New Choice

A short-form scene game where the host calls "New Choice!" at any moment to demand an instant alternative to the last line or action. Also known as Sure Ding.

Players

2–8

Difficulty

Beginner

Full description

Setup and Launch

Bring 2–4 performers on stage. Explain the rule: on your signal "New Choice!" they instantly replace the most recent line or action β€” anything from a slight shift in meaning to a radically different move. You can target the replacement specifically: "new entrance", "new emotion", "new dance", etc. Partners accept the new version without argument and continue the scene. A good audience intro: "Two actors will improvise a scene, but whenever I say New Choice they have to change what they last said."

Flow

  1. Launch. Give a simple starting point (location, relationship, or activity) and let the scene unfold for 10–20 seconds so facts and a connection between the characters can emerge. Start the scene fairly normal β€” the game will make it weird all by itself.

  2. First alternatives. Call a few signals early, alternating between replacing lines and replacing actions. If you hear performers cycling through synonyms, push them toward a qualitatively different alternative β€” a change of intention, status, or emotion. Performers should say the first thing that comes to mind even if it seems wrong; they can justify it afterwards.

  3. Pace and focus. Vary how often you call: sometimes demand a rapid series of alternatives until a strong version lands, then let it breathe. Sharpen the focus when needed: "new emotion", "new entrance", etc. You can also use the game as an unblocking tool β€” keep calling New Choice through a block until a strong yes-and emerges.

  4. Closing. When a vivid turn or solid game idea has emerged, stop intervening and let the scene reach its button organically. After the applause, rotate the cast.

Key rules

  • Replace only the most recent moment β€” do not rewrite the whole scene; preserve the established relationships and circumstances.

  • If performers get stuck cycling through synonyms, ask for a qualitatively different alternative (change of intention, status, or emotion) rather than another item on the same list.

  • Manage the frequency of your calls: too often breaks the connection, too rarely kills the game. Stop calling once a strong version has landed and let it develop.

  • Call for alternatives to actions and entrances as well as words; use specific signals like "new entrance / emotion / dance" to keep performers focused.

  • Responses must be immediate β€” no pauses or discussion; partners support the new version and build the next moment on top of it.

Context