Andy Eninger is one busy man. First, he is preparing to leave for Las Vegas with the Chicago Comedy Company ( a company which teaches improv techniques to businesses ) . Secondly, he is teaching a class tonight at Second City. Thirdly, he is putting in mega hours practicing for his new solo show One Man Seen...an improv show that places Eninger in the spotlight where he creates a one-act play based on the audience's suggestions. Did I mention there is also the piano lesson thing? Being busy is not new for Eninger ( pronounced like vinegar without the v ) ; he has acted in countless GayCo productions and he is constantly touring.
Kennette Crockett: I saw you in GayCo's Behind Bars. You sang "I'm Gay So I Over Compensate" You have a nice voice.
Andy Eninger: Thanks. That is really me; it is completely true. My friends said that was the saddest scene they had ever seen.
KC: What was the inspiration for One Man Seen?
AE: A few years ago, I worked with another GayCo cast member, Kathy Bianchi, and we did a two-person show called Sybil. Sybil being a call back to the movie about the woman with the multiple personalities and then Kathy got a great job in London and moved away. I joked that I was going to do it without her but then a few months passed and I really got the bug. I began to work with an improv coach...people who do improve call their directors coaches...by the name of Tim Schueneman. About two years ago, I started to do it and it went well. At the time it was the perfect challenge for me to grow as a performer.
KC: Do you take suggestions from the audience or are these your characters?
AE: I do take suggestions and One Man Seen is the result of my working with a new director and retooling it. It is like Sybil 2.0. I have an amazing director, Gary Ruderman. I get a suggestion of a location from the audience and I create the set rather than simply creating a [ character ] . So it is a little expressionistic. The audience begins to visualize this whole location. Having your imagination stretched is delightful and you will remember the play so much more vividly because you created it.
KC: I was wondering how you got the audience to see the same thing. I really like the poster for One Man Seen. I was reading the credits and it seems like you do it all. You are the animal wrangler as well as the caterer.
AE: I do, do it all. My producer Shaun Himmerick had the idea for it; the idea being that I am stuck in the spotlight.
KC: The title One Man Seen is like a double entendre like scene and seen. Why do you think that it is important to be seen?
AE: I have noticed that it gives me better teaching ability and when you are improvising solo and creating something from scratch in front of an audience it forces you to go deeper into your own perspective. So really your own voice comes out and there is always something incredibly engaging when a competent performer has to go deep into themselves.
KC: Have you ever been surprised by your own voices?
AE: ( Laughs ) Yeah. I would say a French Canadian assassin [ surprised me most ] , and it was really fun to inhabit that character because I don't know where it came from. ... I have also discovered a few crazy characters in One Man Seen because these rehearsals have been more intense than anything I have ever done because the length of the show is between 45 and 55 minutes.
KC: What is your favorite audience?
AE: They laugh really loud and pay double price ( laughs ) . I like a smart audience who is willing to wait for the laugh and go with the character.
KC: So I read that you started piano lessons and you're not a prodigy?
AE: ( Laughs ) No I'm not a prodigy.
KC: Why the piano over the guitar?
AE: I already play it. I have to keep up with those lesbians. I love music.
KC: I read that you are a teacher. What do you enjoy about teaching?
AE: The thing I enjoy about teaching is I get to see someone else grow. To contribute to another's improv growth is incredibly satisfying for me because I can remember people who influenced me either by giving great advice or inspiring me by their performances. My day job is that I work for the Chicago Comedy Company and it is corporate improv and it is a competitor of Second City.
KC: And you teach for Second City?
AE: I love teaching. Actually starting in October, I'll be teaching a 6-week workshop based on my one-man performances with Playground Theater.
KC: Why do you think that Chicago loves improv so much?
AE: Because of its playfulness. It certainly is an art form where selling out your character is rewarded by the audience.
KC: Does your sexuality effect your career in the improv world?
AE: If you are a talented performer, you are regardless. In terms of the commercial world, it may effect it. I know that I have lost gigs before because I am out doing an effeminate read of something. But in the improv world, it doesn't hurt at all.
KC: Karaoke yes or no?
AE: Oh yes, talk about your imagination you can dream that you are a star.
