Photo Courtesy of Next Act Theatre
Way, way back in the 20th century, television was only in black and white. There were only three network channels (NBC, ABC and CBS). Some shows were shot before live audiences, and comedy shows were extremely popular.
Next Act Theatre’s Laughter on the 23rd Floor, written by Neil Simon, is based on a real-life “live” show, Sid Caesar’s “Your Show of Shows.” But it’s the roomful of comedy writers that this comedy is all about—a young Simon along with other funny men who would become famous in their own careers, such as Mel Brooks, Carl Reiner and Woody Allen. Simon’s real-life experiences are reflected in this play as writers try to outdo each other, and head writer Max Prince (based on Simon) has to negotiate with NBC higher-ups as they threaten to pull the show.
Director Edward Morgan and members of the eight-actor ensemble were asked to answer the same questions about preparing for their roles, what constitutes comedy and just what it takes be funny.
What kind of research did you do to prepare?
Edward Morgan: Watching a few videos and programs about Caesar's writers, watching lots of the original sketches on YouTube, listening to some music of the period, looking up news and current events for 1953, all of the design work and calling to mind my previous experience with Neil Simon: The Odd Couple and The Sunshine Boys.
Dylan Bolin: I was a comedy writer for radio off and on for about 20 years. It really resonates with me when Simon’s characters talk about what is funny. Humor is so subjective, but if comedy writers concern themselves too much with how their jokes are received, they can easily find themselves lost down the rabbit hole, suffering paralysis by analysis. I think this is why comedy writers have such distinct voices and characters (and the writers in this show are no exception); confidence is their sword and shield. This many strong characters in one room with a deadline makes for a supercharged and volatile atmosphere
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What are the main aspects you focus on when doing comedy?
Karen Estrada: The jokes come a mile a minute, so you can’t wait for them all to land. The pace and timing are like music. You really need to have your brain on and sit forward to enjoy it fully. These jokes are not easy and sweet.
Lindsay Webster: I think it’s so much harder to be funny if your character is trying to be funny. So, I try to focus on intention the most. I try to genuinely, earnestly mean what I say whenever possible
Adam Qutaishat: I tend to focus on the mechanics to a certain extent. I have various areas I focus on. 1) Pace, rhythm, timing. 2) Delivery, variety, color. 3) Gesture, expression. 4) Structure, stakes, shifts. But past a certain amount of work, you must also just listen and react genuinely, or the humor won't feel honest. I find that, often, it’s about finding the balance of the left and right brain functions and trying “everything under the sun” during rehearsal.
Anything else you’d like to add?
David Cecsarini: The best, most effective comedy is usually grounded in truth. So, you pay attention to the circumstances these people are grappling with: NBC brass, each other, outside interests, home life. The pressure brought on by these circumstances is the fuel that drives the comedic engine.
Rick Pendzich: I find that it’s entirely a group effort. I constantly compare comedy to volleyball: One character bumps the ball (not letting it hit the floor), the next character sets the ball (setting up the joke), and the next lucky character gets to spike the ball for the point (laugh.) People cheer for the player who spiked the ball (punchline) but are often unaware of the other performers who did their job to make that point (joke) happen. It’s the team that does it: actors, director, stage management, all of us. Our main job in comedy is keeping the ball off of the floor.
Edward Morgan: I’m amazed at all the brilliant comic writers that worked with Sid Caesar. It’s pretty safe to say that, through them, directly and indirectly, he influenced virtually all comedy written for American TV and movies.
Laughter on the 23rd Floor runs through Dec. 15 at Next Act Theatre, 255 S. Water St. For tickets, call 414-278-0765 or visit nextact.org.
