I’m currently on faculty at the Atlantic Acting School, so if you’re jonesing to spend a whole semester with me, I recommend applying there.

I coach improv teams, sketch groups, actors and stand-up comedians, in addition to corporate and professional coaching, such as workshops, keynote addresses and presentations. I can help you develop your next show, figure out the next steps in producing your work, prep for auditions, and write punch-up.

Over here on the right are some very kind words said by some very kind people about working with me, in case you were thinking about taking a workshop or scheduling a coaching session. If I've got any upcoming workshops, they'll be listed below. If there's nothing there, check back, or sign up for my email list to find out when more workshops are going up.

If you'd like to talk about booking a session or have questions about any upcoming workshops (or anything at all, really), email me at kevinasarobot@gmail.com.


Limited to 12 students each, these single-session workshops will focus entirely on my sidecoaching techniques featured on the Improv Noise podcast, headlining the Denver Improv Festival, the New York City Improv Festival, with runs at the New Ohio Theater, the Paradise Factory, and the weekly show at The People's Improv Theater in New York City. This workshop is a 20-minute warmup followed by non-stop improvisation, sidecoached throughout. After a 25-40 minute set, there will be a brief discussion, and then we will go straight in to the next set. Any ancillary exercises will occur within the performative set, as in the SIDECOACH show. By nature of the form, the Sidecoach workshops are open to all skill levels beyond entry. Any improv experience will do, but this should not be your first improv class or workshop.

The sidecoaching is built to relieve the improviser of the need/want to create scene, plot, or story. I focus on coaching the performers to stick to staying present and noticing offers as they come, and then help them become aware of the storytelling work they are doing subconsciously. It alleviates performance pressure and shows the player how many sophisticated narrative and character choices they are already making. As with all of my workshops, the baseline premise of the work is that the best improvisation happens without the performers doing any conscious work at all beyond discovery.