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John Boccacino: Hello, and welcome back to the Cuse Conversations podcast. My name is John Boccacino, the communications specialist in Syracuse University's office of alumni engagement. I earned my bachelor's degree in broadcast journalism from the S.I. Newhouse School of Public Communications in 2003, and later received my executive master's degree in public administration from the Maxwell School of Citizenship and Public Affairs in 2020. You can find our podcast on all of your major podcasting platforms, including Apple Podcasts, Google Play, and Spotify. You can also find our podcast at alumni.syr.edu/cuseconversations and anchor.fm/cuseconversations.
Kevin Michael R...: When I found out that people made a living doing animation voiceover, I was like, what really? I mean, growing up with your friends and messing around and goofing off and stuff like that, you're always doing characters. You're imitating commercials, or scenes from a movie. I figured wait, people get paid to do that? I just made it an effort to really just see what I can do to do it professionally.
John Boccacino: Well folks, today on the podcast, it is my pleasure to bring on Kevin Michael Richardson. He is a 1988 graduate of the College of Visual and Performing Arts with a drama degree. He's a classically trained actor, but that is not what we're talking about with his career on the podcast today. He is a well-known voiceover talent. If you've listened to TV, if you've watched TV shows, chances are pretty good you've heard Richardson's deep voice as the voiceover star of more than 530 credits to his name, including classics like Family Guy, The Simpsons, American Dad, SpongeBob Squarepants, Teenage Mutant Ninja Turtles. The list goes on and on. He is Kevin Michael Richardson. We really appreciate you making the time to join us on the podcast today.
Kevin Michael R...: Thank you, man. Thank you, John. Thank you for having me.
John Boccacino: Listen, it's always a pleasure getting someone who's got such dulcet sounding tones to his voice, and you've got that really rich, deep voice. When did you realize your voice was special? That it was different and distinct?
Kevin Michael R...: Oh, wow. Well, I never really... Wow. It's not something I realized, it's just a little knack that I had since I was a kid, just imitating certain celebrities from TV and stuff like that. And then friends would say, compliment me and stuff. But see, personally, I never heard that. You know what I mean? I never realized that. This is how I talk, you know what I mean? And when I found out that people made a living doing animation voiceover, I was like, what really? I mean, growing up with your friends and messing around and goofing off and stuff like that, you're always doing characters, you're imitating commercials, or scenes from a movie. I figured wait, people get paid to do that?
I just made it an effort to really just see what I could do to do it professionally. And, of course, that included studying at the SU and doing plays from grammar school, high school, or anything I can get involved with. So I was told by my peers and certain, I guess, instructors that I had this, I guess, specific timbre in
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my voice. And I just went with it. Just did the best I could with it. I personally never... It wasn't a realization... Man. Well, now that you mentioned it, looking back as a kid, my older siblings, I'm the youngest of five. They would have Barry White albums and stuff like that.
And I would listen to them constantly and play them over and over and over again. And we're talking, I was, oh man, eight years old. Eight, nine years old listening to them. And just literally put my ear to the speaker. If you remember old fashioned stereos from the seventies, I mean, just picture this little kid putting his ear to the speaker with the volume turned way up. And he was listening to every word of how we sang it and stuff. And I would just go to school singing it, bringing them the 45 to the music teacher and saying, "Hey, could we play this so I can sing it for the class?" So I guess I got the little bit of that bug from a very early age. And maybe that was a time, I guess I realized, truthfully, that maybe there was something I could do with it.
John Boccacino: I got to ask you, because you put it out there. Give me your best couple of bars of Barry White, since you mentioned it.
Kevin Michael R...: I heard people say that too much of everything isn't good for you, baby. (Singing). That type of...
John Boccacino: Bravo, Bravo. And by the way, for our audience listening, it's early in the morning out there on the West coast and Kevin had no problems dusting off the pipes to give us a little Barry White. I love the authenticity. I love just the willingness to go with it out there.
Kevin Michael R...: I incorporated, I guess, a lot of that Barry type as a style in quite a few characters in animation. Like Jerome from Family Guy or Mr. Gus from Uncle Grandpa, and other numerous shows that I can't even think of that people have asked me to do that type of style voice. And I try to vary them up. Even though the tone is definitely there, one might sound slower, one might sound faster and whatnot, is more hip. But that tone is definitely still there for most of those characters.
John Boccacino: No, it's great. And I love hearing the back. One of my favorite parts, Kevin, about the podcast is just finding out what drives alumni and how they get down the path that they're currently on. You mentioned theater playing a role in your life. How did you get hooked up with theater and what was your first impressions and why did you stick with it? Because clearly you've made a really good career for yourself doing this talented voiceover work.
Kevin Michael R...: Thanks. I think it was in first grade. It was in a first grade talent show that... This was at St. Angela's in the Bronx. God, we're talking way back. And we were only a couple of blocks away from the school. We went there and I did a scene from Sesame Street. I can't remember what the name of the characters were, but it was that famous scene where they go, "No, no, no, no." Only I did it for 15, 20
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minutes and the same thing. And I wouldn't stop. I just wouldn't stop. And the audience was laughing because I wouldn't stop. And I got such a kick out of this, man. I was six, seven years old. And the faculty had to come out and whisper in my ear and just pull me off. And I just remember my family laughing for days when they brought me home. And that was the bug. That's when I got the theater bug, the acting bug that I had to be on stage. So at that point I started getting involved in any play the class would do and that kind of thing.
Up until high school and then, God bless him, there was a teacher from St. Francis Prep, which was a school I went to in Pennsylvania for high school. And his name was Michael Hoover, Mr. Hoover. And he gave me the push to really stay in theater and got me involved in a program called the National Foundation for Advancement in the Arts, which was held in Miami. Where they had chosen, out of all the high schools in the United States, 3000 kids. You would submit a video of your acting and monologues and stuff like that. And what you can do, two monologues, one comedic, one dramatic. And they responded. And I was chosen to be one of the top 28 kids in the United States at 17 years old. And then when I went there and performed, I was narrowed down to the top 16. And at that point you perform again. And I was narrowed down to the top eight students in the United States. This is back in '82, at 17 years old for the presidential scholarship.
And this was all because of Mr. Hoover who pushed me to get involved in that program. So that meant a lot to me. And apparently I think, from what I found out, Vanessa Williams was also a member of that program too. So that was a big push, a big jumpstart for me in theater. And which made me say to myself, I think I'm on the right track here. This is definitely what I want to do. It's always what I've wanted to do, was perform. And that was basically a launching point. And I thank that man for doing that.
John Boccacino: From your anecdotes of entertaining your childhood peers with your impressions, to getting on stage and just the feeling, how can you describe what it did for you when you would be performing and the audience would be eating it up? They'd be receptive. They'd be applauding. That has to be unlike any other feeling there is?
Kevin Michael R...: Oh, it's amazing. You feel like, oh my God, I have a purpose. Not to say that I'm like Steve Martin and the jerk who goes, "I found my purpose." It was that elation of holy smokes, people are digging this. People like it. And originally, I wanted to be a comedian as a kid. I really wanted to be... Because Flip Wilson was my jam as a child. If you're ever watching that show or whatever. If you're familiar with him, he's a very talented African-American artist who was just very funny. And he had his own show, especially back then, in the early seventies. And he was a big influence for me. And I said, "I want to do that. I want to be like this guy and imitate people and have a variety of celebrities come on and do skits with them." He would have Joe Namath and all these other stars. That's what I wanted to do.
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However, I have a very strict Jamaican background, upbringing. My father and my entire family is from Jamaica, the West Indies. I was the first to be born in the United States when they moved over. So he was very serious. My dad wanted me to be a doctor or a lawyer or something like that. And I said, "I want to be a comedian." He's like, "No, no, no, you're going to do dot, dot, dot." And I go, okay, and I figured out, well, if you want me to do something serious, I'll be an actor. I figured an actor was much more prestigious and respectable a vocation instead of a comedian. And so I might've lost track of the question you were asking me. But that's what I originally wanted to do. But being an actor, that's just getting the reaction of, whether it be students and friends from the audience, it was a positive reaction.
It was like people were enjoying it. They were happy. They were laughing, they're smiling, or they were emotional about it. And it just felt great, man. Just felt great. You felt like, yeah, okay. This is it. This is what I wanted to do. And it was the only thing that I wanted to do. There was nothing else. I just wanted to perform. Not be a movie star, I had a hunger for television. I just wanted to be on television. I just wanted to work on it, in some capacity, on camera. And had no idea that it was going to make this incredible turn into off-camera with a voiceover. So it's an interesting path, I must tell you. Interesting path.
John Boccacino: So we mentioned the fact that you were classically trained as an actor and you're growing up downstate in the Bronx. What was it about this kid from the Bronx that wants to attend Syracuse University? What did you like about the program and VPA, and how that drama degree could possibly benefit you?
Kevin Michael R...: Well, I had an older brother that had graduated from there before myself in the class of '80. My brother, [Leighton 00:13:21]. And I remember going to visit him. And I was like, wow, this place is cool. All these pretty girls, [inaudible 00:13:29] campus. It was like, oh wow, the fire engines are yellow here. I wonder why? It's just like this new world to me. But the theater program had a great reputation and I remember auditioning for them in Lubin House, in New York. And they accepted me and boy, they kicked your ass. I mean, they weren't playing around. Arthur Storch, God rest his soul, who was the chairman of the drama department there, he was a chairman and artistic director there. He was a tough hombre, tough cookie. And they really just, they don't take any BS, man. They really whipped you into shape as far as trying to get your craft together.
John Boccacino: What are some examples you can think of when you talk about being molded by the department? How you are who you are now, because of those experiences at Syracuse?
Kevin Michael R...: Getting it back to that program that I was talking about earlier about the National Foundation and the advancement of the arts, when they asked you to do two monologues when you go out there to perform. One was dramatic and one was comedic. The comedic one, they laughed at. And then my dramatic piece, which was supposed to be serious, they were laughing at. I noticed that in
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the first couple of minutes. In my mind I go, why are they laughing? This is supposed to be serious. And so I made that adjustment in my mind. I go, okay, just roll with it and go with the humor and keep performing and just make the lines, even though you're trying to be serious, just go with the humor of it. And it was just uproarious there. People were cracking up.
In my mind this was not supposed to be a funny monologue at all, so I just went with it. And basically at Syracuse, I remember doing a scene for lab and I think I was trying to be funny, trying too hard to be funny in a scene. And the teacher, Arthur Storch, they give you a critique at the end of any scene or monologue you do. And it was harsh. It wasn't a positive, reaction at all. And you're sitting there in front of 200 of your classmates in this room and it was hard pill to swallow. So at that point it was do or die. In your mind, you're like, okay, do I go to varsity and eat 2000 chicken wings or do I drink myself silly and just pass out? Or do I just push through, take this as a lesson and wake up, and make that step to really do what I always wanted to do.
And that's the choice I made. It was do or die for me. And I just made that choice. No, I'm pushing through. And it worked. I took it seriously and I realized it was no joke. If you want to do this for a living, you have to really push yourself hard. And that's how it went down. That's how it happened. And I'm glad. I'm sorry that, to go through the pangs of the reality of how serious getting into the business can be. And you learn, you roll with it and I did the right thing and I made the right choice. And I stuck with it regardless of the pain of being embarrassed and was told that what you did was terrible and that type of thing. I just pushed through to the point of accomplishment, of feeling that I did something good. That I finally broke through this wall. That I can stand on my own two feet and perform and do it well.
John Boccacino: With entertainment it's not life or death, but you're putting yourself out there. And the fact of the criticism, the shame that you can feel, it's not an easy... That's why I always tip my hat to stand up comics, because they're the rawest of the raw. They're up there, real live feedback is coming at them. And you have to just roll with it, like you mentioned earlier. That's why I find it fascinating that you're so willing to put yourself out there and the lessons you learned from this. How did you go from, you break through, you have this moment, you realize this is for you, to then getting into the profession after you graduate? How did you make that connection?
Kevin Michael R...: Well, I hit the ground running, man. I came back to New York and you just started, try to get an agent. You try to hustle it and get some representation somehow, by getting your photos, getting your eight by tens, and submitting them to all these managers and agents. And then you got a couple bites here and there. But fortunately I was asked to come back to audition for the Syracuse Stage main stage for a play. But also while I was there in '86, my first senior year.
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Wow. That was the actual year I was supposed to get out. And then I got out in '88. That's another long story. But no, I was asked to do Romeo and Juliet on their main stage. And that's where I received my equity card, my theatrical equity card, which was great. After that, when I actually did graduate, I was asked by Arthur Storch to be a part of this play called How the Other Half Loves by Alan Ayckbourn, which was another main stage production that they had at the drama department there. And it started happening. I did another play. Then I met a friend who would hook me up with his agents that represented him in New York City. And I started auditioning and started getting into commercial auditionings. Booked my first big international commercial for AT&T.
And it just started rolling from there. And you had to pound the pavement. You had to walk the city and find these different places to audition. But it really started happening. God rest his soul, Sam Lloyd, who played Ted the lawyer on Scrubs.
John Boccacino: Scrubs, yeah.
Kevin Michael R...: And he was a really good, good, good guy. We were friends, real good friends with George Miserlis, who was also on scrubs with him, had asked me to do a play in California in 1991. They said, "Just come out and if you could do the show?" And I said, "Yes." And I thought it was just going to be for the summer of '91. And I've stayed and lived here ever since. So it was Christopher Lloyd who was Sam's uncle and Sam and George Miserlis, who was also an alumni from Syracuse, that had asked me to do that show. And we did it, and it was called the Musical Comedy Murders of 1940 and it was done at the Tiffany theater on Sunset Boulevard. And that theater, unfortunately, it's gone now, but it was a fun show. We had a good time.
And I started auditioning, I started getting guest spots on television. Man, the first season of ER I was Patrick, who was the mentally challenged patient, who wore a Chicago Bears football helmet and would walk around causing mayhem and stuff in the hospital. And commercials, guest spots. It just started happening. I had no idea that it was going to go as well as it did here.
John Boccacino: So you mentioned some of the earlier breaks in your career doing commercial work and doing TV work, including, you mentioned, for ER, early on. How did you then segue into the animated world? Animation wasn't really mainstream as far as this plethora of offerings that we have now. How did you get your introduction to animation and what did you like about that medium?
Kevin Michael R...: I loved it ever since I was a kid. I mean, playing around, I used to take a tape recorder to class. I put in my book bag and during recess and break, we were all in the school yard. At home, before I would go to class, I would tape Spiderman. The original Spiderman from the sixties on my tape recorder and bring it to class or recess rather. And at recess I would play it. And then my friends would gather
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around it and I would act out all the scenes, like J. Jonah Jameson and Spiderman and I'd sit there and go, "That's right, Spiderman."
I would just actually know the words and mouth it and do all the fight scenes. And the guys would just get a kick out of it and just love it. I mean, so I guess I had that bug from back then. Doing the voice thing. And out here, Donna Davies who was an agent at Cunningham Escott Dipene at the time, which is now called CESD, Cunningham Escott Slevin and Doherty. She was the agent for the voiceover department. And I remember going by her office, listening to her edit reel-to-reel auditions. This was all on tape back then, instead of what's digital now. And I heard all these voices. I was like, "What are you doing?" And she's like, "Oh, this is the voiceover department tape where we're just editing for our clients for auditions to send out." And I go, "Wait, what?" She was explaining to me what this process was. And that's when, early when I was saying to you, I said, "Wait, people get paid for this?"
She goes, "Yeah." I go, "And send me out." And they were like, well, you need to have a reel, I'm going to have two minute reel. And back then it was usually cassettes, cassette tapes. And I didn't have that stuff. I said, "Just send me out." So I would just nag them for a year. I would nag them because I was with them commercially, but for on-camera, but not voiceover. And I nagged them for a year and just would come in and do sound effects and things like that. I would walk in and just do my orange Volkswagen starting or something like that. I would just go in there and go... That type of thing.
And they would laugh and get a kick out of it. And every time I was there, I would try to come up with something new. And then they finally said, okay, look. And I think they did this basically to shut me up, was send me out on an audition. And they did. And I got called back to that audition. And so that's when it just started snowballing and just going on from there. So I basically nagged my agent for a year to send me out. So it was weird. It was cool because I ended up making a reel after the fact that I started getting jobs, instead of before.
John Boccacino: I know it's probably hard to narrow it down, but give me a couple of your all- time favorites that you've gotten to be the voice of.
Kevin Michael R...: All-time favorite roles? Now you mention, okay. I'm going to go through my head. Boy, Cleveland Jr definitely, from the Cleveland Show. The Joker from the Batman. Captain Gantu from Lilo and Stitch the feature and the series. Martin Luther King from Boondocks was good. There was one... Oh Lord, I know I'm forgetting some, but there was one that affected me emotionally and I was very connected with, and it was a character called Zima Blue that I played on a Netflix show called Love, Death and Robots, which was an anthology, an animated anthology sort of like Black Mirror meets Twilight Zone meets animation, and not any one of the stories are the same. And there are about maybe 16 or 18 episodes, I believe. I could be off, but each episode ranges from
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five minutes to 16 minutes long. So they're really short. And the one I appeared in was only 10 minutes long and it's called Zima Blue. And that character definitely is up there with my favorites, I must tell you.
John Boccacino: I'm glad you mentioned the role animated of being the Joker, because I was going through your credits and you seem to have a bit of a tendency to voice over some villains in your line of work. Why is that? What is appealing about taking on the voice of a bad guy?
Kevin Michael R...: I never found it really appealing, but I guess the casting people did and the producers. But I just went with it, rolled with it. And the Joker though, I must say, was so much fun to do because they let me do this... They left it open. They left that entire gate open for me to just explore and play. I mean, there was very little directing on the part of the directors, Andrea Romano, Jenny McSwain, who I'd worked with both on that series. And it just felt so good to just go nuts behind the microphone and, because he has highs and lows and he's nuts and it just felt great. And I was not trying to do anyone. I was trying to stay far away from what Mark was doing, Mark Hamill. It was a very good friend. And actually I was rather upset when I was told about or was asked to audition.
And I originally said no. I said, "Why? Why are they doing this?" I said, "This is Mark. Mark is doing a great job playing this guy." And they said, "Well, it's a different genre now. It's not the same story as the old Batman. They're doing this new version of a Batman when he's younger and he's coming out and they're looking for a different type of Joker." Now I said, "Oh." And I was tired. I was exhausted that day. I was doing a show at the time called Like Family on Warner Brothers, which was then called WB, now it's CW. It was a long day. I remember going in and I put all that frustration on the microphone for the audition in order to say, okay, look, I'll just do this audition to make these people happy and leave. Because I really just wanted to get out of here and not do this job. And two days later they called and said, "Okay, you're the Joker." And I was like, "Oh shit."
So I rolled with it and went with it and it just ended up being one of my favorite roles to play. It was very fun because he was just this wacky, crazy guy. And I was using a combination of Anthony Hopkins' Hannibal Lecter, and Martin Short's Jimminy Glick, his character. I kind of combined the highs and lows of these two crazy characters and with my own spin on it. And it was just fun to do. The laughs, doing the laughs alone with that and it was so loud and crazy. I nearly passed out about five times because I would laugh so hard. I remember feeling myself blacking out. Whoa, okay. I got to take it easy here. That's how much I got into playing that guy. Yeah. He was fun.
John Boccacino: I love the emotional investment that you take with your roles and, with the Joker, you were the first black man, black person, to voiceover the Joker character. Which is awesome to have that moment of distinction. And then you look at how history repeats itself. You're now being, it's hard to believe, but for
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those who are listening, Dr. Hibbert from the Simpsons was voiced by a white talent. And now you took over the role of Dr. Hibbert on the iconic show The Simpsons. So you're making history again. I love the fact that, even though it's animation, it's reflective of the times where we're so sensitive to racial justice and making sure that the people that we're watching and hearing are represented by who they should be. A black person should be voicing over a black doctor on The Simpsons. What does it mean to you to take that role? And I know he is known as the wacky Dr. Julius Hibbert. He has a great laugh, but it seems like there's really a connection with current events with making the switch.
Kevin Michael R...: It's big, man. It's kind of bitter sweet for me. Because Mr. Harry Shearer did such an amazing job playing this guy. And he was very funny for all these years. So to step in those shoes afterwards, it was an honor. Because originally I said that, again, I said to the producers who had asked me about a year or so ago, I said, "No, no, no, it's all right." But I guess they were auditioning a lot of folks and they were, I guess, exploring to see what else they can come up with. And they come around full circle back to me and asked me to try it again, to give it a try again. And I just did the best I could. It was not really a dead-on Hibbert at all.
I mean, but it was definitely, I guess you would say, in the ballpark. So I accepted. I played the guy and it was a big deal. I had no idea the impact it would have on fans. There's a lot of love out there and there's a lot of folks that are like, "Hey, bring our old guy back." So it's weird, it's hard to describe. I'm honored and it feels really great to be part of that show. The huge amount of joy for the acknowledgement that people say, okay, let's give this to an African- American man to play the role. I mean, it just meant a lot to not feel invisible. You know what I mean? And so that part was, I think, great. That part felt good. That part felt good. Taking away somebody's job is kind of bitter sweet for me.
John Boccacino: It might be different over the last year because people have been sheltered in place versus being in public. But how often do you get recognized? How often does someone hear that voice of yours and they can identify you?
Kevin Michael R...: Once in a while. And then some people sometimes will come up to me and say, "Hey, you're Stan from How I Met Your Mother." But I'm still getting a lot of fan mail and oh boy, I could be at a grocery store. It'll be in very unexpected places where people will come up to you and say, "I know you." Or, "You sound familiar." Or stuff like that. So it's so sporadic and random, John. It could be from anywhere from crickets to somewhere like... Not mob, but a nice little crowd, a nice little gathering. And it's not as often as you think, but it's nice when it happens. It's nice. It's a very anonymous business too, which is cool. Because a lot of the on-camera stuff that I've done, that's been years ago unless there's reruns. And I've gotten a little older and a little grayer and then people recognize you. But with voiceover, it can be quite the anonymous business.
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John Boccacino: I know that there's no one tried and tested method of getting into any career path or profession. There's always different breaks that happen along the way. If someone's listening and they want to follow in your footsteps and getting into voice acting work, what's the best piece of advice you would give them?
Kevin Michael R...: I would say definitely have fun. Start recording yourself. And what type of voiceover do you want to do? Do you want to do trailers for movies? Do you want to do informational stuff like industrials, from what you hear on television commercials? I mean, do you want to do animation? I would say start playing around with your voice, start recording yourself and testing yourself out, seeing what you like best and explore. And then you would have to get representation. Some people do non-union work. Some people don't. And it's really it's who you know, a lot of the time, you know what I mean? But doing plays, man. Acting because you're also acting with your voice. If you can get involved in anything, any type of performance, whether it be a local play, whether you're in school play, high school play, college, your community, anything. I would get involved in any type of theater as much as you possibly can because that way you're starting the organic process of learning how to act.
And then you can carry that over into a microphone when you're acting with your voice. That really, really helps. And then get your reel together, which means get your materials together, whether it be animation or commercial. Which shouldn't be longer than a minute and a half to two minutes tops. And then you send it out. Send it out to agencies and ask for representation. But it's really who you know, because these agencies, they get tapes up the wazoo, left and right. Or CDs or MP3s. So just get out there and just ask. Don't be afraid to ask questions and say, "Hey, excuse me, how can I..." Or call and say, "Can I set up a meeting with you? Can I meet with you?" That type of thing. Be a nag like I was.
John Boccacino: It's been so interesting to pull back the curtain from Barry White impersonator as a child, to classically trained theater actor at Syracuse University, to now the groundbreaking role of Dr. Hibbert on The Simpsons and so many stops in between. Kevin Michael Richardson, you've had a great story to share with us. I really thank you for making the time out of your busy schedule to share your orange success story and best of luck with all your future endeavors.
Kevin Michael R...: Oh, thank you, John. Really thank you for having me, man. It was just good to talk to a fellow alumni.
John Boccacino: Thanks for checking out the latest installment of the Cuse Conversations podcast. My name is John Boccacino signing off for the Cuse Conversations podcast.
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