The art of reading the room

Anyone who's ever performed on a stage, square, or event knows this: the best acts aren't just performed in front of the audience, but also among them. All these venues have one thing in common: they can accommodate an audience, and that audience is ALWAYS different.

Whether it's a festival, a street full of casual passersby, or a corporate event with people still thinking about dessert, every audience has its own rhythm. The trick is to feel that rhythm and move with it. Or, as we call it: reading the room .

The skill you don't see, but you feel

"Reading the room" sounds simple, but it's actually one of the hardest things to get right. It's not just about seeing who's smiling or who's turning away. It's about sensing the energy in the room—who's comfortable, who's waiting, who's eager to interact, and who prefers to enjoy the moment from a distance.

In street theater or event animation, that feeling is everything. Our stage isn't fixed—it moves with the people, the atmosphere, the moment. One moment you're standing in the middle of a street full of families, the next you're among a group of colleagues who didn't quite know they'd be part of the act. You can't plan that. You have to sense it .

For example, we recently played a challenge where we were asked, "Can you be louder, more flashy, more slapstick? Everyone has to see you instantly." Of course we could. But then those several 3-year-olds and their grandparents at the window would have already lost interest. They were impressed that someone spoke to them upon arrival. Moreover, there's a man in the corner who clearly indicated he didn't want to be involved. Something the person asking the question hadn't noticed, and we adapted our game accordingly from the start. What's more, we were thanked for it afterward by both the grandparents and everyone else, who probably wouldn't have found anything wrong with being loud.

And that is precisely the difference between just playing and really connecting.

Experience makes comfort look natural

At We're Called Ed, we've learned firsthand (sometimes literally) that an act only works if the audience feels comfortable . You can be the funniest or most clever performer technically—if you don't get the vibe right, it'll be quiet.

Our actors are trained not only to deliver their lines or roles, but also to read the audience . To see the quiet smile at the back, the colleague who actually wants to join in, or the child who's momentarily overwhelmed by all the hustle and bustle. It's not about completely overhauling everything, but about subtly adjusting—tone, timing, tempo—until everyone is on board.

And then it happens: the moment when audience and players connect and embrace. That's the magic we strive for at We're Called Ed, without compromising on it.

Not as easy as it looks

Being a good "reader" isn't just a matter of luck or talent. It's a craft built through experience, observation, and yes—even a series of performances that didn't go perfectly (rain, wind, or that one corporate event where layoffs had just taken place, leaving no one open to humor).

Less experienced acts often bring a lot of enthusiasm and goodwill. Sometimes even a beautifully developed idea. But sometimes they lack that sensitivity. That's not a criticism—it's simply the difference between performing for an audience and performing with one. They perform their act as they know it. Routinely, because that's safe, and that's how they know it.

After years of practice and feeling, you learn that a good act isn't tied to a script, but to a connection. And that's precisely the difference between "a performance" and "an experience."

The art of making people feel comfortable

Every audience is different—and that's precisely what makes this work so addictive. Sometimes we follow their energy, sometimes we lift it. Sometimes we whisper, sometimes we make noise. But always with the same goal: to make everyone feel included.

"Reading the room" isn't a trick, it's a form of listening—with your eyes, with your gut, with everything you have. And when it works, you notice it immediately: suddenly it's right. The atmosphere, the laughter, the attention—everything falls into place.

Why that's important

Great animation or theater isn't about filling time. It's about creating moments that linger. Moments where people feel seen, relaxed, and connected.

And that's exactly what We're Called Ed stands for. We don't offer standard acts, but moments where everyone feels good. Whether it's on a square, stage, or company party—we make sure it's perfect.

Because everyone can play. But feeling what's happening in the space? At We're Called Ed, we're happy to go the extra mile. In preparation. In getting a feel for the space and atmosphere well in advance, even before the performance begins. In selecting precisely the actors who best fit this setting. And that's precisely where we make the difference—with a smile, a touch of chaos, with human touch, and also with theater and animation that always resonates with everyone.