Yes Please (13 page)

ImprovOlympic had a mommy and a daddy, and Charna Halpern was the mommy. She is the Stevie Nicks of improvisation. She is feminine and witchy but does not take any shit. Charna was my first real improv teacher and she ran the place. She was responsible for putting groups together, deciding who could proceed to the next level, and making sure everyone was fed. She had the keys to the place—literally and figuratively—a responsibility I didn’t truly understand until much later when I was running a theater of my own. It is incredibly hard to balance ego and opportunity as well as paychecks and liquor license boards. Being a small comedy theater owner is exciting and lonely. The shows are exhilarating, but few people stick around to help you sweep up. Charna took a liking to me, and me to her. She told me I was just as good as the big boys. She believed in me. She said there was another new improviser in another one of her classes whom she thought I would really like. Her name was Tina and she was like me but with brown hair. Yes, yes. I’m getting to it!

If Charna was the mommy, Del Close was the daddy. He was worshipped from afar and the man everyone was trying to please. He also had a beard, a tendency to be grumpy, and an amazing backstory. He was a comedy genius who had taught all of my heroes: Gilda Radner and Bill Murray and Chris Farley. He swallowed fire, toured with Lenny Bruce, named
SCTV,
and, according to him, was a good friend of Elaine May. He was a respected Chicago theater actor who believed improvisation was not an acting tool but a genuine performance form on its own. Del was also a Wiccan and a drug addict, and I was catching him in the last ten years of his too-short life. His story could fill many books. He is the most famous guy in comedy whom nobody knows. They weren’t married, but Charna was Del’s wife and emotional surrogate who encouraged his genius while running ImprovOlympic and keeping the lights on.

I took a class from a member of the Family, Matt Besser, and we started dating soon after. Matt was a talented Jewish boy from Arkansas who was effortlessly cool. He dressed like a punk rock soccer player. He had a fierceness about him that was exhilarating. He truly didn’t care what people thought. He was also an artist and big thinker. I first saw him onstage playing a Southern female waitress in an improv scene. He paid such fine attention to detail. He played this woman with total grace, while still being really funny. Matt was the first of many men I’ve been attracted to because they know how to play women. He was antsy and cranky and had big plans. He encouraged me to write, create, and take risks. He introduced me to artists like Big Black and GG Allin and helped me film my first “reel,” or excerpts of my best stuff for talent agents. Matt asked me to join the Upright Citizens Brigade, a relatively young sketch group. They needed a girl. I had heard of their shows around town, which seemed like a mixture of improvisation and performance art. They had done a show where each member sat on a street corner and had a Thanksgiving dinner. They did a show where they pretended a member was committing suicide. They did a show where they took an audience member for a virtual-reality tour out into the streets of Chicago. Most of their stuff was about getting the audience out of their chairs and out of their comfort zone. The Upright Citizens Brigade name came from a fake big bad corporation that was mentioned in one of their shows. The idea was this group had co-opted the name and was causing chaos on purpose—picture Occupy Wall Street if they renamed themselves “Halliburton Inc.” Like I said, Matt had big ideas. He had a big plan for the UCB and I wanted to be part of it. I grabbed his coattails and held on tight.

Besser turned me on to Fugazi. He talked about the spirit of Ian MacKaye and how Fugazi never charged a lot for their shows. He wanted the Upright Citizens Brigade to feel like that—owned by the people. We had no plans for a school or theater or television show, but we all felt an itch. I scratched mine reading Daniel Clowes comic books and shopping at thrift stores for old Doc Martens. I went to bars and saw Liz Phair. I lived in a scary part of Chicago and watched police shoot a dog in our backyard. I started improvising with people better than me and got better myself. I started to call myself an artist.

The audience was staring at me as veteran improviser and all-around captain Dave Koechner pointed and yelled, “Sell it!” I had bailed on a scene. That meant I had started a scene with someone and either failed to commit, laughed, or negated that person’s choice. Improvisation is like the military. You leave no man behind. It’s your job to make your partner look good and if you are afraid to look stupid you should probably go home. Improvisation was about not being cool. Nobody stood outside of improv theaters in tiny leather jackets smoking cigarettes. Being “clever” wasn’t rewarded. It was about being in the moment and listening and not being afraid. I had let my partner down and I was being told to “sell it!” This was a way to shame young improvisers. It was a rolled-up-newspaper-swat approach. When Dave Koechner told you to “sell it,” it meant you had to do the monkey dance. The monkey dance was really embarrassing.

I was part of an improv team called Inside Vladimir. We’d named ourselves after a gay porn title we saw at JJ Peppers, a Chicago convenience store that sold only porn and food. Very convenient, indeed. Tina Fey was one of my team members. She was sharp, shy, and hilarious. We took classes together and sat in the back. She would whisper funny and harsh things about Del to me. When we did scenes together, they weren’t particularly funny or interesting. There was absolutely nothing pointing to the fact that anyone on our team would be successful in any kind of comedy career. We were all just trying to keep up. Inside Vladimir performed frequently at ImprovOlympic, and the men on our team were great and supportive and totally fine with Tina and me taking over. Together we wrote a two-woman show that we performed one night only. It was called
Women of Color
and had a sketch about two policewomen named Powderkeg and Shortfuse. I think we did fifteen minutes of written material and then padded the rest with improv. Soon after, we performed the Del Close–invented long-form structure called “The Dream.” In it, you interviewed a member of the audience about their day and performed what you thought their dream would look like at night. And the gentleman in the audience who raised his hand? A young Seth Meyers. I don’t remember one thing about meeting him but I’m sure in Seth’s memoir he will describe it as the night he saw god.

Soon after, Tina and I both auditioned for Second City’s touring company. You had to do a bunch of characters and I have completely forgotten what I did. I’m sure Besser helped me. Here is a sheet someone recently found in an old drawer at Second City, from the day I auditioned.

Remember, kids, they can spell your name wrong and you can still get the job!

Tina and I were placed in a touring company called BlueCo, and I took the spot left behind by Rachel Dratch who had been hired for the Mainstage company. We traveled all over Chicago and the United States in a van with hilarious men and women. I think we were paid $65 a show. We would drive across Texas and perform three or four times and come back to Chicago deep in debt. Those van rides were tiny comedy labs. I remember a lot of beef jerky and bits. Tina taught me how to pluck my eyebrows. During our Texas tour we stopped at a Dallas S&M club and drank warm Diet Cokes as we watched a woman lazily whip a guy. Nothing is more depressing than a tired dominatrix. We did a show just outside of Waco and wondered if it was gauche to drive to the Branch Davidian compound. I complained to the manager at the Red Roof Inn about blood in my sink and then sheepishly asked him where the “bad stuff went down.” He handed me typed-out directions. He had clearly been asked before. We arrived to find charred children’s toys still littering the place. We noticed Jews for Jesus graffiti and many people still wandering around. An Australian woman with her arm in a sling was preaching on a burned-out school bus. She spoke of how handsome David Koresh was and how he was getting ready to return, while I stood fascinated by her wristwatch, which she had safety-pinned to her sling. It was weird, man. Especially since one of us was very stoned.

While I was touring with Second City, I continued to perform at ImprovOlympic and with the Upright Citizens Brigade. The group had morphed and now it was the fab four it remains today: Besser, Ian Roberts, Matt Walsh, and me. Ian was an intense and cerebral guy from New Jersey who was the best improviser I had ever seen. He was a great actor who looked like he wanted to wrestle you. I saw Matt Walsh for the first time when he played Captain Lunatic (Lou Natic), an over-the-top cop who chugged Pepto-Bismol and cursed God. I was in awe of his characters and his distinct voice. Adam McKay and Horatio Sanz were still performing with us on occasion, although both were being groomed to join
SNL
. Adam was good at everything. He was an unbelievable writer and bulletproof onstage. Horatio was sweet but fearless. He once walked through a sliding glass door on a dare.

The UCB4 started to write and perform our own shows, most of which included audience plants and fake gunplay. This included
Thunderball,
a sketch show conceived during the baseball strike. We dragged our audience to the entrance of Wrigley Field and declared baseball officially dead. We had the crowd light candles and chant “Baseball is dead, long live Thunderball.” James Grace played a plant in the audience who supported baseball and we shot him. Horatio played the ghost of Babe Ruth, and he wept over James and shouted “No!!” up to the heavens. It started to rain and then cops made us disperse. James committed to lying in the rain for hours. We got big crowds and mixed reviews. Del liked to remind us that “no prophet is accepted in his hometown.” He also liked to tell us to “fall, and then figure out what to do on your way down” and that “professionals work on New Year’s Eve.” People around us started becoming actual professionals. Adam and Horatio and Tim Meadows got hired at
SNL
. Andy Richter was on
Late Night with Conan O’Brien
. Big stars, like Mike Myers, Andy Dick, and Chris Farley, would come back and perform with us. I had coincidentally rented Farley’s old Chicago apartment years after he had left. He was incredibly nice and painfully sensitive. He would stand backstage and berate himself if he felt he didn’t do a good job. It was almost like he couldn’t hear how loud everyone was laughing.

We were rehearsing for a UCB show when the O.J. Simpson verdict came down and we watched it live. When O.J. was acquitted, Besser predicted O.J. would find himself back in jail not long after. Besser knew something about the future, it seemed. He was a time traveler and understood the long game. In addition to doing UCB, Matt performed as a stand-up comedian and had a manager. His name was Dave Becky, and Matt told Dave about this group with the funny name. Dave traveled to Chicago and saw something in the Upright Citizens Brigade, and seventeen years later Dave still represents me. The UCB had done a few showcases in New York and Los Angeles, and soon Besser decided it was time for us to leave Chicago. We sat in a booth at the Salt & Pepper Diner and charted our course.

No one thought this was a good idea. A casting director told me we would never make it as a group. Second City reminded me I was in line to get a spot in a Mainstage company—the big-time there. ImprovOlympic was a warm blanket we didn’t want to crawl out from under. My choice was easy to make, though, because I was moving back east near my family and had wisely learned to do whatever Besser told me to do. Also, Ian and Walsh and Matt were the funniest people I knew and Ian had once punched a drunk guy wearing a sombrero who yelled gross stuff to me from across the street. I felt protected.

It’s easier to be brave when you’re not alone.

We were young and foolish and didn’t know what we were up against. Thank god. We said good-bye to our friends and our cheap and beautiful apartment in the scary neighborhood. We packed all of our things and my yellow Lab, Suki, and pulled away in a U-Haul truck. We had no apartment or job or place to perform in New York City. I didn’t really know who I was, but improv had taught me that I could be anyone. I didn’t have to wait to be cast—I could give myself the part. I could be an old man or a teenage babysitter or a rodeo clown. In three short years Chicago had taught me that I could decide who I was. My only job was to surround myself with people who respected and supported that choice. Being foolish was the smartest thing to do.

I stood onstage and did the monkey dance. I put my two fingers up my nose and turned it into a pig nose. I took my other hand and put it up between my legs and grabbed my crotch. I danced and made monkey sounds as everyone clapped. These were the people I wanted to impress. They still are. Who needed a job? I was already my own boss! (Cue my parents gasping.) Money? Who needed money when I was already so rich? (I was very poor. I needed money badly. I borrowed a lot from my parents.)

New York, here I come!