Writing Humor Is No Laughing Matter—Or Is It?

Total Page:16

File Type:pdf, Size:1020Kb

Writing Humor Is No Laughing Matter—Or Is It? TO BOOK JEFF COHEN OR FOR MORE INFORMA- TION, CONTACT: Bruce Bortz Publisher Attention: Booking/ Show Ideas Bancroft Press 410-358-0658 bruceb@ bancroftpress.com Writing Humor is No Laughing Matter—Or Is It? Having written what probably feels like a zillion screenplays without many (or is it any?) selling, but having sold the very first novel he ever wrote—For Whom the Minivan Rolls—it seems like Jeff Cohen has finally found his niche. And with the praise for the newest book in his Aaron Tucker Mystery Series, A Farewell to Legs (November 2003), mounting almost beyond control (not that we’d ever want to control the mounting of praise), it also seems that Cohen has a break-out hit on his hands. Since Jeffrey Cohen is on the brink of the superstardom that comes with having a wildly popular, top-selling book that is simply on everybody’s lips (boy, isn’t that a weird mental image?), a couple of us editors here at Bancroft decided to pick Jeff’s brain about the whole humor-mystery-writing-thing. This is what he had to say: SINCE I BEGAN the highlight of my entire writing “ca- writing “humorous reer” came not when the first book was mysteries,” (and published, not when the (uniformly en- “humorous,” by thusiastic, if I must say so myself) re- the way, is the views came in, not even when people I comedy equivalent didn’t know went out of their way to tell of the word “pleas- me they enjoyed it. All those things were ant,” which means incredibly nice, but they weren’t the it’s just funny highlight. enough to be considered not THE HIGHLIGHT WAS WHEN Larry Gel- depressing), a good number of people bart said I had written something witty. have asked me why I concentrate on this particular sub-genre. At least I consider “Jeff Cohen's Minivan rolls merrily it a good number of people—I’ve always along -- accent on the merrily. Mr. thought two was a good number. Cohen's ideas on marriage and mur- der (often cut from two ends of the It’s hard to answer that question, particu- same bolt) are wise, wicked, and larly since I haven’t given it a moment’s witty. Surprisingly tender, too, regard- thought. But the reason could lie in this ing the responsibilities and trials of being a parent -- fathering a delightful particular bit of personal psychology— book in the process." -- LARRY GELBART Gelbart, who “Because we make them laugh,” among those Groucho Marx once said of himself and who follow other comedians, “people don’t under- comedy is stand how important we are to their san- considered ity.” If anyone knew, it was Groucho. God’s I don’t think of the Aaron Tucker books summer as mysteries with humor in them; I con- replacement, sider them comedies that have a murder read the first mystery to keep them going. Do you re- Aaron Tucker member who the murderer was in The mystery, For Thin Man? Do you remember Nick and Whom the Nora Charles? I rest my case. Minivan Rolls, and “Equal parts Mel Brooks, Groucho Marx, and Woody Allen sweetened sent back a note saying he found it with enlightened sexual politics and “wise, wicked and witty.” Among other well-mixed with the completely things. That was enough to put me into original mind of Jeffrey Cohen. hyperspace for a month. It would have Sheer reading pleasure.”-- ELLEN been longer, but there were par- PALL, AUTHOR, CORPSE DE BALLET ent/teacher conferences I had to attend. AND SLIGHTLY ABRIDGED THE FACT THAT IT WAS A COMPLIMENT WHEN MINIVAN WAS RATTLING around from one of my all-time writing heroes, in my head, I thought it was going to be and that said hero is a giant in the world a screenplay, but Aaron Tucker wanted of comedy, holds the key to the “humor- to tell the story himself, and first-person ous mystery” question. I’ve always been narrative is remarkably difficult to pull drawn to comedy, for one thing because off in screenplay format. Since I assidu- I find laughing more fun than crying. ously avoid all things that are remarka- It also struck me, at a very early age, that bly difficult to pull off (including neck- I was crying perfectly well often enough ties), I decided to try telling Aaron’s without any help from popular enter- story the way he wanted it told—directly tainment, but that laughter, while it did to the audience (who became the reader). occur on a day-to-day basis, could al- ways use a helping hand. By the time I got to the current book, A Farewell to Legs, Aaron was more con- fident in his story-telling skills, if not his “I declare Jeffrey Cohen 'King of the Zingers.’ His Aaron Tucker sleuthing abilities. He still got to rail character doesn't know when to about the things that irritate him (which stop . and that's the good news. number in the millions), but he also Legs definitely has legs.” knew now how to unfold the tale in a -- TIM COCKEY, BESTSELLING AU- manner that would (hopefully) keep the THOR OF SUCH MYSTERIES AS MUR- pages turning. DER IN THE HEARSE DEGREE, AND FELLOW PUN-LOVER I ALSO WANTED TO PUT A FACE on As- perger Syndrome, a neurological condi- tion much like high-functioning autism that about 2 million Americans, includ- “Are those for me?” I asked. ing my 14-year-old son, have, and that everyone else needs to understand. Abby nodded. “I thought you might Again, humor was essential in making like a special breakfast after you this condition more understandable to worked so hard on this story.” "civilians" who don't deal with it every day. If you can't find humor in a boy “I am hopelessly in love with you,” I who can walk around all day with his said. shirt on backwards and then chuckle about it himself, perhaps you've been “Don’t be,” she reading too much Kafka. answered. “Be hopefully in THE TRICK WITH WRITING “humorous love with me.” fiction” is never to make the book funny. I got myself a If the character has a comedic point of plate and she view, it will be funny. There’s not much actually that’s amusing about two guys carrying a flipped two piano up the stairs, unless the two guys pancakes onto are Laurel and Hardy in The Music Box. it for me . Cowboys eating beans around a camp- fire? Yawn! Unless they live in the Mel “Mmmm,” I appreciated. “You make Brooks universe of Blazing Saddles. a mean pancake, my love.” I believe the Aaron Tucker books are “I’m sorry,” she said. “I’ll try to make funny because Aaron has a point of view a kinder one next time.” that skews toward irreverence and sar- casm. He and his beloved wife Abigail “Someday I must pay for you to take Stein communicate through wit because a course in receiving a compliment,” that’s the way they choose to communi- I suggested. cate. If they didn’t choose to say things with a “A crackerjack mystery with a prize little humor, the scene might have inside: it's laugh-out-loud funny to boot! I hope Aaron Tucker's lack of played like this: success with screenplays trans- lates into a long and full career “Are these for me?” I asked. solving crime with wit and whine.” -- DAN FIORELLA, ROVING EDITOR, Abby nodded. “I thought you might CRACKED MAGAZINE, AND CON- like a special breakfast after you TRIBUTING WRITER, “PRAIRIE HOME worked so hard on this story.” COMPANION” “Thanks,” I said. Consider this bit of dialogue, from A Farewell to Legs, at a moment when “You’re welcome.” Abby has made her husband a pancake breakfast: I took a bite. “These are very good,” I told Abby. mysteries. The fact that both these gen- “Thank you. I’m glad you like them.” res—mystery and comedy—are not quite as… respected as the “literary” novels Not quite the same thing, I think. we read about in scholarly journals re- flects a deep, troubling problem facing In the final analysis (final for today; my our society’s soul. brain hurts), I think I write comedy be- cause I think we need more comedy, and But who wants to read about that? I write mysteries because, well, I like The Best Medicine: Book Jeffrey Cohen To Bring Wit, Warmth, and Wisdom To Your Show Jeffrey Cohen is available in person to locations in the New York and New Jersey areas, and by phone nationwide. To book him as a guest, or to receive more information, please contact: Bruce Bortz Publisher Bancroft Press 410-358-0658 bruceb@ bancroftpress.com Visit us on the web: www.aarontucker.com www.bancroftpress.com Sample Interview Questions Jeff Would Love To Answer You are a freelance writer who works at home, lives in New Jersey, stands 5'4" tall, and has a wife who's an attorney, a daughter, and a son with Asperger Syn- drome. Your character, Aaron Tucker, is a freelance writer who works at home, lives in New Jersey, stands 5'4" tall, and has a wife who's an attorney, a daughter and a son with Asperger Syndrome. Which one of you wrote the book? Now that Minivan has been optioned by Mike Sullivan Productions, which did “Growing Pains” among other syndicated sit-coms, who would you cast in an Aaron Tucker movie? New Jersey plays a large role in the book.
Recommended publications
  • FBI Kilis Hijacker at Portland Airport
    Daily Weather Partly cloudy with a chance of foggy brains. Barometric "finals" pressure above normal. Highs, not until next week. Lows, in the gutter. Chance of Teen Soviet satellites falling, 100 percent. Chance of grades falling, 95 percent. Chance of snow falling, unlikely. Pullman, Washington Vol. LXXXIX No. 74 Established 1894 Friday, January 21,1983 FBI ki lis hijacker at Portland airport by Bob Baum freeze. Associated Press Writer ., At that time the suspect made a sudden motion with the box as if to throw it at the agent (who) fired one shot." Baker said. PORTLAND, Ore. (AP - A man claiming to FBI agents here would not identify the hijacker. have a bomb and saying he wanted to go to Afgha- But Dick Paulson. spokesman for the Washington nistan was shot and killed Thursday after he hi- Department of Corrections. said the FBI told him jacked a Northwest Orient jetliner carrying 41 they found identification on the body saying he people from Seattle to Portland, authorities said. was Glenn Kurt Tripp. 20. of Arlington. Wash .. He was identified as a man arrested 21/2years ago who attempted to hijack a Northwest Orient flight for attempting to hijack a jetliner. In July 1980. Paulson said Tripp was on 20 years' "The passengers and crew are safe." said Brent probation for first-degree extortion and first- Baskfield, a Northwest Orient official. degree kidnapping in that incident. FBI agents stormed the Boeing 727-200 about In the earlier hijack attempt. Tripp. then 17. 21/2 hours after the plane landed. shooting the claimed to have a bomb in a briefcase and deman- hijacker once with a .38-caliber revolver as pas- ded $100.000, authorities said at the time.
    [Show full text]
  • · Burt Shevelove Larry Gelbart Stephen Sondheim Rosemary Gass
    From the Book by · Burt Shevelove Larry Gelbart Music and Lyrics Stephen Sondheim Director Rosemary Gass Musical Direction Tyler Driskill Choreography Kat Walsh Ann Arbor Civic Theatre Board of Directors Advisory Board Darrell W. Pierce - President Anne Bauman - Chair Paul Bianchi -Vice President Robin Barlow Fred Patterson - Treasurer JohnEman Linda Borgsdorf- Secretary Robert Green Linda Carriere David Keren Paul Cumming Ron Miller Caitlin Frankel Rowe Deanna Relyea Douglas Harris Judy Dow Rumelhart Thorn Johnson Ingrid Sheldon Nathaniel Madura Gayle Steiner Lindsay McCarthy Keith Taylor Teresa Myers Sheryl Yengera Matthew Rogers Ann Arbor Civic Theatre is proud to honor Helen Mann Andrews, Burnette Staebler, and Phyllis Wright for their years of service on the Advisory Board. Suzi Peterson Emily Rogers Cassie Mann Managing Director Volunteer Coordinator Program Director 322 WEST ANN STREET ANN ARBOR, MICHIGAN 48104 box office (734) 971-2228 office (734) 971-0605 WWW.A2CT.ORG Ann Arbor Civic Theatre Opening night June 5, 2008 Lydia Mendelssohn Theatre Book by Burt Shevelove and Larry Gelbart Music and Lyrics by Stephen Sondheim Directed by Rosemary Gass Music Direction by Choreographed by Tyler Driskill Kat Walsh Assistant Director Producer Stage Manager Kat Walsh Douglas Harris Cathy Cassar Technical Set Designer Lighting Designer Artistic Set Designer Cathy Cassar Tiff Crutchfield Katie Cook Wilcox Hair and Makeup Properties and Set Dressing Costume Designer Susie Berneis Tina Mayer Susie Berneis Graphic Designer Costume Assistant House Manager Katie Cook Wilcox Alexandra Berneis Kyle Newmeyer Publicity Photographer Tom Steppe Produced through special arrangement with Music Theatre International 421 West 54th Street, New York, NY 10019 www.mtishows.com From the Director The director's note..
    [Show full text]
  • Bengal Tiger
    20!2 - 20IJ SEASON C T3PEOPLE C ON OTHER STAGES BOARD OF DIRECTORS AT&T PERFORMING ARTS CENTER CHAIR Marion L. Brockette, Jr. FEB 13 - 24 Anything Goes LIAISON, CITY OF DALLAS CULTURAL COMMISSION CIRCLE THEATER Lark Montgomery JAN 24- FEB 23 God of Carnage BOARD MEMBERS Jac Alder, Suzanne Burkhead, Laura V. Estrada, Sally Hansen, David G. Luther, DALLAS CHILDREN'S THEATER Victoria McGrath, David M. May, Margie J. Reese, JAN 25 - MAR 3 Goodnight Moon Dana W. Rigg, Elizabeth Rivera, Eileen Rosenblum, Ph.D., Scott Williams DALLAS SUMMER MUSICALS FEB 12 -24 Catch Me IfYouCan D HONORARY BOARD MEMBERS Roland & Virginia TH Dykes, Gary W. Grubbs, John & Bonnie Strauss DALLAS THEATER CENTER NORMA YOUNG ARENA STAGE 2012-2013 ADMINISTRATION JAN 18- FEB 17 King Lear Cl 1- PRODUCER-DIRECTOR Jac Alder FEB 7 • MAR 24 Red PRESENT LAUGHTER MANAGING DIRECTOR Cory Norman EISEMANN CENTER FOR THE z Aug. 2 - Sept. 1 COMPANY MANAGER Terry Dobson PERFORMING ARTS z DIRECTOR OF BUSINESS AFFAIRS Joan Sleight LLJ JAN 20 IfYouGive a Mouse a Cookie 11<,Other Story c:::( a comedy by Noel Coward IN-HOUSE ACCOUNTANT Wendy Kwan Books DIRECTOR OF PUBLICATIONS «(COMMUNICATIONS FEB 6 - 10 Late Nite Catechism Las Vegas: Sister Rolls c:::: � Kimberly Richard the Dice FREUD'S LAST SESSION IT MANAGER Nick Rushing FEB 10 Romona Quimby Z Sept. 20 - Oct. 20 EXECUTIVE ADMINISTRATIVE ASSISTANT FEB 15 Broadway Love Songs lJ Adele Acrey _ a new drama by Mark St. Germain KITCHEN DOG THEATRE HOUSEKEEPING Kevin Spurrier FEB 8 - MAR 9 The Chairs - PRODUCTION c:::( PEGASUS THEATER V) CRAZY FOR YOU TECHNICAL DIRECTOR Daniel Pucul DEC 31 - JAN 20 XSR: Die/ LLJ I- Nov.
    [Show full text]
  • Graduate Celebration
    2021 GRADUATE CELEBRATION GRADUATE CELEBRATION PROGRAM Friday, June 11, 2021 CLASS OF 2021 DEPARTMENT OF THEATER MUSICAL PERFORMANCE WHEN I GROW UP, FROM MATILDA THE MUSICAL MUSIC AND LYRICS BY TIM MINCHIN PERFORMED BY WALKER BRINSKELE, RIVA BABE BRODY, KIARAH DAVIS, TALIA GLOSTER, JOI MCCOY, CAROLINE PERNICK, HANNAH ROSE, ABE SOANE WELCOME AND RECOGNITION OF MARSHALS BRIAN KITE INTERIM DEAN, UCLA SCHOOL OF THEATER, FILM AND TELEVISION 2021 SPEECHES GENE BLOCK UCLA CHANCELLOR STEVE ANDERSON INTERIM CHAIR, DEPARTMENT OF FILM, TELEVISION AND DIGITAL MEDIA DOMINIC TAYLOR ACTING CHAIR, DEPARTMENT OF THEATER DEMI RENEE KIRKBY VALEDICTORIAN, DEPARTMENT OF THEATER TIFFANY MARGARET ROWSE VALEDICTORIAN, DEPARTMENT OF FILM, TELEVISION AND DIGITAL MEDIA LATIN HONORS RECOGNITION BRIAN KITE KEYNOTE SPEAKER NILO CRUZ PULITZER PRIZE-WINNING PLAYWRIGHT RECOGNITIONS BRIAN KITE CELEBRATION VIDEO UCLA SCHOOL OF THEATER, FILM AND TELEVISION PRESENTATION OF DEGREE CANDIDATES BRIAN KITE FINAL REMARKS UCLA SCHOOL OF THEATER, FILM AND TELEVISION ACKNOWLEDGES THE GABRIELINO/TONGVA PEOPLES AS THE TRADITIONAL LAND CARETAKERS OF THE LOS ANGELES BASIN AND SOUTHERN CHANNEL ISLANDS. AS A LAND GRANT INSTITUTION, UCLA ALSO PAYS RESPECT TO TONGVA ANCESTORS, ELDERS AND RELATIVES - PAST, PRESENT AND EMERGING. LETTER FROM THE PRESIDENT MICHAEL V. DRAKE, M.D. Congratulations, UCLA Class of 2021! It is my honor to join your family, friends, and the entire University of California community in celebrating you and your wonderful accomplishment. Amid historically challenging circumstances across the globe, you have worked hard, persisted and persevered, in pursuit of your UC education. I hope you will always take great pride in what you have achieved at the University of California, and in being a part of the UC family for life.
    [Show full text]
  • P E R F O R M I N G
    PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales).
    [Show full text]
  • 3. Groundhog Day (1993) 4. Airplane! (1980) 5. Tootsie
    1. ANNIE HALL (1977) 11. THIS IS SPINAL Tap (1984) Written by Woody Allen and Marshall Brickman Written by Christopher Guest & Michael McKean & Rob Reiner & Harry Shearer 2. SOME LIKE IT HOT (1959) Screenplay by Billy Wilder & I.A.L. Diamond, Based on the 12. THE PRODUCERS (1967) German film Fanfare of Love by Robert Thoeren and M. Logan Written by Mel Brooks 3. GROUNDHOG DaY (1993) 13. THE BIG LEBOWSKI (1998) Screenplay by Danny Rubin and Harold Ramis, Written by Ethan Coen & Joel Coen Story by Danny Rubin 14. GHOSTBUSTERS (1984) 4. AIRplaNE! (1980) Written by Dan Aykroyd and Harold Ramis Written by James Abrahams & David Zucker & Jerry Zucker 15. WHEN HARRY MET SALLY... (1989) 5. TOOTSIE (1982) Written by Nora Ephron Screenplay by Larry Gelbart and Murray Schisgal, Story by Don McGuire and Larry Gelbart 16. BRIDESMAIDS (2011) Written by Annie Mumolo & Kristen Wiig 6. YOUNG FRANKENSTEIN (1974) Screenplay by Gene Wilder and Mel Brooks, Screen Story by 17. DUCK SOUP (1933) Gene Wilder and Mel Brooks, Based on Characters in the Novel Story by Bert Kalmar and Harry Ruby, Additional Dialogue by Frankenstein by Mary Wollstonecraft Shelley Arthur Sheekman and Nat Perrin 7. DR. STRANGELOVE OR: HOW I LEARNED TO STOP 18. There’s SOMETHING ABOUT MARY (1998) WORRYING AND LOVE THE BOMB (1964) Screenplay by John J. Strauss & Ed Decter and Peter Farrelly & Screenplay by Stanley Kubrick and Peter George and Bobby Farrelly, Story by Ed Decter & John J. Strauss Terry Southern 19. THE JERK (1979) 8. BlaZING SADDLES (1974) Screenplay by Steve Martin, Carl Gottlieb, Michael Elias, Screenplay by Mel Brooks, Norman Steinberg Story by Steve Martin & Carl Gottlieb Andrew Bergman, Richard Pryor, Alan Uger, Story by Andrew Bergman 20.
    [Show full text]
  • Apologia Comœdiae
    1 Jay Malarcher Associate Professor of Theatre and Dramaturg West Virginia University [email protected] Apologia Comœdiae For almost as long as philosophers have questioned the metaphysics of existence and the morality of social behaviors, they have sought also to answer the cause and function of humor, specifically in the case of performed comedy.1 With such luminaries as Aristotle, Horace, Kant, Wittgenstein, Bergson, and others involved in the debate, the notion that such an inquiry might be more appropriately located in a journal of epistemology rather than one devoted to performance studies becomes more and more the expectation of those who consider comedy a serious discipline. In fact, few contemporary performance studies scholars approach comedy at all, preferring, it seems, to study the performative aspects of a dental examination or the hidden gender agenda of a nineteenth-century cross-dressing vaudevillian. I would argue that the rigor of philosophy is precisely what comedy theory has always demanded, since any writer might toss off thoughts about comedy and call it a theory; when such a presentation lacks real logic and insight, it serves only to perpetuate the idea 1 Throughout I will distinguish between the more literary “humor” and the performed “comedy” to keep my argument clear and to restrict my topic to a manageable subject set. 2 that comedy simply is not worth the time of serious scholars. As Woody Allen so famously put it, “Humorists always sit at the children‟s table.”2 Comedy deserves to be respected more for two significant advantages it has: first, it provides great exercise in critical reasoning skills, since comedy works on the reason (as opposed to tragedy, which works on the emotions); second, the best comedy allows a penetrating insight into the society that generated the satire: Thus, my assertion that comedy belongs in a conference devoted to the arts‟ role in cultural diplomacy.
    [Show full text]
  • Richard Kind
    RICHARD KIND Successful on stage, screen and television, Richard Kind has recently completed a starring role in "A Serious Man" written and directed by the Cohen Brothers and “Candide” at the New York City Opera. And recently starred in “The Lady In Question” at the Bay Street Theatre in Sag Harbor, New York. He has also starred in the smash hit musical “The Producers,” as Max Bialystock at the St. James Theater in New York, and in the Sondheim musical Bounce, directed by Hal Prince. Bounce premiered at the Goodman Theatre in Chicago and was then moved to the Kennedy Center in Washington D.C. Television viewers perhaps best know Richard as “Paul Lassiter,” the irrepressible press secretary to the Mayor of New York on the ABC series Spin City. He is also known as “Mark,” Fran’s ex-husband on NBC’s Mad About You. Additional TV credits include stints as a series regular on Carol and Company with Carol Burnett, two ABC series, Blue Skies and A Whole New Ball Game, as well as Unsub. Recently, he has guest starred on Scrubs, Still Standing, The Division, Miss Match, and Curb Your Enthusiasm with Larry David. Along with television, Richard’s experience also encompasses the areas of film and theatre. He recently filmed the feature entitled The Grand directed by Zak Penn and he also completed filming a recurring role on Stargate Atlantis. Richard has appeared as “Dr. Robert Farley” in the Miramax feature Spymate, and also in the critically acclaimed “The Station Agent.” Richard has been seen in the independent film Hacks, and as the voice of the character “Molt,” the dim-witted obnoxious grasshopper in Disney’s blockbuster animated film, A Bug’s Life.
    [Show full text]
  • Why LAUGHTER on the 23RD FLOOR? by David Cecsarini
    volume 30, issue 2 30, volume 2019 november “ Why LAUGHTER ON THE 23RD FLOOR? by David Cecsarini Twenty-one years ago, HE COULD DO ANYTHING as we were preparing our Sid Caesar was a tall, strapping, staged reading of Neil Simon’s rubber-faced acting powerhouse LAUGHTER ON THE 23RD FLOOR, whose bottomless comedic in- I was introduced to the singu- vention found expression through lar and colossal comedic genius, fluid movement and superb vocal Sid Caesar. Simon was a rookie acrobatics. Sifting through the writer for Caesar in 1953, and his many video recordings of Your play is a loving tribute to the cra- Show of Shows or Caesar’s Hour, ziest writers’ room in television. the breadth and depth of his cre- I had some vague notion of who ative talents are simply astonish- Sid Caesar was and that he did ing. Though his natural Brooklyn a 90-minute live comedy broad- accent colored many of Caesar’s cast, Your Show of Shows, back Sid Caesar characterizations, he was also a in early TV. But the immersion fokkers vas Messerschmitts!” I master of other accents, includ- course of specific study, as often can remember us watching the ing the utterance of approximate happens in our business, brought 60s TV comedy Hogan’s Heroes, foreign languages known as dou- Isaac Sidney Caesar into full fo- with wonderful actors John Ban- ble talk. French, German, Italian, cus, context and prominence ner and Werner Klemperer taking Russian, Japanese: he could carry within the pioneering world of it on the chin for the Luftwaffe.
    [Show full text]
  • Comedy Tonight! by Joshua S
    Comedy Tonight! By Joshua S. Ritter, Goodspeed Musicals Education Director We can trace the roots of the musical A Funny Thing Happened on the Way to the Forum to the esteemed ancient Roman playwright Titus Maccius Plautus, born in Sarsina, Umbria around 254 B.C. It is difficult to determine Plautus's personal contribution, as all of his plays were adaptations of Greek productions that did not survive the ages. There is evidence, however, that he derived his works from plays belonging to the Greek New Comedy style. Plays of this genre portrayed the carefree life of the prosperous youth of Athens and their ceaseless desire for riches to purchase the company of concubines. Greeks considered plays of that style "clean" compared to those from the Old Comedy genre, which were often full of obscene gags and expressions. Surely, Plautus could never have conceived that three of his plays (Pseudolus, Miles Gloriosus, and Mostellaria) would transform into one of the most hilarious and rollicking musicals ever produced. Yet Burt Shevelove and Larry Gelbart did a remarkable job taking Plautus’s ancient works and weaving them into what some consider the best book associated with any Stephen Sondheim (Composer and Lyricist) collaboration. More than two thousand years after Plautus, A Funny Thing Happened on the Way to the Forum continues to receive wide spread acclaim from critics and audiences throughout the world. Stephen Sondheim made his Broadway debut as a composer/lyricist working with Gelbart and Shevelove on the original Broadway production and commented on their work as follows: “The book is vastly underrated.
    [Show full text]
  • Gelbart, Larry (1923- ) U.S
    Gelbart, Larry University), Montreal, Quebec, B.A. in communica- Television Special tions 1970. Married: Bruce Griffin, 1987; two chil- 1994 Contact with Hana Gartner (host) dren. Began career asradio show host, CJAD, Montreal, 1970; began television career at CBC, Mon- Radio treal, 1974; host, interviewer, reporter, various televi- CJAD Montreal (interviewer), 1970; This Country in sion and radio programs. Recipient: Gordon Sinclair the Morning, 1976. Award, 1985; three Geminis. Further Reading Television Series "Gartner to Join Mansbridge: The Current Host of The Fifth Es- 1977-82 Take 30 (host) tate Will Replace Wallin on Prime Time News," Globe and 1978 This Half Hour Mail (June 3, 1995) "The National's New Face: Hana Gartner Brings Gutsy Style to 1982-95, 2000- The Fifth Estate (host) CBC TV," Maclean' s (September 18, 1995) 1995- Prime Time News (cohost) "Star Power Gets in the Way (for Hana Gartner)," Globe and 1995- The National Magazine Mail (June 22, 1993) Gelbart, Larry (1923- ) U.S. Writer, Producer As producer of M*A*S*H, Larry Gelbart provided nu- In the early 1950s Gelbart became part of the ex- merous contributions to one of television's most inno- traordinarily talented crew of writers on Sid Caesar's vative and socially aware sitcoms. Beyond this Your Show of Shows. This group, which included Carl accomplishment, he has been a dynamic force in Reiner, Howard Morris, Mel Brooks, and Woody broadcasting for more than 40 years. Gelbart has writ- Allen, helped define the medium in its earlier days. ten for radio, television, film, and the stage. After leav- Shortly after becoming head writer for The Pat Boone ing television in the early 1980s, Gelbart went on to Show, Gelbart became disgusted by broadcasting's produce feature films, including Oh, God! (1977) and communist witch hunts and moved to England.
    [Show full text]
  • Broadway Noir: Film Noir and Musical Comedy in City of Angels (1989)
    BROADWAY NOIR: FILM NOIR AND MUSICAL COMEDY IN CITY OF ANGELS (1989) BY JASON CHARLES WITT THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2019 Urbana, Illinois Master’s Committee: Professor Jeffrey Magee, Chair and Director of Research Professor Gayle Sherwood Magee Abstract City of Angels (1989) uniquely transforms the structural, thematic, and visual elements of film noir through the conventions of musical comedy and thereby subjects both genres to affectionate satire. This essay explores the connections between these idiosyncratic forms of entertainment, particularly in the ways that noir devices and tropes emerge from songs penned by Cy Coleman and David Zippel, to reach a greater understanding of the ways in which City of Angels depicts and comments on the cultural history of film noir. My methodology looks to literary criticism and philosophy written on both film noir and hardboiled fiction for theorization on the core elements of those genres. Those traits are measured against City of Angels as a work, primarily musically but also in its lyrics and dialogue, using frameworks presented within the work of Raymond Knapp, Stacy Wolf, Scott McMillin, and other scholars of musical theatre. Where relevant, I engage with histories, music theory, and non-scholarly publications for social context and reception. The essay is organized along archetypal lines, namely the private investigator and femme fatale, to show how those models inform the show’s gendered characterization. It exposits indices for the 1940s and the classic Hollywood era, all pointing toward a framework where the musical comedy can function as a cultural history.
    [Show full text]