And the biggest surprise? The workshops made more money than the shows.
Why is that (um, sorry, Pete) awesome? Because it means that a whole bunch of people in Kansas City—at all different experience levels, from almost every troupe in town, and many who aren’t in troupes—are interested in getting better at improv.
I don’t think there’s a better predictor of future success than that.
Audiences alone can’t sustain a community. The work gets better when there’s more competition and cross-pollination, and that doesn’t happen without new people and new troupes. Full classes are a sign of good health—or at least the potential for it.