.newyorkerhumor analyzes characters from “Succession” as members of an improv team.
Considers himself an improv visionary. Fired one coach who gave him the note “People don’t understand what you’re doing.” Tries to control group scenes but gets visibly frustrated because no one ever acts how he wants them to. Often calls the woman in the scene a “bitch,” but thinks he’s doing it in an ironic way. Makes his assistant, Jess, tape every show, and then has her e-mail the large video files to Rava and the kids.
Hundreds of complaints have been filed against him, with no action taken until he was finally banned from the theatre in 2017 for saying the F-slur during a show. Roman would’ve thrived in the improv world if he had been around in 2004.: “Thanks—your money is on the bedside table.”Makes crude jokes and goes even harder than Roman to prove that she’s one of the guys. Conflates being mean with being funny. Often comes out playing an aggro dude.
Forces Willa to come to every show but makes no effort to make her feel included. At the bar hang after, when everyone analyzes every scene, he does bits, and obsesses over the upcoming house-team auditions. Willa has given up trying to ingratiate herself with them and now just works on a new play on her phone.: Connor Roy was interested in improv from a very young age.Longest-standing house-team member at the theatre.
Secretly enjoys when Roman labels her as a sexual character, and plays the hell out of it with a level of commitment that makes the audience uncomfortable. Took eight years to get on a house team.: Pattern game.Frequently labels himself as a high-status character, but somehow has his status diminish as the scene progresses. Will only talk to people on house teams at the aftershow bar hang. Good support moves, but struggles to make strong choices in scenes with improvisers he deems “above” him.
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