The Space Between Us: Baltimore Improv Group in the Cayman Islands
- Mar 21
- 2 min read
My journey in comedy and improv theatre has been anything but linear - it’s been full of growth, challenge, reinvention, and discovery. After completing my degree in film in Los Angeles, I found myself drawn deeper into performance, specifically improv. What started as curiosity quickly became a pursuit. I trained across some of the most recognized institutions - io West, The Second City, UCB, The Groundlings, and later The Basement Theatre in Atlanta - each one shaping my understanding of comedy, timing, and connection in different ways.
At the time, I was a student of the craft. But that perspective began to shift when I returned to the Cayman Islands and stepped into a leadership role running a theatre. Suddenly, I wasn’t just thinking about performance - I was thinking about space. Not just the physical space, but the energy it holds, the people it attracts, and the culture it creates.
Peter Brook’s The Empty Space speaks about the power of performance within a space, but I often think there should be an addendum - one that speaks to those who hold the space. \
Those who shape it, program it, and ultimately become responsible for the spirit that lives within it. Because running a theatre is not passive - it’s deeply intentional. The space begins to reflect the values of the people who lead it.
That realization led me to continue learning, but with a different lens.
Last summer, I spent time with the Baltimore Improv Group, immersing myself in their 101–301 training programmes while also volunteering front-of-house. It was there that something shifted again. What struck me most wasn’t just their technique - it was their philosophy.
They take the idea of “community” to another level.
Improv, in their world, isn’t competitive. It isn’t about being the funniest person in the room or tearing someone else down to get a laugh. It’s collaborative. It’s inclusive. It’s about listening, supporting, and building something together in real time. And importantly - it’s still incredibly funny.
They showed me that comedy doesn’t have to punch down to land. It can uplift. It can connect. It can create belonging. That experience stayed with me.
So when the opportunity came to shape programming for Cayfest, it felt obvious to bring them to Cayman, not just to perform, but to share that approach. To introduce a different kind of improv culture; one rooted in openness, humility, and collective energy.
And they delivered.
What I saw was more than just workshops and performances. I saw people light up. I saw audiences engage in a way that felt new and refreshing. I saw participants walk away not just entertained, but inspired - wanting to start their own groups, to continue the practice, to build something of their own.
That, to me, is the real impact.
Because theatre isn’t just about what happens on stage. It’s about what happens after, what people carry with them, what they create next, and how they begin to see themselves within the space.
And if we’re doing it right, that ripple effect never really ends.
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