George Pete Caleodis      AEA, SAG-AFTRA    

I am currently available to provide group or private instruction in the art of improv, sketch comedy, musical improv, or comedy writing -
throughout the Southwest, or by special arrangement elsewhere.


The Crucible
The most important technical elements of comedic performance are: timing, confidence, emotional commitment. Musical improv is perhaps the best laboratory for sharpening these. It doesn't matter if you can sing. It doesn't matter if you "don't know music". Come play. We'll learn about basic rhyme scheme, song structure, and the intersection between improv and music - an understanding of which will raise all of your performance work to new heights. Q: Who's the most important person on stage?
A: Your scene partner. "Successful" improv isn't about being quick, funny, or even smart - it's about synergistically interacting with the other performers. Join us for this brief introduction/refresher (as the case may be) into leading and following, dealing with "gifts", and directing performance energy towards - and for the benefit of - your scene partners.
Learning the rules is only the first step. Let's face it - the reason that we bother to learn most rules is to understand how and when we can get away with breaking them. The rules of improv are no different. Come "stick it to the man" for a few hours as we explore how to turn improv no-no's like questions, negations, and being an overbearing scene partner into on-stage hilarity.



A member of the first main stage cast of The Second City, Cleveland,
George Pete Caleodis has spent 20 years performing improvisational comedy
with such troupes as "Midwest Comedy Tool and Die", "The Slipshod Theatre
Company", "Cabaret Dada", "Out Of Our Heads", and iO West's "The Cartel".

His training has
included work with The Second City Conservatory (where he
served as an instructor in Cleveland, and now teaches, performs and directs in
), Paul Sills, Ron West, T.J. Jagodowski, and Josh Funk.

He has also conducted improv workshops for Phi Theta Kappa, Lazarus,
CD101, Columbus State Community College, and Finest City Improv.


<> Tue, 9 Aug 2005

The North Pole's Santa-Ricky (Baldwin), owes much of his on-camera
comfort to li'l Georgie Caleodis. George has been with Santa in spirit
for years, several times as I audition for national TV commercials. At
audition, I had to envision Santa Claus at a traffic intersection
directing an array of imaginary 'beings' through the crosswalk. Well
George, I geared up and I began walking about waving my arms, chasing
ducks through the intersection, then sniffing an apple pie that 'Dear
Mrs Jones' was carrying, then I spotted Rudolph and waved him and the
gang through that intersection! George - my being comfortable in YOUR
methods as Improv teacher helped me WIN THAT TV ROLE as Santa became a
policeman in ads for Broadway's "White Christmas" show. Since knowing
you George, I've booked 8 TV ads playing all across America and even shot
one in Mexico. I suggest anyone interested in relaxing into good Improv
characterizations consider training with Santa's pal, Georgie!
--Santa-Ricky Baldwin, SAG,

<> Thu, 11 Aug 2005

Hi George,
Dan Bonarrigo here. Thanks for everything. For conducting the improv
classes, for the things I learned in that class about real communication,
and about being honest with myself. Whatever it is I'm going through,
--delayed adolescensce, the restoration of my sanity, finding myself, the
improv group was another step on that road, I guess. Anyway, hope
everything goes well for you as you head out to LA, that you find a gig
that'll satisfy your thespian tendencies.
--Dan Bonarrigo

<> Tue, 26 Jul 2005

Thanks again for all your hard work and dedication to improv in Columbus.
Last weekend, I introduced a drunken group of rain-soaked campers to
several improv games and we coalesced into what you would describe as
the best damn
energy circle, EVER. Some of them even told me that they
would be using some of the techniques as icebreakers at their next
conference. The unifying power of improvisational comedy has repeatedly
manifested itself in my every-day life and I have you to thank George.
Good luck in L.A.
--Gabe Gloden

<> Wed, 27 Jul 2005

I've really learned a lot from you, and while you were handsomely
compensated, I want you to know how much I appreciate all the knowledge
you imparted. You are among the best teachers I've had. I came to your class
simply because I thought it would be fun. I didn't know I would learn so
much about writing, establishing character relationships, character
development, acting technique, and different ways of thinking about
writing, acting, and yes, drama.
--Jon Kalvin

<> Wed, 27 Jul 2005

Hey George, it's me Bud. Out of all the people I have ever known, you
have inspired me and motivated me to be an actor. I wish you the best
of luck in LA and hope you find success in whatever you pursue.

I just want to wish you the best of luck -- you ARE the greatest improv
teacher there ever was.

<> Mon, 1 Aug 2005

George has a great knack for making newcomers feel comfortable and
beginners feel encouraged. He’s a practical teacher, explaining how
the classroom exercises can help one on stage. I’ve studied with George
for nearly four years. I’ve learned so much, from the basics of improv,
to the details of creating a professional looking, audience engaging show.
Just when I think it’s time to move on, I discover there’s more I can
learn from him.
--Kristen Howell

<> Sat, 30 Jul 2005

Teachers educate.
Good teachers teach others how to learn.
Great teachers change lives forever.
George has been the greatest teacher in my life.
He also knows a thing or two about the Golden Ratio.
--Miguel Baldoni-Olivencia

<Mike Devany in Cinci> Thu, June 01, 2006

George was a fun teacher and the improv classes were my best
theraputic release ever. I have not yet found an equal circle to
associate myself to. Columbus has a great spirit in their improv
class. George and a few others make that wishes
and keep up the funny stuff.
--Michael Devany