Wit&Will is Unique

Founded in 1998, Wit&Will uses "short form improv" exercises to entertain its audiences and train/rehearse for Summer Shakespeare productions, winter productions of established plays (Jacob Marley's Christmas Carol), and premieres of original works (Haunted Albany, Looking for Mr. Big, Senior Moments: Random Acts of Comedy, Romeo and Ethyl - the Pirate's Daughter) in the fall and spring.

Through this unique combination of genres, Wit&Will juxtaposes seemingly dissimilar theatrical forms, thereby building the strengths of the actors while producing exceptional theatrical performances.

Wit&Will is Comedy

We do classic improv games such as "Party Quirks" and "Freeze," variations on established exercises like "Bi-Polar" and "The Ad Game," as well as the original routines "Freudian Slips&Other Lingerie" or "Pop Up Interpretative Song&Dance." Every show is different, every show is new, every show is a leap into the unknown, and every show is uniquely funny.

Wit&Will Improv performs the second Saturday of every month at Zu Zu's except when we are performing summer Shakespeare, winter Dickens, or fall/spring original productions. Wit&Will can do productions created for any event or venue.

Wit&Will is Classical

Each summer since 2000, we have performed a full Shakespearean productions in various venues around the Capital District, to date: Hamlet, Macbeth, Twelfth Night, A Midsummer Night's Dream and My Voice is in My Sword: Shakespears Looks at War. Look for our forthcoming original play: Mirth, Mayhem, and Merriment: Shakespeare Slapstick, a pastiche of scenes exploring Shakespeare's comedies that feature unarmed, rapier and dagger, broadsword, and found-objects stage combat.

On 3/3/03 Wit&Will participated in a world-wide anti-war event by being one of hundreds of theatres performing the ancient Greek play, Lysistrata. This staged reading, complete with live music and original choreography, took place at Caffe Lena's in Saratoga Springs.

Wit&Will is Actor Training

We provide actor training with the objective of deepening of the actor’s connection to the playwright’s words, releasing the natural voice, liberating bodily motion from unconscious patterns of movement and stimulating the imagination. Successful training results in a rewarding and synergistic relationship between the actor and audience and creates one well-trained adaptable ensemble.