guaranteeing a bar expenditure. From there, they can see how your space can flourish. The Miller and the staff there have been so wonderful to Hoopla. And in return, people don’t just come to Hoopla for shows, but they also arrange birthdays, hangouts, dates, and other celebrations at The Miller — because they know the space through Hoopla. It’s been a win-win relationship!
This upcoming festival will feature a roster of A-list performers, many of which started their careers on Hoopla’s stage. What has it been like to reunite so many old friends?
SR: It’s great fun. I’m very thankful to everyone involved! What I love about reuniting lots of old friends is the post show chats, après improv. Hoopla is a really sociable place and has become a hub of the improv scene, so it’s great to chat together after shows and swap ideas. One of the lovely things about the UK improv scene is that it’s always had a welcoming vibe. Dylan Emery, for instance, is one of the co-directors and co-founders of Showstoppers, who regularly performs on the West End, but he’s so generous with his time and will often be in our venue helping out people that are totally new to improv. I remember talking to him for hours about the future of the improv scen. Those chats can really help!
AP: It’s been a joy to watch Steve reconnect with people and hear their stories of the early days of Hoopla! Knowing how hard Steve has worked over the years to make Hoopla what it is today, the response from everyone across the board has been amazing. Performers have been so excited to return to Hoopla, and making their busy schedules work has been so heartwarming.
Are there any upcoming highlights in this festival you’d like to share with us exclusively?
SR: We’ve got big headline acts like Showstoppers, the Improvised Musical (29th April), Abandoman (25th April), and MC Hammersmith (18th July). My exclusive top tips for your readers though are to also check out Suki Webster’s One Night Only (17th April). Suki is an incredible improviser, so funny, and also has some amazing friends, so whoever she picks for this show will be fantastic. Also, I recommend Impropera (11th April) the improvised opera, as I’ve been hoping they would reform for years. I’ve got the feeling that this will be a chance to see a BIG show in a small space, the kind of thing that doesn’t happen that often.
AP: There are so many! But one exclusive for you is Sat 25th April. It’s going to be an epic day of celebrations from 2pm till Midnight.
Why come see Hoopla’s 20th anniversary festival?
SR: The chance to see AMAZING and hilarious improv, including acts that would usually be in the West End or big venues, but now you get to see them up close! Most of all Hoopla is FUN and always has been, so you’re going to have an amazing night out watching things made up there and then for one night only.
AP: Hoopla Impro is more than just a school and theatre, we have built a community where everyone is welcome! So whether you are new to improv or here every week, this will be a great time to pop along and see some fabulous comedy as well as hanging out with lovely people.
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