👋 Greetings, dear readers.

Last week was weird. I was battling my annoyance with the weather here in London; hopefully, it’s just the winter trying to make itself relevant a bit more before going away. Also, my partner sprained their ankle and we got to experience, for the first time since we moved to the UK, the Accident & Emergency service. After spending many hours waiting, I’d rate the experience with two and a half stars.

There were silver linings, though, like a productive rehearsal with London Playback and a very fun, casual show with Acaprov at Hoopla. I also got paid for last month’s storytelling gigs and treated myself to a few Junji Ito graphic novels. But my favorite silver lining was YOU acknowledging and commenting on this newsletter. It’s only a handful of you, but it truly makes my day to have your input evryenow and then after the release of the newsletter. Thank y’all. 😘

This week, I’m bringing Playback Theatre to the forefront (although it can be applied to improv) to discuss something that may be a bit controversial. Despite the encouraging message that "everyone is able to do playback," there are instances where someone may not be a fit for it, at least at a specific moment in time.

The Chicago-based improviser Mick Napier, co-founder of The Annoyance Theatre, has one of my favorite philosophies: you need to take care of yourself on stage before taking care of others. He uses the analogy of being an adult on an airplane: in the event of a drop in cabin pressure, you must put on your own mask first before helping the children with theirs.

While Napier said this in the context of improv, I believe it is even more critical in Playback Theatre, and that should begin the moment you start learning.

Throughout my years teaching Playback, I’ve occasionally seen students who struggle intensely to make sense of every form we use. That is perfectly normal, and even encouraged, in an art form that deals with vulnerability. The problem arises when this struggle doesn’t dissipate, even after a couple of years, in some cases intensifying.

I don’t want to invalidate these feelings; however, in Playback Theatre, we reach a point where we have to stop thinking and "shush" the voices. Playback is an improvised art form, and trying to logically deconstruct every single thing that happens on stage is potentially counterproductive. You have to put our own oxygen mask on. Take care of yourself, doing whatever you need to do in order to reach a comfortable position to perform from.

The main focus of Playback Theatre is to honor the story. Whether we used a form "correctly" doesn't matter as long as the teller feels their story was honored. I might be thorough and picky when teaching, because it’s my job to provide a clear structure and a solid foundation, but at the end of the day, if the teller is happy with what happened on stage, forms are just tools, not rules (a nod to Lisa Lynn, she loves to say that).

Being in your head in Playback Theatre, constantly feeling solely responsible for what happens on stage, can also be seen as a lack of trust in your partners, which potentially generates friction. Playback is ensemble work, so the responsibility of honoring the story is shared. You cannot control what others do on stage. You can only control your own actions, constantly adapting to the circumstances. That is why being overly analytical is like trying to catch water with a net. Don´t listen to your inner voices. Listen to the stories from the tellers and be a channel for them.

As I mentioned, not everyone is capable of letting go of that struggle, for whatever reason, and they may end up overwhelmed or even quitting. If you get into Playback, you must be ready to be gentle with yourself, lower the stakes, and trust your partners. You got this.

📆 What is coming up

• 🇬🇧 13th of February - Acaprov (London, UK). Right at the door of Valentine’s Day 💞 we’ll offer a new a cappella musical at Shoreditch Balls. Get your tickets.

• 🇬🇧 15th of February - Lunar Year Playback Theatre Performance (London, UK). I’ll be coaching next True Heart Theatre’s performance to welcome the new Chinese lunar year. More information and tickets here.

• 🇩🇪 14th-15th of March - Playback Theatre Level 2 Intensive (Berlin, Germany). I’m going the capital of Germany to offering a two days intensive. Looking forward to it. If you are around check it out.

• 🇩🇪 21th-22nd of March - Playback Theatre Level 2 Intensive (Hamburg, Germany). And also, I’ll wave the Winter goodbye while offering the same intensive in Hamburg.

• 🇬🇧 3rd to 6th of April - Playback Theatre Core Training Intensive (London, UK). I´ll be co-running, with London Playback, a core training intensive during the easter weekend. A perfect oportunity to learn Playback Theatre from ground level. Only 4 spots left! Get your spot.

📚 🎮 🎥 📺 The geeky dessert

This week’s geeky dessert might not seem very geeky, but it actually is. I recently finished Unmasking Autism by Dr. Devon Price, a neurodivergent author who is also immersed in social justice advocacy and awareness.

Although it relies on subjective interviews, I found it incredibly informative and empowering. I felt a constant sense of validation, even if some parts felt redundant. It is very centered on the American experience, which made it harder to relate to at times, but also made me grateful for the healthcare and social systems we have over this side of the Atlantic.

The author highlights how geekiness and hobbies are central to many neurodivergent lives. I’ve always felt a lingering sense of shame for having hobbies that neurotypical adults might consider childish, but this book helped me understand that these interests are part of who I am and essential tools for navigating my life. Of course, everyone should have the hobbies they enjoy without shame or judgement, regardless of their condition.

Now, if you’ll excuse me, I’m going to unapologetically game for a bit.

🐱 Dessert to the dessert

Today is Bran’s 13th Birthday! Just wanted to feature this little rascal. Happy Birthday Bran! I love you so so so much.