Mr so and So
Mr. So-and-So is a hybrid game and exercise in which one performer introduces a character -- "Mr. So-and-So" -- by physicalized description and behavioral endowment, and other performers must immediately embody and play that character according to the introduction. The exercise develops the ability to rapidly translate a described character into full physical and behavioral embodiment, and trains the group's capacity to all play the same character simultaneously with consistency and specificity.
Structure
Setup
One performer or the facilitator takes the role of introducer. The remaining performers wait to receive the character introduction.
Progression
The introducer announces: "Allow me to introduce Mr. So-and-So" -- or a specific name -- and then describes the character's physical qualities, status, movement pattern, emotional state, or behavioral quirk with as much specific detail as possible.
All other performers simultaneously adopt the described character and begin inhabiting them in the space -- walking, interacting, and speaking as Mr. So-and-So. The group's challenge is to achieve a consistent, recognizable shared character rather than multiple individual variations.
After a period of group character play, the introducer may call a new character, and all performers immediately transform.
Ending
The exercise concludes after several character introductions. The facilitator debriefs the consistency and specificity of each character across the group.
How to Teach It
Objectives
Mr. So-and-So trains rapid character embodiment from a described specification, the ability to translate verbal character information into precise physical and behavioral choices, and the ensemble skill of achieving a shared character simultaneously with consistency across performers.
How to Explain It
"You're getting a character described to you. The moment the description begins, start translating it into your body. Don't wait until it's complete. By the time the introducer finishes, Mr. So-and-So should already be walking in this space."
Scaffolding
Begin with simple, physically specific characters (a very old person with a bad knee, someone who smells everything) before introducing more psychologically complex or behaviorally subtle characters. The exercise builds the rapid translation muscle before introducing nuance.
Common Pitfalls
Performers often produce individual variations of the described character rather than a shared one -- each performer emphasizing the aspects of the description that resonated most with them. Coach the group to find the single most central quality of the description and anchor the shared character there.
How to Perform It
Audience Intro
"We'd like you to meet someone -- actually, several someones. Help us describe who they are, and we'll all become them at once."
Cast Size
Flexible: 3 to 10 performers. 1 performer takes the introducer role per round.
Staging
Open stage. The introducer stands at a distinct position; the ensemble occupies the main playing area ready to receive and embody the character.
Wrap-Up Logic
End after three to five character introductions, or when the group has demonstrated a satisfying range of character consistency and transformation across multiple distinct characters.
Worth Reading
See all books →
Drama Games and Improvs
Games for the Classroom and Beyond
Justine Jones; Mary Ann Kelley

Improv Ideas
A Book of Games and Lists
Mary Ann Kelley; Justine Jones

Embodied Playwriting
Improv and Acting Exercises for Writing
Hillary Haft Bucs; Charissa Menefee

Improvised Theatre and the Autism Spectrum
A Practical Guide
Gary Kramer; Richie Ploesch

The Improv Handbook
The Ultimate Guide to Improvising in Comedy, Theatre, and Beyond
Tom Salinsky; Deborah Frances-White

Business Improv
Experiential Learning Exercises to Train Employees
Val Gee
Related Exercises
John Cremer Characters and Scenes
John Cremer Characters and Scenes is a character-building and scene initiation exercise developed by UK improviser and educator John Cremer, in which participants develop distinct physicalized characters and then bring those characters into spontaneous scenes with one another. The exercise trains the connection between physical specificity and character logic, building confidence in initiating scenes from a grounded physical starting point rather than from dialogue or concept.
Name and Boring Fact
Name and Boring Fact is an introductory exercise in which each participant shares their name alongside a deliberately uninteresting fact about themselves. By lowering the stakes of the introduction -- removing the pressure to be clever or impressive -- the exercise creates a relaxed and often unexpectedly amusing group dynamic, and gives participants a shared touchstone for the rest of the session.
Name and Life Hack
Name and Life Hack is an introductory exercise in which each participant shares their name and a practical tip, shortcut, or small discovery they have found genuinely useful in daily life. The exercise creates an immediate sense of mutual helpfulness within the group, surfaces unexpected common ground, and provides a memorable anchor for each person's name.
Action and Entrance
Action and Entrance is an exercise in which a player enters the scene space performing a specific physical activity that establishes character and context before any dialogue begins. The emphasis on physical initiation teaches performers that action communicates faster than words. It reinforces the principle of entering a scene with a strong, clear choice.
Name and Applause
Name and Applause is a group introductory exercise in which each participant states their name and receives a full round of applause from the group. The exercise creates an immediate experience of being seen and celebrated, lowers self-consciousness in new groups, and establishes a culture of generous acknowledgment from the first minutes of a rehearsal or workshop.
Great, Next Character
Great, Next Character is a rapid character-switching exercise in which a facilitator prompts a performer to create a new character every few seconds. The performer barely has time to establish one persona before being pushed to the next. The exercise trains the ability to make instant character choices, build characters from body and voice rather than concept, and prevent the overthinking that causes character hesitation in performance.
How to Reference This Page
The Improv Archive. (2026). Mr so and So. Retrieved March 17, 2026, from https://improvarchive.org/exercises/mr-so-and-so
The Improv Archive. "Mr so and So." The Improv Archive, 2026. https://improvarchive.org/exercises/mr-so-and-so.
The Improv Archive. "Mr so and So." The Improv Archive, 2026, https://improvarchive.org/exercises/mr-so-and-so. Accessed March 17, 2026.
The Improv Archive is a systemically maintained repository. The archive itself acts as the corporate author.