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Indian Express

‘It's about being an absolute goofball': How improv theatre is transforming India's creative culture, promoting fearless expression and boosting confidence off-stage

In dimly lit venues across India's metro cities, performers take the stage with nothing but a word from the audience. No script, no rehearsed lines, no safety net. What unfolds is the magic of pure spontaneity: scenes built from scratch, emerging from collective creativity, characters shaped in real time but feel lived in, and comedy that rises not from punchlines but the unpredictable chaos of human connection. This is improvisational theatre – improv – and it's quietly revolutionising India's creative culture. What makes it compelling is that improv turns the audience into active participants, inviting them to contribute ideas, suggest topics, or offer a single word that becomes the focal point of an entire performance. But, what has led to the growth of this art form in recent years? 'Who says I have that confidence?' asks Neville Bharucha, founder of The Sandbox Creative Academy, when asked about filling auditoriums for improv shows. 'Every time we have a show at a big venue like the NCPA, I check the ticket link every two hours to make sure tickets are selling.' Yet Bharucha has witnessed something remarkable: a steady stream of returning audiences. 'Today one person shows up, and tomorrow they come back with three more. It's such a euphoric live experience that once you attend an improv show, 90 per cent of the time, you'll return,' he tells This word-of-mouth momentum is driving India's improv scene shift from niche to mainstream. Mumbai and Bangalore have emerged as major hubs, and Delhi-NCR and some smaller cities are rapidly catching up. 'Now we can just jump on stage and say 'we're doing some improv', and the audience is ready,' says Bharucha. The form's appeal lies in its unpredictability, with every show being a unique experience that cannot be replicated. What sets India's improv scene apart is its emphasis on mental health and emotional healing. Gaurav Singh Nijjer, general manager at Kaivalya Plays, explains how his group prioritises performer wellbeing: 'In 2018, we received the inaugural Refunction grant from the Goethe-Institut to create Unravel, a full-length production exploring improv's therapeutic effects on mental health.' One of their unique practices is the concept of a 'safe spot' during sessions. 'At any point, if someone feels uncomfortable, they can go to their chosen spot in the room. No one is allowed to interact with them there. It gives them agency and emotional control,' says Nijjer. For some, improv has even helped address, and heal, childhood trauma. Mrinal Gautam, who facilitates workshops in Bir, Himachal Pradesh, recalls his first encounter: 'Standing at a distance from an improv troupe playing in Mumbai, I felt a wave of fear wash over me, goosebumps, sweaty palms, a mild panic attack,' he recalls. 'But as I walked away, something shifted. I thought, 'I'm done letting this fear run my life'.' His journey illustrates improv's transformative power. 'Core improv tenets like 'Yes, and…,' 'Take care of your partner,' 'Be silly,' 'Take risks,' and 'Stop pretending, start being yourself' weren't just stage directions; they were life teachings. Slowly, they began to shape how I lived,' says Gautam. The benefits of improv extend well beyond the performance space. Ankur Sardana, founder of the Nautankibaaz Improv Collective and a professional design leader, sees substantial overlap between improv and creative professions. 'Skills like empathy, spontaneity, storytelling and imagination are equally important for good designers and good improvisers,' he tells 'Without any exaggeration, I can confirm that teaching and practising improv makes you a better person. First, during those two hours you jam, and then slowly, in life,' he says. Bharucha agrees and says, 'People who don't come from performing arts backgrounds benefit the most. It helps boost their confidence, gets them to think quickly and more than anything, people find a new group of friends.' For many, improv also offers a counterbalance to rigid work-life structures. 'I hated the fact that I could not have a 9-to-5 job and also enjoy what the performing arts gave me,' said Bharucha, explaining why more people, regardless of their background, must get involved, just like he did. 'But it's like sport—you don't have to be a pro athlete to enjoy playing. Similarly, anyone can enjoy improv.' Improv's rise in the country coincides with interesting developments in India's comedy scene. Stand-up comedian Jackie Thakkar observes, 'Look at the latest viral stand-up clips – they're mostly crowd work,' says stand-up comedian Jackie Thakkar. 'Stand-up comics are adopting and embracing improvisational setups to crack their jokes.' Actor Sarthak Kathuria finds improv to be instrumental, even in scripted work. 'With scripts, you know the context, you feel secure. But improv teaches you to build that context in real time.' He recalls memorable exercises, such as the 'Alphabet Improv' game, where each line of dialogue must start with the next letter of the alphabet. Another favourite is from clowning practice – wordless scenes based entirely on exaggerated physical traits or quirks. 'You enter with a limp, or mimic a karate player. It forces you to commit fully to character. It's about being a goofball and making people laugh without saying a word,' he said. To stay relevant, Indian improv groups are adapting the form to suit their cultural and linguistic contexts. Nijjer's team performs in multiple languages. 'Since 2014, we've done shows in Hindi, and during the pandemic, we formed the India Improv Ensemble that performed in English, Hindi, Kannada, Punjabi, Telugu, and Marathi.' Relatable themes also help bridge the cultural gap. 'Our most popular shows are about the criminal underworld, murder mystery, familiar Bollywood themes and movies like Dilwale Dulhania Le Jayenge and the big fat Indian wedding,' says Nijjer. However, this popularity comes with responsibility. 'If we play LGBTQ+ characters on stage, we avoid stereotyping or easy laughs, sometimes disappointing audiences but educating them in the long run that we will challenge the narratives they have grown up with,' Nijjer explains. Perhaps the most revolutionary aspect of improv is its approach to failure. Nijjer emphasises that in a culture where mistakes are often punished or mocked, improv embraces them. 'If a scene fails, you let it go. You move on. That's a revolutionary mindset in India,' says Nijjer. Gautam echoes this sentiment: 'It becomes a gentle path to emotional maturity. It teaches us how to live more fully, allowing all our parts to show up. In improv, failing isn't punished, it's celebrated.' Despite its growth, improv faces significant challenges in India. Sardana identifies key issues: 'We lack budget-friendly jamming and performance spaces. Also, there's this 'hobby' mindset—where joy takes a backseat to work.' Gautam adds that many still don't see improv as a legitimate pathway. 'Since it doesn't lead directly to money or career advancement, it's often dismissed.' There's also the challenge of differentiation. 'Lack of reference points makes it difficult to publicise improv,' Sardana notes. 'The Indian audience currently places improv against stand-up. Which is not a fair comparison.' What ultimately drives improv's appeal is that it allows performers to express themselves without the fear of messing things up. 'What audiences are starting to understand is that magic happens when things go wrong –– when we embrace the unexpected rather than fight it,' says Nijjer. In a world increasingly dominated by scripted content and predictable outcomes, improvisational theatre offers something rare: authentic human connection, genuine surprise, and the courage to embrace uncertainty. It's not just changing how Indians think about performance – it's changing how they think about life itself. As Bharucha reflects, 'I just want people to have fun. Whether it is learning improv or jumping on stage and performing, I always tell people their best show and worst show is always ahead of them. Just go on stage and have fun.' Swarupa is a Senior Sub Editor for the lifestyle desk at The Indian Express. With a passion for storytelling, she delves into the realms of art & culture, fitness, health, nutrition, psychology, and relationships, empowering her readers with valuable insights. ... Read More