I’ve been using this improv standard as a warm-up for as long as I can remember. If you plan to play this often, you’ll want to amass a nice supply of suitably random objects (or perhaps not – see my note below).
The Basics
Players form a semicircle at the back of the stage or performance area. After a brief explanation of the game for the audience, the host or facilitator presents a suitable object, often with an introductory phrase along the lines of, “This is not a [insert object name here],” that the ensemble repeats before the emcee announces, “Show me what it is!” Random players then step forward and endow the proffered object in new and creative ways through brief vignettes, stepping back into the semicircle after each endowment. The facilitator might rotate through several objects in such a fashion.
Example
The host holds up a hula hoop and places it in the center of the stage so that it is easily accessed by the waiting improvisers.
Host: “This is not a hula hoop!”
Ensemble: “That is not a hula hoop!”
Host: (stepping out of the playing field) “Show me what it is…”
Player A steps forward, holding the hoop as if it was a detective’s magnifying glass.
Player A: “It would seem the thief’s muddy footprints lead toward the bookcase…”
The host blows their whistle (or similar) to punctuate the successful (or otherwise) communication of the idea, and Player A returns the object to the ground, which is quickly procured by another company member, B, who takes a knee and holds it up to an imaginary scene partner…
Player B: “You’ll marry me?! I never dreamed of finding love with a giant…”
The host blows their whistle again, and a new player steps forward…
The Focus
Bravery, clarity, and creativity, in equal measure.
Traps and Tips
1.) Attack. The game loses most of its entertainment value if players meander on and off the stage. As much as your mobility will allow, race into the arena with your idea, no matter how unformed it might currently be. Even a rather innocuous choice can become riveting when delivered with confidence and charm. If the ensemble as a whole is becoming sluggish, that’s a good moment to change up the object or push towards a button.
2.) Support. Don’t retreat so far into your head that you’re not giving your energy and love to others in the space. Savor your teammates’ struggles and successes. If you happen to reach for the object at the same time as a fellow improviser, figure out how to use it together. If someone needs a second body to complete their idea and signals you to enter, rush in joyfully. If the game or tempo starts to lag, bravely offer up that less-than-stellar idea so that the ensemble maintains momentum and has an extra few seconds to construct the next “better” idea.
3.) Plant. Each endowment will generally be a quick hit but give choices sufficient space to land and build. While I advocate speedy transitions so that the warmup doesn’t plod, don’t become overly rushed with the endowments themselves. Think of each creative use of the object as a scene in its own right, albeit a rather brief and pithy one. It’s much less fun to see a player half-heartedly hold the hula hoop above their head and blandly announce, “It’s a hat,” than watch a playfully constructed character find a reason for wearing such an oddity.
4.) Connect. When each justification becomes a mini scene, the likelihood for joyous connections and callbacks increases exponentially. Does one player find increasingly elaborate excuses for using every object as some kind of hat or accessory? Do we see the proposing player’s relationship with their fiancé giant evolve (or devolve?) with each subsequent round? Be careful of over-relying on this device, as it can decrease the delightful randomness at the heart of the game, but well-timed echoes can provide nice energy bumps and often serve as a helpful out for the exercise as a whole.
In Performance
I use this game often with my campus troupe, Rollins Improv Players, as our short-form shows need to fit into a 50-minute class period, and this warmup provides a fast and generally energy-boosting all-play. During the challenging years of COVID, we played the game with imaginary props to reduce unnecessary contact. I found that adjustment surprisingly effective. It also reduced the chances of objects being damaged or rolling into the audience, which was an added bonus!
Cheers, David Charles.
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