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Lloyd Collins's Chicago background happily excludes selling anybody a Senate seat, but he has filled plenty of seats at the Chicago, Gainesville, Milwaukee and Charleston Improv Festivals. After graduating from Illinois State University, he began exercising his improv muscles in and around Chicago, from Donny's, to Skybox , and IO Chicago. The Chicago comedy groups that have been pumped up with his presence include Pimprov, Becoming Jerome and Alpine Rescue, Nation of Improv 2.0 and Big News 2.0. He also made his mark on the long-running show, Chicago Improv Rebellion. After landing with Disney Entertainment, Lloyd's first city is now Los Angeles
I wanted to work with Gleam Joel and Alan White due to the fact that it is my life goal to create meaningful, socially conscious theater. We don’t need any more perfectly good productions of perfectly good scripts, what we need is more people to show the nuances of life and the struggles that permeate within societies around the world. Also I used to study at this overly priced World Famous Improvisation training center in Chicago where I met this dude named Conrad, our journeys were parallel. Although, Conrad and I never got the opportunity to perform together, the connection of me knowing him and he being friends with Alan White, helped to provide a networking opportunity for me to get cast in this musical. Also, My journey within this movement is about creating something I can believe in, as well as lending my voice to those who are powerless to speak (to the masses). I am interested in the process of creation, not the production of consumerism. When it comes to music, I love all types of music and I believe in the journey that an artists takes within their lifetime. I am very proud to be a member of the cast and take my duties and commitments very seriously. Whether I am writing, directing, performing a wholly original piece, or working with an extant script, I look for ways to make it my own. Gleam Joel and Alan White have afforded me that opportunity to do just that, and I want to make my role in this production true to myself and what I have to say now.
Whether you are writing, directing, and performing a wholly original piece, or working with an extant script, make it your own. Don’t bother with trying to hold true to an author’s intentions – you’ll never know them anyway. Make the show true to yourself and what you have to say now.