Several times a month Extra-Strength News features “Performer Profiles” where we ask 20 Questions to notable improvisers from around the country to get their thoughts and insights into the art form and shed light on how their brains work. You can also check our Improviser’s Glossary for explanations of some terms and concepts.
EXTRA-STRENGTH’s own Johnnie Hertlein brings an intensity to the stage that few can match. He’s the kind of guy you want on your side in a bar fight. More importantly he’s the kind of guy that, if he’s on your side, is one of the most loyal and lovable people you could ever have the pleasure to be friends with. And we never, ever want him to get rid of the porn-stache.
When did you start improvising?
Professionally it must have been in ‘92 when I realized that my boss’s wife had paid $80 a ticket to take us to see “Tony & Tina’s Wedding.” I was standing there with like 150 Italian weddings in my belt and I’m looking at these actors thinking, “You’re telling me your Italian???” These guys are getting paid for this… shit… they like playing games? I’ll give’m games. I came up with a character on the fly – one Carmine Carfalio from Brooklyn, in real estate – and I let the people that brought me in on my plan. Come to find out one of the girls in the cast was moving to New York and when the show was ending she told me not to leave. My friends and myself hung out and when she came back she asked if I could help her out in New York. I told her I’d like to but in fact couldn’t. She was going on and on not wanting to hear “no” and then at a certain point in the conversation she asked, “Where is your accent?” That’s when I told her, “Hey you were playing with me so I decided why should you have all the fun?” Two of the show’s producers were standing there and they asked me if I would consider auditioning. I did, was put in the cast and the rest is history.
What do you like about long-form versus short-form improv?
Long-form to me – depending on the group mind or form – can be played slow. You have time with the characters. Long-form allows you the opportunity to give the character an arc and as a player you get to figure out why that character is the way they are based on the rest of the players giving you gifts.
What do you do to warm up?
I listen to my fellow players and really take the time to look at them in the eye. More importantly I thank all the powers that be that I’m there and I just let go and laugh and bring my best to the stage.
What’s your favorite character(s) you’ve played to date?
Beauty Pageant contestant Miss Arizona, an over-worked business man trying to sleep on a plane, an NYPD detective and last but not least a guy at a party trying to console a sad buddy about a recent break-up that ended up turning into “A Night at the Opera” by the Marx Brothers. There were 12 people on stage in one large mass all touching each other… it was magnificent.
What shows/performers do you like to watch?
Beer Shark Mice. Pete and Paul explain it ALL. Tiny Hostages… Red Shirt Freshman… The Lampshades… these were the shows that made my imagination really run amok and I savor the moment whenever I get to see them perform. As for shows in the here and now, I really love all of them. And before you call bullshit allow me this: I have learned from each and every player, show and team that takes the stage. I learn more from mistakes than victories and every player is worthy of respect and deserves to be watched. It takes balls to dare to step foot onto a stage with the lights in your eyes.
What do you see as your greatest strength/weakness as an improviser?
I can play multiple characters and keep them all straight and I will never leave you on stage alone…unless of course that’s what’s supposed to happen. Weakness… hmm… I guess going absurd. I can do it to a certain degree but not being in the real world, instead keeping it with lavender rivers and marshmallow boulders is a stretch for me the older I get.
Has being an improviser had any impact on your career?
It actually keeps me from getting fired on a daily basis. I become a different personality with whoever I have to so I don’t go insane. To which some people reading this would scream, “Too late!” I watch people very closely, picking up on every little thing, every little detail, and then mix them into a really interesting character.
What advice would you offer someone who’s new to improv?
In the words of Mike Coleman, “See a thousand shows, do a thousand shows and never be afraid to try something uncomfortable.” Just like in life if you’re too comfortable then you’re asleep and probably done trying.
There’s a lot of “rules” to improv – which one(s) do you think is most important for a successful scene/show? Which one(s) do you see broken the most?
Listening with your eyes and ears but don’t forget to listen for what’s NOT being said. If a guy walks into a coffee shop and puts his coat on a wall hook what does that mean? Is he a regular? Would someone new be that comfortable? Always be watching for gifts and story, because they are right there in front of you if just pay attention.
What inspires you and/or informs your improv?
The feedback I get after the show from fellow players or audience members. It will always seem one way in your mind but it’s really quite interesting to learn how it was perceived from someone else’s viewpoint.
What do you look for in a coach or teacher?
Someone who really has passion for the craft. It’s an ever-evolving living and breathing art form and should be respected as such. I want a teacher or coach that will push me, but one that can also really explain it so there is no confusion.
What’s the worst scene you’ve ever done (or seen)?
One where people had their own agenda and just couldn’t let go of what was going on in their personal lives or their vanity.
Have you ever been embarrassed by anything you’ve done on stage?
No, but I’m amazed at how personally people in the audience can take things. It seems like every time someone gets mad at our perception of another culture. If you’re intentionally getting onto the stage with the intent to hurt someone’s feelings then iO, Second City, Extra-Strength and I have no place for you. But you still have to play your characters, regardless of energy level, at a 10 and play them true to what you personally know. If you’re playing a Russian and your scene partner makes you a gangster then that’s what you are. All you can do is play it as real as possible.
Do you have any “no fly zones?”
No, because I know who I am. I’ve been kissed by guys, grabbed by girls and played every villain and every saint. It’s all OK.
Do you ever get stage fright?
Not in the traditional sense. I will sometimes get too anxious about having the fabled “perfect show” beforehand.
High or Low status?
Whatever whenever. No preference. I have my cycles I go through.
Straight or Absurd?
Normally straight but if absurd I really fight to make it a level 10 and then keep it there.
Preferred Opening?
Not for me. I’m just listening to what my fellow players are saying and trying to blow it out.
Favorite Improv Form?
Love them all and feel honored to be in the Del Close Army and to have met Martin De Maat, the late artistic director of Second City.
Favorite Line You’ve Ever Said?
Yes, and???
