The Harold: A Cornerstone of Long-Form Improv

• Categories: Long Form, Ensemble Game, Performance Game
• CLICK HERE to download PDF

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Harold

The Harold is a highly influential long-form improvisational theatre format, pioneered by the legendary Del Close at the iO Theater (formerly ImprovOlympic) in Chicago. Typically lasting between 20 to 30 minutes, its structure allows an ensemble of improvisers to organically discover narrative, thematic, and character connections from a single audience suggestion, rather than relying on a pre-planned plot.

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Understanding the Structure of The Harold

The Harold unfolds in a series of distinct yet interconnected phases, building from initial inspiration to a cohesive, improvised performance.

1. The Opening

The Harold commences with an “Opening,” a segment several minutes long inspired directly by a single word or phrase from the audience. This opening serves to generate initial themes, ideas, and characters that will inform the rest of the piece. It can take many forms:

• A group game
• A monologue
• A deconstruction of the suggestion
• A series of rapid-fire vignettes

2. First Beat (A1, B1, C1)

Following the opening, The Harold transitions into its “First Beat,” which consists of three distinct and initially unrelated scenes (often referred to as A1, B1, and C1).

• These scenes are completely improvised, drawing inspiration from different threads or ideas sparked during the opening.
• The emphasis in the first beat is on establishing clear characters, relationships, locations, and foundational “games” (the unique comedic or dramatic premise of each scene).

3. Group Games / Second Beat Games

After the first beat, the ensemble typically engages in “Group Games” or “Second Beat Games.”

• These are fluid, non-scene-based sections where the entire cast comes together.
• Their purpose is to explore and heighten themes, emotional states, or specific phrases that emerged from the A1, B1, and C1 scenes.
• These games might involve patterns, word association, physicality, or abstract exploration, subtly weaving connections between the initial, disparate scenes.

4. Second Beat (A2, B2, C2)

The Harold then moves into its “Second Beat” (A2, B2, C2), where the three initial scenes are revisited.

• At this stage, they are no longer unrelated. Improvisers are encouraged to reincorporate characters, themes, patterns, or lines from previous scenes or group games.
• The goal is to build upon what has already been established, deepening characters, escalating conflicts, and discovering surprising new connections.

5. Third Beat (A3, B3, C3)

Finally, The Harold concludes with its “Third Beat” (A3, B3, C3).

• Here, the connections become even more pronounced.
• The scenes from the first two beats often converge, characters from different storylines might meet, and themes or “games” from earlier in the piece are brought to their climactic or most absurd conclusions.
• The Harold aims for a satisfying sense of completeness and discovery, where seemingly disparate elements coalesce into a cohesive, often hilarious or poignant, improvised performance.

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Why The Harold Works

The Harold is a testament to:

• Ensemble Listening: The continuous attention and responsiveness among players.
• Agreement: The “yes, and” philosophy in action, building on each other’s ideas.
• Belief in Emergence: The trust that patterns and narratives will spontaneously emerge from playful exploration.

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