After doing it for so long, what makes playing Theatresports still fun for you?
KG: Improv in general is the best because you get to do whatever you want every time you hit the stage. There’s unparalleled levels of freedom in this art form which is why I think it’s still exciting for me after doing it for so many years. There’s always a new game, a new style, a new person to riff with, all those things make it feel like it’s ever evolving instead of the stagnation you might expect when someone does one thing for so many years. I first started performing Theatresports with RFT in 1996 and I’m still doing it pretty much weekly after all these years… so I guess there’s something attractive going on there. Maybe TS is like a hot ex-girlfriend that you just can’t stop having sex with even though she’s a terrible match for you. HT: When did you start getting into narrative longform? KG: It was around 2000 when (the AD of RFT at the time) Jacob Banigan first started training us in long form, and started programming it at the theatre. It wasn’t until Scratch in 2005 that
