The SNL Shuffle

Just on the heels of Kristen Wiig's departure from Saturday Night Live, Andy Samberg announced this week that he was leaving as well.    Now everyone is holding their breath to see if Jason Sudeikis will make a hasty exit as well to follow his movie career.   As cries of "It's the End of an Era" ring out from Perez Hilton - you have to put these career changes into perspective.  Since the very beginning of SNL, actors have left the show looking for movie glory.   It's the natural evolution of things.   It's normal - so relax citizens there is another awesome player waiting in the wings just hoping they can get out on stage and show you what they've got.  In August 2005, you had never heard of Kristen, Andy or Jason and now you're wondering how the show will survive without them.   Lorne Michaels, the veteran producer has seen it all before - smart, funny, and talented people coming on the show and smart, funny, talented people leaving the show.   People coming and going - that's life whether you have an accounting firm, a non-profit, a church or a comedy troupe.    It can be painful but fate has a way of bringing new people into your life even if you hate change.    The funny part is, you usually feel richer for the fact that they showed up just when you thought that other person could never be replaced. 

Chevy Chase left Saturday Night Live after about a season and a half.   That seemed like a huge loss - who was going to do prat falls, Weekend Update and Gerald Ford once he left? But Bill Murray came along and created his own world of crazy and it seemed like the show would survive.   It's certainly had it's ups and downs - like the years when Lorne Michaels left in 1980 to pursue other things because he was exhausted from the pressure of producing and writing every week.    When he left, the woman left to pick up the pieces, Jean Doumanian was sabotaged by the writers left behind and NBC slashed the budget by 65%.   The show struggled for a few years until Eddie Murphy revived it and then left in 1983 to pursue a monster acting career. The history of SNL has had it's share of fights, creative struggles and controversial sketches and yet after 37 seasons, it's still one of the longest running TV shows and has over 120 players on the show.   Old farts like me remember the first shows with George Carlin and when the Muppets used to do sketches as well because Jim Henson wanted to something a bit edgier than Sesame Street.   I've seen SNL's evolution since I was in junior high so I guess it's helped me be more philosophical when I've had to deal with things that have happened in the comedy troupes I've been a part of.  

When I performed with Mental Floss in Miami, they had a pretty stable group of players to perform.  In fact it was too stable, a better word might have been intractable.   The male players were gold and the women players were expendable.    As a woman, you had to be twice as funny to be taken half as seriously.  Sort of how I imagine things were in the early days of SNL - from what I understand John Belushi was pretty dismissive of Jane Curtain, Gilda Radner and Loraine Newman.   The men were with the Mental Floss company for years and rarely left to do plays.  It was like they had peed a circle around the theater to keep any new funny guys from daring to enter - girls were fine because we were not a threat.  So the same guys did the same bits for years and years and after awhile, it became very incestuous - creatively they inter-married and the comedy offspring became mutants of their former selves.  I've heard that happens a lot in comedy groups - you have the founding core of four or five actors refusing to move on and not wanting to let new people in for fear that their own status within the group would be compromised.   But as you look at Saturday Night Live and the iconic characters have been created over the years - the ebb and flow of actors has brought in a new cavalcade of ideas and sensibilities.  Let's face it - if Bill Murray and Chevy Chase were still on the show - they would look like tired old men doing the same lounge lizard and prat falls over and over - it wouldn't be fresh - it wouldn't be funny. 

As I've found that out any number of times myself with the OTC Comedy Troupe - people move on and at first it's a blow but then someone new comes along that you had no idea existed before that audition and all of the sudden you're excited by the prospect of them joining the company.   I guess because of my work with Mental Floss that I'm totally cool with people that I cast working with other theater companies - but sometimes it bites me on the ass.   I have the uncanny ability to cast talented people who other theater producers see in our show and then they get approached to do plays thanks to the OTC showcasing their talents - and of course they take the offers.  The holidays are the worst with every theater company in town doing a holiday review or play, so I've actually stopped trying to do performances around then because it gets to be a logistical nightmare to have enough people either not in other shows or in town to do them.   I guess sometimes I bemoan that loss of loyalty but then I've never wanted to hold anyone back either.  I've had actors who've done other projects and been right back after they ended to start doing improv again.   

The one actor I've worked with pretty much since the beginning in 2005 is Adrian who is my "Improv" husband.   We've worked together since early 2002 when we were both in Bric Players - a small improv group that was performing in a theater in Duluth.   We got each other right away and could figure out our own inside jokes like the fact that my butt and a black man's fascination with booty can make for some really funny moments in the shows.  Adrian has his own interests including a really cool comic book named Ms. Johnnie which he took time away from the group to pursue.   I was glad that he took that time because I'd hate to have someone choose something that I'm doing out of duty and turning down other opportunities that they might regret later.  I have had actors come back with theater horror stories about directors from hell, terrible casts and wishing they had saved all that aggravation by staying with the group to begin with.   I always welcome them back glad that they've seen how things could be under someone who might not have their best interests at heart. 

I've also had to deal with my share of egos, divas and total nut bars.   As anyone whose ever produced or directed can tell you - actors are not always the most stable lot.   Most are wonderful team players but some are out for their own personal gain and will screw over anyone to get there - which always amuses me because I'm not the big time.  Screwing me over is not the next step to getting that standard rich and famous contract - it just hurts your karma more than anything else.   I've had actors show up  in the middle of the web show and expect to go on the minute they arrived.  I had one actor who wanted to make fun of handicapped people and then was royally pissed when I told them no.  I had another actor that wanted to do a sketch about pedophiles and was told by the entire cast that it was inappropriate.   I had another male actor who would try to sneak in jokes during a show about smacking women around - really?  Was he not paying attention to who was running the group?   I always found it interesting that they would complain on their way out that I wasn't edgy enough to let a sketch like violent incest with the handicapped into a comedy show.   Another actor wanted to run a workshop by having the group work to exhaustion in 100 degree weather and then try to create when they were dehydrated and near heat stroke because that's where "true inspiration comes from."  When I told him that was a bad idea, I was accused of being a fascist and that I lacked vision.   He later went to another improv group where he felt "totally accepted."   When the OTC was rehearsing out of that group's space - I found out later that he was pretty much impossible to work with and had to be evicted because he got weird and started to live at the theater.   Another player used to come to workshop late, leave early because she was doing stand-up, never helped set up or tear down after shows and was very rude to the sound guy in a theater for a New Year's Eve show we were doing.  I guess the fact that this guy could determine whether the audience could hear her was a non-issue.   All these people were talented but their emotional and creative baggage weighed the group down like an anchor on a ship that just wanted to set sail.  When they were asked to leave privately the thing that I noticed was that the rest of the players never asked me what happened.  There was just this shared sense of relief that they were gone. 

I guess the thing that I've learned the most in doing working in theater and improv groups in general is that no one is irreplaceable.  Every time I've lost a major talent in the group - someone else has managed to show up just in time to fill the void.  Sometimes it's a new actor, sometimes it's another actor who I haven't put in different pieces because those other actors had their signature characters and I stupidly never thought to give them a chance to shine in that piece.  I can count the number of times on one hand that I thought that the OTC was down and out for the count. Then I would hold auditions knowing that if I didn't get a least three or four decent people - the group would just fade away - game over.   I once started doing stand-up because at one point it felt like it was just me.   But then the word get out that I needed people either through audition notices or e-mails or Facebook and I would have the actors that I needed for the corporate gig or performance.  Probably my best advice for anyone whether they are show business or any other business is that you are replaceable but you can certainly make yourself indispensable.  Do crazy things like help out without being asked, go above and beyond and just flat out be easy to work with -it helps.   As Charlie Sheen found out - you can be a major talent but if you are disrupting what everyone else is trying to do - they will find a way to replace you with someone who is a whole lot less trouble.   Even Sheen admits now that his antics and being fired was not "Winning!"  

So for you loyal SNL viewers fear not - season 38 will come along just fine.   They have a talented group of people and writers who have been through this before.   Lorne Michaels has a great eye for talent.  When Tina Fey and Amy Poeler left, they thought the show would never be able to replace them and yet, there was Kristen Wiig, ready to step into the void.   Before Tina and Amy, there was Molly Shannon.  Before 1995, no one had even heard of Will Ferrell.    While I might not be producing on the level of SNL, I have been doing improv comedy since the late 1980's and there are a ton of talented improv actors out there doing their thing - making people laugh and enjoying every minute of it.   They will find the next big talent - hey it might even come from someone who has worked with the OTC - you never know.    For me, the comedy world is unpredictable, fun and one hell of a crazy ride and you don't have to be live from New York see that.  

My Improvelution

I've been doing improvisational theater on and off for about 28 years.    My love affair started in 1984 when I got to take a class at the Florida State theater department.   I loved the non-structure of it.  You had to understand how to work with your scene partner but you were free to create any character, anywhere and at any time.   You were not stifled by the words of the playwright because second by second you were creating the character, the dialogue and the movement of the scene instantaneously.  It could be in Ancient Greece or modern times or a 1950's sitcom - it could be where ever your imagination took you because you could mime your scenery, costume and props.  Your partner had to take what you served them and volley it back to you so that you could both build a really good scene.   That's what I love about improv - it  can be as exciting as a tennis match.  You have control and yet absolutely no control at the same time.  You might come in with a strong idea of how the scene would go but then your partner would have a different idea and you had to go with that.    Good improv scenes are a lot like life - the best ones run on possibilities and acceptance - allowing yourself to say "Yes, and..."  not "No, that will never work."    And just like life, you will meet obstacles that will challenge how committed you are to really sticking with something that you love. 

I didn't major in theater when I went to college because it didn't seem practical and frankly I was afraid I wasn't good enough, even though I was the president of drama club in high school and got cast in plays.    So I settled for something that seemed to make sense for me - becoming a dietitian.   I was very conscious about nutrition and exercise so I figured I would be a good candidate to help counsel others on how to maintain their health.  I had left high school with a 3.8 average and was ranked number 21 in my class.  College should have been a great time for me - but because I was following my practicality and not my passion - I was floundering.   I was getting Ds and even failed a biochemistry class which had never happened to me before.    I was having crying jags for hours on a regular basis because I was so miserable - the only bright spots were the theater classes.  I did audition for plays at FSU, but found that most of the grad students and professors only wanted to cast theater majors and those that had been cast in shows before.    I knew people who had gone for a four year degree in theater and still didn't see any stage time because the same people kept getting cast.  I knew it wasn't me but the system, but it was still pretty frustrating.   So after four years of giving it the old college try - I left Florida State without a degree in anything and my spirits pretty low. 

I got back to Miami and started to wait tables which ironically would have been exactly the same thing I would have done if I had gotten my bachelors in Theater.   The world of food service had it's perks like tips, cute waiters and discounted entrees but I needed more from my life.   I went to see a group called Mental Floss to see what the professional improv acting scene in Miami was like.  They were extremely funny and just what I was looking for - they even had a few women in the group.  When they announced that they would have auditions I was totally there.   I remember that I got to do a scene with Marc who was a company member and it was really funny.   The feedback was very positive and I was asked to start doing workshops with the group which would eventually lead to performing on a regular basis.  

The workshops were led by the founder who was frankly the weakest person on stage, but I was hoping he'd be a better instructor then performer.   He gave some good direction but when the players from the group were there, they openly disrespected him which didn't set a good tone in the workshops.   I tried to stay out of it because I just wanted to start performing.   Finally, after a few months, I finally got my chance and got to do a show with the regular cast.  It was an amazing night - one of those times when everything flowed.  I was in half the games in the show and it seemed like one of those perfect tennis matches when you could hit the ball back with the same strength that you received it.   I left the theater walking on air and one of the guys, Patrick, asked me if I wanted to get something to eat with the company.   I felt so honored and accepted.   That night started my road to doing improvisation professionally. 

Patrick and I started dating shortly after that which at first seemed to be a really good thing.  He saw himself as my mentor - someone who had gotten his Master's Degree in Fine Arts at the Asolo Conservatory in Sarasota which ironically was a program of the Florida State Theater department.   He had very definite ideas about what sort of performer I should be and no matter how much the audience seemed to enjoy my performance, he never really had much positive to say - he never put me down overtly - but he never praised me when I knew I had done a really good show.   I should mention that my last boyfriend was a guy who got angry for no reason, insulted me and also hurt me on one occasion so having a passive-agressive guy like Patrick seemed like a step up. 

As time went on, I created characters like Fluffy La Puff, a stereotypical dumb blond that made Jane Mansfield look like Einstein, Billy Idol's little sister, Billy Jo Idol and Eunice Frump, a country bumpkin who was the creator of "Puddin' on a Bun."   I'd get great feedback from the audience after the shows - people would come up to me in the lobby and tell me how much they enjoyed what I did, that I reminded them of Carol Burnett or Gilda Radner (two of my comedy goddesses by the way), but I rarely got much positive feedback from the other guys in the group.   It wasn't just me, there were a few other women in the troupe that were also experiencing the same thing - always being made to feel like the weak sisters in the group.   In the years since then, I've talked to other women who have had similar experiences.  The comedy world can be extremely sexiest and hard on even the most talented of women.  Even John Belushi used to give Gilda, Jane Curtain and Laraine Newman a hard time on Saturday Night Live.  Belushi flat out stated that women were just not as funny as men.   And so it went, the audience loved the women in the group and the men just kept limiting what we could do.   It was like hitting your head against the wall.   I wanted to leave but since I was also dating Patrick, it felt like my entire world would collapse - no boyfriend and nowhere to perform comedy - who else would want me?  I felt really trapped and I didn't know how to get out. 

Then one day, I got a call at work from Marc who was now the director who told me that he and the other guys in the group decided to put me on inactive because I was not up to speed.  He told me not to feel bad that another woman in the group had also been asked to leave.  When I asked him why he never gave us any type of direction in workshop for what we needed to improve on - his reply was "You're supposed to know!"   I replied, "The whole point if you being director is to direct people who don't know - so if you're not happy with what  we do - then it's your fault for not acting like director!"  which probably was not what he wanted to hear.   Now I'll admit that I probably had areas that I needed to work on but if they are never brought to your attention, you'll never get better.  It also didn't help that the women in the cast felt like they were being singled out.   Amazingly, I still decided to help out working in the box office hoping they would put me back on stage again.   The best part was having people walk up to me and ask if I was in show that night and me telling them that I working behind the scenes.   "Man, that sucks, we wanted to see Fluffy," said one patron within ear shot of Marc.  That same week, I also has two people stop me in Dadeland Mall to tell me how much they enjoyed me in the shows.  My guardian angels were sending me signs that all was not lost and that despite the opinions of some of the guys in the group - I was a good performer - I just needed some solid direction.   

One night after a show, the guys came over to Patrick's to play cards.  It was raining pretty hard and they were out of poker snacks and expected me to go out in the monsoon to get them.  I should have said "Hell no bitches!" but instead I got my purse, my keys, and slumped out of the door.  I fumed in the car but then got a wonderful idea.  I came back and put out their food and then asked sweetly if I they would deal me in.   They condescended and figured that I probably hadn't played cards much so they could exploit that.   Unfortunately for them, I'd been playing cards since I was ten, when my Mom and Dad used to show us the ins and outs of five card draw, seven card stud and black jack during our summers at Fort Myers Beach.   I knew a straight from a dead man's hand and didn't need a ton of wild cards to win the pot.  At first I didn't bet much and pretended that I didn't understand what a good hand was.   They rolled their eyes and took my money in that first round.   I could see them chuckling - even Patrick was joining in.   I kept my poker face knowing that I would win it back and then some.    I won the second hand and pretended like it was pure luck - again betting a modest amount.    As the night wore on, I was winning the majority of the pots, folding every now and then to not let on that I was setting them up for that last big win.   Finally, we got to the last hand in which they all bet their money (which was about $60 bucks) and I had another $20 in the pot.    Everyone had to show their hand and Sal thought he had it with four queens which included three face cards a wild card (you can use wild cards to help substitute when you don't have enough of one card to complete your hand - it's a bonus if you're lucky enough to get one).   Unfortunately, I had four kings (without a wild card) and an ace which beat his queens.  Now, I know that guardian angels don't usually get involved in poker, but I felt that they worked through me to let those boys know that you should never assume that a woman is incapable of anything - whether it's improv or poker.   Their stunned faces were priceless and it had stopped raining when I got back in the car to drive home. 

A few months later, I had finally had enough and stopped going to Mental Floss altogether.   In the meantime, I started auditioning for other theater companies and got cast in almost everything I tried out for.   At one time I was in different stages of rehearsals for three shows and I met the love of my life - Max.    Patrick and I finally broke up.   It felt great to be free of all that negativity.  

A year later, I started my own improv theater group, the Eclectic Company because I loved the art of improv and wanted to do it my own way.  I got a top notch group of actors who later unbeknownst to me - had also been told by Mental Floss that they were not good enough either.   The Eclectic Company shows on South Beach were a huge success and word got back to the guys at Floss that there was a new game in town and it was being run by me.  That was the start of my journey as a woman who was willing to buck the trend of improv groups led by a bunch of white guys.  It has not always been easy - performing spaces and actors  have come and gone, but my love of the art of improv has always been there - whether I was actively performing or teaching it.  Today, as the Artistic Director of the OTC Comedy Troupe, I get to work with smart and funny women and men who just want to do good improv and support each other.   

So to those that feel like there are obstacles put in their way and begin to question their passion - I say stick with it and don't look at a roadblock as a bad thing.  Sometimes it's a guidepost that puts you on a different path.   If I hadn't left Mental Floss, I would have been trying to please people that just weren't going to give me a chance no matter what I did and it would have sucked the joy of improv right out of me.  I never would have met Max.  I never would have seen that I was capable of innovating the art like doing a live improv webshow that got over 225,000 views.    Those roadblocks ended up being the best things that ever happened to me.   As any smart gambler can tell you - you don't have to play every hand you've ever been dealt - you just have to stay in the game.   

Funny Girls

When I was a small girl, the Saturday night line-up of comedies on CBS was about the best thing in the whole world.   I got to see smart funny women being smart and funny.   The night would start off with All in the Family with Edith and Gloria getting the best of Archie and Michael (most of time).   Next the Mary Tyler Moore Show came on and our gal Mary Richards worked relentlessly to produce the WGM 6:00 p.m. Newscast with an over bearing boss and an inept anchorman named Ted Baxter.  Then there was The Bob Newhart Show where Bob's brilliant wife Emily tried to keep things in perspective between Bob's crazy friends and even crazier patients.   Sure, M*A*S*H* was in the line-up too, but I never really saw Major Hot Lips Houlihan as much of a role model even after she lost the "Hot Lips" and just became Margaret.  Finally, we had my patron saint of comedy, Carol Burnett.   I would have to beg my mom to let me stay up until 11:00 p.m. to see the entire show.   I got to sit at the altar of funny ladies every Saturday night and in the 1970's - they ruled network TV.   Back then, aspiring to be a funny girl did not seem that outlandish.   It could be feminine, sexy and intelligent.  You did not have to be Lucy and have to outsmart Ricky to get laughs.  You got what you needed on your own terms and if a man wanted to come along for the ride, all the better.   

Maybe it was because in the heyday of the Equal Rights movement, anything seemed possible for girls.  You had women in Congress like Bella Abzug and Shirley Chisholm daring to question Richard Nixon and his administration during Watergate.    You had Margaret Thatcher's rise to power as a women who wore pearls and puffy hair but could easily stare down her male counterparts just as easily as Winston Churchill.   Golda Mier was the Prime Minister of Israel and was first called the Iron Lady before Thatcher got that title.   Then in India, there was Indira Gandhi -- another nation ruled by a very strong woman.  It seemed conceivable that women were making strides everywhere and if you could dream it, you could be it.   I dreamed of making the world a better place through comedy. 

Praying at the CBS altar of those sacred Saturday nights helped form the comic sensibilities I have today.   The stand-up comediennes of the 1960's like Phyllis Diller, Totie Fields and Joan Rivers had to denigrate themselves to get laughs.  Samantha Stevens and Jeannie had to pretend they were less powerful then they were to assuage the insecurities of Darren and Major Nelson. But these new women of the 70's, these comic goddesses could hold their own with their male counterparts and had the strong ratings to show for it.   I loved them as extended members of my family.   I'd wear a bright paisley head scarf to my fifth grade class like Rhoda and pretend my desk was like the one Mary had in the newsroom.   Sometimes I would pretend my bully Lisa was Sue Ann Nivens - the Happy Home Maker - it made Blue Lakes Elementary a more bearable place to learn.  Once I was in Junior High, I'd get to stay up and see a little of Saturday Night Live.  Gilda Radner and Jane Curtain were a revelation.   Never mind that John Belushi once said that women weren't funny - who needed Samurai Deli and the Blue Brothers when you had Roseanna Danna and Candy Slice?  These women were writing and pushing the envelope in a very subversive way and I loved it! 

In the 1980's the trend continued with shows like Kate and Allie, Designing Women, Golden Girls, Roseanne, Murphy Brown, and Grace Under Fire but for some reason they just didn't resonate with me like the my old CBS Saturday nights.    I liked the Designing Women and no one on TV could monologue like Julia Sugarbaker.  Murphy Brown seemed to be strong in a one note kind of way and every now and again you got to see her vulnerable.  I loved Claire Huxtable and her no nonsense way with her husband Cliff and her five kids.  I could identify with being in a large family and not wanting to tell your father that something around the house was broken for fear he would try to fix it.   God bless my dad, but he was not a handy man like Cliff and we would pretend that the dishwasher was working before we could get a repair in while he was out of town, just like Claire. 

But then in the 1990's - things changed.   You a had few stand out sitcoms like Seinfeld in which a character like Elaine was out numbered by three other male players.   I loved Mad About You and identified with Jamie Buckman during the early years of my marriage to Max.  We even got pregnant about the same time.   Ellen was very funny but the networks bulked when she came out.   When was the last time you saw a pair of lesbians on a sit-com like Cam and Mitchell on Modern Family?   I guess the networks were and still are more comfortable with Will being gay than Grace. 

I'd all but given up once the year 2000 hit.   It seemed like the new millennium was not ushering in new comedies with women at the helm.  Sure you had Friends, but no strong females pushing the boundaries.   Just when it looked like another season of sitcoms with men in the leads and women as copilots - Tina Fey came along with 30 Rock and the comedic embers of my youth were rekindled.   She, like Mary Richards, is the head of a motley crew of actors and writers whose egos lead to comedic chaos.  Her boss is a network executive that is way hotter than Mr. Grant.   The writing is intelligent, irreverent and not politically correct.  Liz Lemon faces being forty, unmarried and having that ticking biological clock with a charming mix of goofiness and brains that makes it one of my favorite sitcoms.   In fact, NBC Thursday nights are my new CBS Saturday nights with sitcoms either created by or starring women who are trying find that yoga-like balance between work and family that seems to elude them each week and many of us as well.   

I've written before about how comedy is my drug of choice.    Having an improv troupe and the ability to make very silly videos gives me a positive outlet for my frustrations.    Acting like a crazy lunatic all these years on stage and YouTube has kept me very sane.  My comedic idols taught me that women can show strength through humor and that laughing at yourself is the best medicine of all.   Edith, Gloria, Emily, Mary, Rhoda, Phillis, Carol, Gilda, Jane, Claire, Murphy, Julia, Jamie, Leslie, Ellen and Liz, you have been there for me when my life has been at a tipping point and I needed a compass to find my way.  Your comedy has been that needle to help me find my way out of an emotionally dark jungle of fear and gave me the courage to believe in myself even when other people wanted to write me off.   That gift, my comedy goddesses, is one I'll always treasure and pass down to the next generation.  

What I've learned is that these funny girls can teach our daughters more than the Kardashians or the Real Housewives ever could:  that life is funny, sweet, ridiculous, you don't always look hot and yes, sometimes it's really, really unfair.   Ellen came out of her career tailspin with a great talk show and a burgeoning entertainment empire.   She survived on her own terms much like my favorite sitcom heroines.  Learning to roll with the punches and laughing at ourselves is what life is all about.   Taking yourself too seriously is a sure recipe for a reality Diva meltdown.   What our girls need to see today are women who know how to be strong, smart and funny.   Women who know how to throw their hats up in the air  and smile because they know they are going to make it after all.