Discover the behind-the-scenes story of how The Second City theater created a generation of world class great actors, directors, and writers.
In the late Fifties and Sixties, iconoclastic young rebels in Chicago opened two tiny theaters—The Compass and The Second City—where they satirized politics, religion, and sex. Building scenes by improvising based on audience suggestions turned out to be a fine way to develop great actors, directors, and writers. Alumni went on to create such groundbreaking works as The Graduate, Groundhog Day, and Don’t Look Up. Many of them also became stars on Saturday Night Live. Something Wonderful Right Away features the pioneers of the empire that transformed American comedy.
This new edition tells even more of the story. Included for the first time is an interview with Viola Spolin, the genius who invented theater games that were the foundation of improvisational theater. Also included are dozens of follow-up stories about Mike Nichols, Barbara Harris, Del Close, Joan Rivers, Alan Arkin, and Gilda Radner, plus “You Only Shoot the Ones You Love,” the story of how this book’s author, playwright Jeffrey Sweet, became so involved in the community he covered that he was captured by it.
A serious look at a comedic niche. If you have any fascination in how improvisation started, thrived and waned this is the book for you. It's truly amazing just how many famous comics started out their careers in the troupe(s) of Second City: David Steinberg, Shelly Berman, Gilda Radner, Mike Nichols, Alan Alda, Robert Klein, Alan Arkin, Joan Rivers, Jerry Stiller, etc. The list goes on almost indefinitely. Sweet interviewed them all.
In addition to the history of Second City are the "lessons" in how to perform improvisation. Make that "guidelines." In the related experiences the reader is exposed to the flights of comic fantasy each performer strived to attain. When successful, it led some into careers (Saturday Night Live, Films, Standup, theater etc.).
The format featuring each performer having a dedicated chapter allows for you to easily skip over names unfamiliar or too colloquial to the Chicago scene. However, be aware skipping over any of these is at your own risk of missing some tasty tales/dissing/singular experiences.
My only criticism is that Sweet neglected to place a picture of each performer alongside their name on the chapter head. All too often I couldn't put a face to the name. Sweet could have saved we readers a good deal of Google searching with some mug shots.
A rich and deep resource on the disruptive history of improv. The interviews cross each other in interesting ways but can bog down at times. Updated commentary and new interviews are invaluable! The resources at the end are a treasure trove!