The most free-flowing longform format — a series of scenes with no required structure, no mandated group games, no obligation to revisit characters. Will Hines: "suggestion and go."
How montage differs from Harold:
| Harold | Montage | |
|---|---|---|
| Structure | Rigid 3x3 with group games | Flexible scene sequence |
| Opening | Required (usually) | Optional |
| Recurring scenes | Required | Optional |
| Group games | Required between beats | Optional |
| Connections | Expected by third beat | Can emerge organically |
| Freedom | Low — many structural obligations | High — scenes can breathe |
Three flavors:
Unconnected montage: Pure scene-after-scene. Each scene stands alone. Unified only by the original suggestion, if at all. The simplest form — all skill investment goes into making individual scenes excellent.
Connected montage: Scenes begin to reference, echo, or build on each other. May revisit scenes for second beats. Not forced — connections emerge because performers are listening across scenes. "The best montages leverage lessons learned in a Harold."
Thematic montage: All scenes explore one theme from different angles. The theme is the game of the show. Different characters and worlds, united by a shared exploration. Example: suggestion "keys" → a scene about a locksmith, a scene about a teenager getting car keys, a scene about someone locked out of their own house — all exploring access, permission, and trust.
The Armando variant: A specific montage form. A monologist tells a true story inspired by the suggestion. The ensemble performs scenes inspired by the monologue. After several scenes, the monologist returns with a new story (sometimes inspired by the scenes). The cycle repeats. This is the format of UCB's legendary ASSSSCAT show.
When to use montage vs. Harold: Harold is better for training — it forces practice of every core skill. Montage is often better for performance — more freedom, less structural overhead, scenes can breathe. Many experienced teams graduate from Harold to montage, carrying Harold's lessons without its constraints. Montage is also more accessible for audiences unfamiliar with improv — no structural knowledge required to follow.
What makes montage work: Everything that makes scenes work — game, heightening, relationship, editing, listening — just without the Harold's scaffolding telling you when to do each one. The discipline shifts from following a structure to reading the show and making structural choices in real time.