1) Keep it as equal as possible: Unless you’ve been elected to be the director/coach/teacher, it’s not the best of ideas to elect yourself to be the person who tells the ensemble what to do and how to play before you hit stage. This tends to communicate that you don’t trust the ensemble to succeed, and it suggests that you believe that you’re the only competent member. In both cases, you’re alienating yourself. Give it up. Trust the process, or have an ensemble meeting to deal with the tension and get to the heart of the matter. A functional family can talk about its difficulties.
2) Contribute: If there are 7 members of your troupe, everyone should be striving to be doing 1/7th of the stage work. This is not always possible, but in the grand scheme people will notice if you’re a hog who’s onstage for every scene or that you’ve been in 4 shows and only been in 2 scenes posing as pieces of the environment. This can lead to varying degrees of resentment. Buck up and add more or relax and trust that people can manage a scene without you. Be honest with each other about trends in how ensemble members contribute. It’s about making the work as tight and good as possible. Spend time in rehearsal finding out how your team of improvisers works best together to maximize contributions.
3) Rehearse: It doesn’t matter how skilled ‘you’ are. If an ensemble doesn’t take time to check in with each other and stay practiced, it’s going to turn into an all-star game when you hit the stage. Meaning that you’ll all be out to make yourselves look good, and you’ll have little clue on how to connect with each other and elevate the quality of the work. The show may be funny, but it will rarely rise to ‘amazing’ or ‘sublime’ without that background of ensemble building through socializing and regular organized play away from a crowd.
4) Decompress: An ensemble that takes time to recognize where they ‘got it right’, as well as where they ‘got it wrong’, is constructing a vocabulary of strategy. Taking note of your ensembles’ strategies in approaching the work can help identify members’ styles of play and how to best combine them, as well as recognizing unproductive avenues or “ruts” in the work. Keep your focus on the work and don’t take this review process personally. If you do take it personally, have a rational discussion about it when you’re ready to talk in reasonable tones. Nothing hurts an ensemble more than a member who flies into rages or fits, whether they are justified or not.
5) Socialize: Hang out as citizens. Plan a dinner party, movie night, breakfast, camp-out, weekend outing. Getting together as people really helps you all learn what each others’ knowledge base and hopes and dreams are. A good ensemble has the potential to grow into a good group of friends. That enjoyment of each other translates to fluid connected work onstage because it’s a no-brainer supporting people that you’re familiar with and like. Decreasing that social gap of unfamiliarity will only help an ensemble, but it can sometimes lead to marriages and babies. Fair warning.