An Interview Art Metrano - Part Two

Art Metrano: This singer Danny Winchell and I played a lot of Playboy clubs and we played New York. At the Living Room on 3rd Avenue, a very popular nightclub spot for dining and shows, we were the opening act for George Carlin. He had just split from his comedy partner Jack Burns. George was doing his first single and he was quite good. You could see where he was headed. Very intellectual, very smart comedy. And of course, without a doubt, one of the greatest stand-ups to ever live. It was beyond belief how good he was.

Kliph Nesteroff: Where else did you play other than The Living Room? 

Art Metrano: Most of the jobs we got - other than the Living Room - were very low paying. We were just getting onstage so we could perform and find our way and hopefully put together an act that meant something. We never really did. Although Danny and I remained close throughout our lives until his passing a couple years back.



It wasn't until I went to California and started on my own that I got one show after another. I did Bewitched for this guy Bill Asher, the director, who was married to Elizabeth Montgomery. He really liked me and he kept bringing me back as different people. I would say, "Bill, will you let me know when the show airs so I can tell my mother?" He would actually send me a card saying, "You're on this night." Even though I only had two lines! My mom would watch and say, "I watched the whole show and you weren't on it." I said, "Ma, I was the garbage man with no lines!" It led me to a very large role on Bewitched where I played the manager of Boyce and Hart. That was a very big show for me, actually. Most of the show is about me managing the boys.

Kliph Nesteroff: The first time I ever saw your dah-duh-dah-dah act was on an episode of Norm Crosby's Comedy Shop.

Art Metrano: Ah, yeah.

Kliph Nesteroff: What do you remember about that one?

Art Metrano: Well, Bernie Brillstein was a fan of mine. Bernie really ran entertainment - literally - both in television and in movies. He had the best client list imaginable. Norm Crosby was his client. He put me on there a number of times and one night he asked me if I had something new. I said, "Yeah, I got this funny idea I've been working on - 'Imagine if I was Black and not white.' He said, "Let me hear it." I did and he said, "You're on tonight." It was very advanced stuff. Nobody was doing what I was doing or even saying things that I was saying. People thought I had big balls, but it went over very well. "A lot of people don't realize it was a Black woman that invented the hockey puck. Mother Pucker." The audience was stunned, but they were laughing. Bernie thought it was good and I became very friendly with Norm Crosby. Norm was one of the best guys going.

Kliph Nesteroff: You're in the Mel Brooks film A History of the World Part I. Did that come through your Rudy DeLuca connections?

Art Metrano: Here's the true story. I had just finished doing a Carson show and the next day I had an audition at 20th Century Fox. I was walking and literally out of the bushes jumps Mel Brooks! He's doing, "Dah-duh-dah-dah, Dah-duh-da-da!" I thought, "Holy shit, it's Mel Brooks and he's doing my routine." And he's going crazy and he's going and he's going and finally looks at me. "That's it, Metrano! Keep going! Never stop! Every time you think you've gone far enough - go a little further! It's so funny and we all appreciate it! I'm going to use you in a film one day!" And sure enough he did.

Kliph Nesteroff: You became a regular on the short-lived television program The Chicago Teddy Bears. It had a great cast of character actors. Marvin Kaplan, Huntz Hall...

Art Metrano: I became friendly with Huntz Hall because we both smoked pot. I was such a fan of Huntz Hall and the East Side Kids when I was growing up. I was, of course, in awe of Huntz because he was such a funny guy. Huntz was known to have a very large penis. He would be looking for girls around the lot. He told me Leo Gorcey was the smartest of the Bowery Boys. He was the one who made up all the contracts. He could add up contracts in his head like it was nothing. He was the only one who remained very rich after all the films were over.



Huntz was something special, boy. Dean Jones was great. What a nice man. I remember I got a call from Wally Amos to go to CBS to audition for this show Chicago Teddy Bears. They told me to show up three hours early because they wanted to put me in costume. So I studied this particular script and I got to CBS wardrobe and there were eight other guys dressed the same obviously reading for the same part.



I had memorized everything because I felt that was the only way to audition. I read with Dean. Hy Averback was the director, a very prominent guy in the business. He was a little pissed off that I was there because he had already made his mind up about five other guys he wanted. Suddenly Fred Silverman the head of CBS said, "I want you to read this guy." I was the last guy to read and I heard from the boom up above, "Come through that door and read your lines." I didn't read my lines - I knew them. And I just blew Dean Jones away. He stared at me like, "Who the fuck is that guy?"



Hy Averback said, "Can you do that again please?" I did. They said thank you and I left. I went to the toilet and I'm taking a leak and in walks Hy Averyback. He looks at me and goes, "You're very good. Where did you learn to act?" I said, "I studied in New York with Cassavetes and Stella Adler." He said, "Oh, you're a real actor." I said, "Yeah, I hope so." A couple days later I got a call from my manager saying I got the part. I thought that show was going to go because the pilot had incredible reviews. Madison Avenue thought we were going to be the hit of the season. After getting picked up for thirteen episodes, they fired this guy Hy Averback who really had a handle on the show. They hired a guy named Jerry Thorpe who had been a director on The Untouchables. They thought since this was a show about prohibition, even though it was a comedy, they thought he could direct it. His hand was so heavy that he just didn't get it. He personally fucked up that show. Badly. The actors we had besides Huntz Hall were Jamie Farr, Marvin Kaplan, John Banner, Mike Mazurki... and some great guest stars like George Raft.

Kliph Nesteroff: What do you remember of George Raft?

Art Metrano: It was just crazy to see him on that set wearing the same clothes that he always wore in every movie I had ever seen. He was so still in his performance. He didn't even act. That one day that I shot with him, watching him work, I learned a lot about the camera. He did very little and looked nowhere else other than the other actor. He didn't act. He just stood, said his lines and had this incredible voice.

Kliph Nesteroff: Mike Mazurki.

Art Metrano: We became so friendly. Because of the show we ended up doing a bunch of commercials for Dr. Pepper. I didn't realize I had seen him in all these movies, that he had this body of work. I thought he was just a wrestler! But he was a movie actor who did some of the best film noir ever made. He was just a pleasure to hang around.

Kliph Nesteroff: You appeared in the classic film The Heartbreak Kid.

Art Metrano: Yeah, it was a nothing thing. Elaine May liked the idea of me doing a magic act in one scene. All I did was my dah-duh-dah-dah thing and the characters don't like it. So it wasn't very complimentary.

Kliph Nesteroff: Were you often asked to do that routine in movies?

Art Metrano: No, that was the only movie where I did that.

Kliph Nesteroff: I thought I saw some kind of Israeli film in which you do that bit...

Art Metrano: Ah, I did a movie in Israel called Prisoner in the Middle with David Janssen and many Israeli actors. I used to fool around on the set and they heard me do that routine and they went crazy. They took me to this comedy nightclub that was pretty underground with a lot of Israelis and I didn't think they'd understand a word I had to say, but they did. I got up and did this bit and they loved it. Those people I met back in 1970 - today they are so involved with the Rabbinical part of Israel. One guy is called Rabbi Orasorwa, who at the time was a stand-up comedian who smoked hash! He's now one of the heavyweight rabbis in Israel along with Poop Armoun. Poop meaning small. I call him a dancing Jew because he wears the fur hat with the curls and the beard. They dance and sing and never shower.

Kliph Nesteroff: You were involved in a big lawsuit concerning the Family Guy a few years ago... Did you see it when it aired? Did someone tell you about it?

Art Metrano: My cousin's son saw this show The Family Guy. He told me, "They're doing your routine in this Family Guy." He sent it to me and there was Jesus on the mount with a congregation breaking into thirty seconds of "Dah-dah-duh-dah-dah," every one of my things. So I call a friend of mine and talked to my manager. I said, "What do you think of this?" He said, "I'm not sure. I have a lawyer, but I don't think he'll take this one because I'm not sure you have a case."



So I said, "Well, give me his number." I was living in Florida and I called him in Los Angeles. I called. "Is Paul Middleman there?" He said, "Who's calling?" I said, "Art Metrano." He went, "Dah-duh-dah-dah, dah-duh-dah-dah!" I said, "Paul, that's why I'm calling." I explained it and he looked into it. He e-mailed me and he said, "It's interesting. Carol Burnett has a six million dollar lawsuit that is going to court any day now for their using her likeness in an episode of Family Guy." Eventually that suit was dropped. The court said that anyone who is famous, if they use their likeness in a parody - it's okay. I said to my attorney, "Does that mean we have a good case?" He said, "Absolutely. They didn't parody you, they used Jesus Christ. Nobody knows it's you except for the people who used your routine." A lot of these kids didn't know who I was. So we went to court and we had a very, very nice settlement.

An Interview with Art Metrano - Part One

Kliph Nesteroff: January 1960 - you did an episode of the CBS Television Workshop. A teleplay called the Brick and the Rose.

Art Metrano: Lewis John Carlino. I was studying with John Cassavetes and Burt Lane when word came around to read for this new CBS show. I went over there and there were a lot of young actors. One was Richard Bright who did a lot of Scorsese films. We remained friends until he got hit by a bus in Manhattan. There was another actor who later became head of MGM. It was a very exciting time for me because I was young and there were all these actors trying to get ahead. It was my first real acting role with some money. I was doing theater at the Cassavetes school.



Joe Bologna was working at an advertising company as a director and he hired myself, Rudy De Luca and Ron Carey. He took us to Canada where we did a bunch of commercials and became a close knit family. That continued until I went to visit Rudy in Los Angeles to see if I could make a go of California. I stayed with Rudy for about a month. After a month I was invited to meet with Cassavetes who was then working at Universal. We hung out together. He got this movie called Rosemary's Baby back in New York. I found a little house in Laurel Canyon and stayed for a while.

This agent told me, "There's a show called Lohman and Barkley at the NBC studio. They're looking for writer-performers." It was really the precursor to Saturday Night Live. I told Rudy De Luca about this. I said, "Why don't we both go over there and see if we can get jobs as writer-performers?" We got the job. At that time there was Craig T. Nelson and John Amos and Barry Levinson. We were on that program for a number of weeks and that's when I created the dunt-duh-dah-dah Amazing Metrano comedy magic act.



We were all getting pretty loaded and improvising. I got up and started doing this dunt-duh-dah-dah, dunt-duh-dah-dah. I took a napkin anddid this thing. I got a chair and pretended to unscrew a lightbulb and stick my finger in there. The next day Rudy said, "Man, that's really funny. We oughta develop that and show it to the guys at Lohman and Barkley." After working on it for about a week I brought it to the producers. I went on TV with it that night. That show only played in California. From San Diego up to San Francisco. It came on right after the Sunday night news.



As things go viral on the internet today, this thing went viral all over California. Everyone seemed to be doing this dunt-duh-dah-dah. That's when I got a call from the Della Reese - Sandy Baron show. Then I got a call from Carson and went to New York. I was about to go on with this routine and just before I did - the stage manager said, "When you finish just take a bow and get off - we're running late. Do your act and get off." So I went out there and did this dunt-duh-dah-dah and the audience went wild. Unbeknownst to me, Johnny Carson who sits on a chair with wheels on the bottom, laughed so hard he fell off the chair. I didn't see him do this, but my manager at the time was Wally Amos of Famous Amos chocolate cookie fame. It was before he made it as a cookie maven. He told me what happened.



And of course when my three of four minutes ended, I took my bow and there was Johnny waving me to his desk. I went, "Holy shit, I'm going to sit next to Johnny!" It was a great moment. He really liked my act. He was an amateur magician and loved magic of all kinds. So we talked about that and then he brought me back several times. He really loved it and became a big fan of mine. He propelled me and many others into having employment - not even a career - just employment. All of a sudden I was doing all these shows. It was just amazing. All my acting experience with Cassavetes and Burt Lane paid off. 

Kliph Nesteroff: What do you remember about Sandy Baron?

Art Metrano: Sandy Baron. I remember a lot about that guy. I thought he was extremely talented. He ended up living in my guest house in later years when things were not going well for him. He became very sick at the end of his life and it was just awful. Sandy was a very talented guy, very manic. He did a lot of records and I didn't realize the kind of money he made from them. The royalties he got even after he died... I know because he owed me so much money and I knew I wasn't going to get it. Then all of a sudden I got a legal letter from his aunt. "There's money for you. He wrote a handwritten note before he died mentioning the people he owed." Sure enough, they paid it off. Slowly, but surely I got it all. His performance as Lenny Bruce in the stage show he did - I thought it was just phenomenal. He was really talented and I just loved him.

Kliph Nesteroff: You did an episode of the Della show, which Sandy Baron cohosted, in August 1969. Rodney Dangerfield was on the same episode.

Art Metrano: Good, old crazy Rodney Dangerfield. Me, Rodney, Joe Bologna and Rudy De Luca and Ron Carey... we were in a car in Manhattan. Rodney was looking to leave his wife and was trying to find an apartment. And they were trying to find me a stage name because I was doing an act with another guy. We were trying to come up with a name for the team. Rudy would see a sign and go, "Art Supplies! There we go! That's a good name! Art Supplies!"

Rodney had tremendous hate for this wife of his. He couldn't stop talking about it and jokes were flying out of his mouth. I knew him when his name was Jack Roy. Yes, we were all on that show. Della was great. Later I went on to do a series and replaced Ernie Borgnine in another show with Della Reese. It was based on a famous play about a sea captain. It wasn't a very well written show. Ernie Borgnine dropped out. At that phase in my career I didn't refuse anything.

Kliph Nesteroff: How did you know Jack Roy, the future Rodney Dangerfield?

Art Metrano: There were J.J. Barry, Ron Carey, Me, Joe Bologna, Marty Friedberg - a bunch of us were at a comedy class with a guy named George Q. Lewis. He had no talent at all, but he was the teacher. He knew nothing about comedy but we all went there and we all got to perform our act. Ron Carey did a weightlifter routine that was just hysterical. Jack Roy was performing in Queens. There was a nightclub on Queens Boulevard and we used to go see every comic we didn't know. And there was Jack Roy. He wasn't very good, but he knew how to tell jokes. We always thought he was like a young Henny Youngman. "My wife is such a bad cook, the dogs beg for Alka-Seltzer."

They were all well written, well-defined jokes. That's how I knew Rodney and then he started hanging out with us. It was like a fraternity of actors and comics. We'd sit around this cafe - what was it called - on Broadway right on the corner...

Kliph Nesteroff: Hanson's.

Art Metrano: That's it. It was the who's who of people not quite famous. We'd go up to the Catskills to try get any kind of gig. It was all for one reason - to catch all these great comedy acts like Shecky Greene and Red Buttons. We saw Martin & Lewis at Brown's Hotel. A steady flow.



Jackie Miles, Jackie Winston, Mal Z. Lawrence. These guys never really made it, but always worked the Mountains and always worked club dates. Mal Z. Lawrence keeps doing the same act, but it's hysterical. These guys were real professional club comics and they worked everywhere like Ben Maksik's Town and Country in Brooklyn. The place where I met Don Rickles was in Ocean Parkway in Brooklyn. He was managed by Joe Scandore. I remained friends with Don. He talked about me on a show that John Landis recently directed. In the middle of talking about something he broke into duh-duh-dah-dah. 

Kliph Nesteroff: What do you remember about Joe Scandore?

Art Metrano: I was told right off the bat, "Don't fuck around with Joe Scandore." That he was pretty well connected. He had this nightclub called the Elegante. I performed at the Elegante on Ocean Parkway and was hoping he would take me on, but I was never good enough. He was just considered a guy who was well connected. In those days, connected... you knew what that meant. In the sixties Vegas was run by the Mob and in some ways it was run much better than it is today because it was more open.



I knew this guy who could go to the teller with a nod from one of the guys and take out ten thousand. In those days everybody got comped. If they thought you were going to gamble, you got comped. And it was much more open. Joe was part of that. Now it's run by the Mormons. It's very different from those days. That's what I remember about Joe Scandore. He was very kind to me, but people also said, "Don't do anything wrong."

Kliph Nesteroff: You mention you played the Elegante a couple times - when did you start doing nightclubs?

Art Metrano: There was a boy singer who was also hanging out at Hanson's in those days named Danny Winchell. He was here and there, the Mountains, different club dates, bar mitzvahs. I guess he saw me do something at Joe Q. Lewis's so he invited me to do a team. We worked up some routines. He would sing and I would do some shtick. Before you knew it, we started getting jobs in various places.



We got to this place and we were quite hungry. We sat down and I ordered something. I figured it'd be on the house and so did Danny. The bartender gave us a bill. I said, "No, you don't understand, we're the opening act tonight." He said, "It doesn't matter you have to pay." He said, "Talk to the boss." This guy came over, "You got a problem here?" I said, "We're the opening act and we just had a sandwich and a coke. We figured we didn't have to pay for that. We drove up here, we paid gas money and we have to pay for our room - now you're charging us for the food?" He looked me straight in the eye and he said, "You know - some jobs you have to save up for."

Kliph Nesteroff: (laughs)

Art Metrano: I'll never forget that for as long as I live. "Some jobs you have to save up for." We did an act, some was funny and some not so funny. We got to do the Playboy Circuit. We played Detroit first and then we drove to St. Louis. I also got to do Playboy After Dark with the Amazing Metrano act. Sammy Davis Jr. was on one night and I remember doing another with Lenny Bruce. I don't remember too much about Lenny, but once I was at his house - right before Doheny - Sunset Plaza Drive. I got invited and it was the first time I saw anybody roll a joint with one hand. I said, "Now that is pretty cool." Later on I became extremely fond of Sally Marr, his mother. His mother really loved me. She was a pal.

Kliph Nesteroff: Playboy After Dark - you were on with Lou Rawls, Cannonball Adderly and Grand Funk Railroad.

Art Metrano: Jesus Christ, that's right. To be in the midst of some of the greatest musicians - God almighty, you brought back that memory. I forgot all about that one.

Kliph Nesteroff: You did an episode of the Dean Martin Comedy Hour - which I guess was its summer show. Do you remember anything about that?

Art Metrano: I remember everything about it and I did more than one. Hanging out with Dean - I was in awe of him. No one thought he would make it on his own and I really felt that he surpassed Jerry Lewis. His acting in movies and how he could be the star of a show and do comedy and singing without Jerry... he had his persona down perfectly. He had one of the great voices of all time. Because of that show, I started to date his daughter Deanna. We went out quite a bit. She could not wait to tie my bowtie. She said, "I do this for my father."

Kliph Nesteroff: One episode of The Dean Martin Comedy Hour - featured you and Albert Brooks.

Art Metrano: Oh, sure. Albert was a very talented guy. Albert and Steve Martin, bless their hearts... I was the forerunner of that kind of comedy with my Amazing Metrano comedy magic act. And then I did The Great Belinos with Rudy De Luca, which was copied by The Sonny and Cher Show. They called it the Flying Goldens and it was a definite comedy rip-off. But I was the forerunner of doing all those non-sequitor comedy bits. People just loved it and laughed. Steve Martin and Albert Brooks followed me doing similar types of comedy.

Kliph Nesteroff: Did you ever talk to either of them about that?

Art Metrano: (silence) No. I never did. No. They went on to such great fame, God bless them. They kept writing and performing and stayed with the comedy. I moved into drama doing serious shows. I did stuff with Robert Blake on Baretta, I did a show with Jessica Walters called Amy Prentiss...

Kliph Nesteroff: You did at least one episode of Laugh-In...

Art Metrano: George Schlatter was off-the-wall. He didn't care what you did, he just wanted you to be as crazy as you could. I did more than one. I did two or three. He loved the duh-duh-dah-dah routine. He was a very funny guy, a creative guy. Laugh-In was ahead of its time. Nobody had done anything as crazy as that. It was very successful.

Kliph Nesteroff: You were a regular on The Tim Conway Hour.

Art Metrano: Yes, that all came about from Lohman and Barkley, which I was doing at NBC with all those guys. Craig T. Nelson and Barry Levinson were writing partners. Conway was hunting for writers and performers. I said, "I've been working with these guys at Lohman and Barkley and they are absolutely so talented. You should look at some of the pieces they have done." I guess they did because Rudy and all these guys got hired as well. The Tim Conway Comedy Hour. The way it originally opened was - me coming out in a tuxedo doing dah-duh-duh-duh. Sitting behind the bandstand, I was the only member in the band, while Sally Strothers was the only girl dancer - because the show couldn't afford more. That was the idea. And that was the opening of the show.

Kliph Nesteroff: How about the early inception of Sammy Shore's Comedy Store. Rudy De Luca and Barry Levinson and Craig T. Nelson were there. Did you also spend time there?

Art Metrano: Oh, of course I did. I was very friendly with Sammy and Mitzi and everybody else. Rudy was very involved with Sammy Shore because he was writing routines for him with Joe [Bologna]. Sammy got a job opening for Elvis in Vegas and Rudy started writing routines for Sammy. The Comedy Store was the place to go in Los Angeles. There was no Improv, no Catch a Rising Star, no Laugh Factory. This was the place. It had two rooms, one small and one large room, which I did a number of shows in. The small room was where you saw the best of the best from Robin Williams to David Letterman. My God, there was a slew of people. I saw some funny shit there.

TOMORROW! Kliph Nesteroff welcomes Fred Willard - January 17, 2015, Downtown Los Angeles

I'm happy to announce that on January 17, 2015, I'll be presenting one of those great, detailed Classic Showbiz interviews with the one and only Fred Willard!

Fred Willard was a coffeehouse comedian in the era of Mort Sahl, Lenny Bruce, Nichols & May, Jonathan Winters and Dick Gregory. He was slated for a Get Smart spin-off and was up for a gig as a supporting player on the original version of The Carol Burnett Show. There are many things in this great comic actor's career that are seldom mentioned - and we're going to get into it all for an in-depth live-on-stage interview in a couple weeks. While most of you know him from things like Best in Show, A Mighty Wind, Waiting for Guffman, Modern Family and Fernwood 2Nite, there is so much more to his trajectory to talk about - and we're going to get into it deep. TICKETS ARE ON SALE NOW. See you there!

An Interview with Dick Gautier - Part One

Kliph Nesteroff: I mostly know you as a television actor, but you did stand-up all through the 1950s. You were one of the first comedians to play the hungry i...

Dick Gautier: Yes, well, that was my warm-up. I had just gotten out of the navy in San Francisco. I hung around the hungry i in North Beach because it was very cool. Mort Sahl was there. I said, "God, maybe I'll give it a shot." I met Larry Tucker...

Kliph Nesteroff: Larry Tucker who later became Paul Mazursky's writing partner...

Dick Gautier: That's right. At that time Larry Tucker was Mort Sahl's writer. They came up from L.A. and then Mort took off and left Larry behind. Larry became the maitre'd at the hungry i. He liked my performance and I liked him, he was a good guy. He started writing for me. People expected the Mort kind of thing, but I don't do what Mort does. Anyway, I was successful. I was there for about a year.

Kliph Nesteroff: People talk about Shelley Berman and Jonathan Winters at the hungry i, but they weren't there until three or four years after you.

Dick Gautier: Absolutely true. There were people coming up at the Purple Onion across the way like the Smothers Brothers and Phyllis Diller. A lot of us were coming up at the same time and shared the same kind of background, struggling with offbeat comedy and not the usual fare.

Kliph Nesteroff: Mort Sahl was the first comedian to play the hungry i.

Dick Gautier: Yes, he was.

Kliph Nesteroff: Were you the second? 

Dick Gautier: I believe I was the second. I say that, but someone else could argue. I've always understood that I was the second. Stan Wilson was the guy who was working there, a Black folk singer. He was very good. Everyone told Enrico Banducci, the owner of the Hungry i, "Don't bring in a comic. It's not a comic's room. It's terrible for comics." He said, "Screw you, I'm going to put on this guy Mort Sahl." In the beginning he did not do too well, as I recall. But people finally understood where he was coming from and what he was doing and then, of course, he became a sensational draw. A smash.

Kliph Nesteroff: In what capacity were you hanging out before you decided to go up?

Dick Gautier: I was a sailor who had just gotten discharged. I did a lot of comedy and singing in the navy, but I was looking at what I was going to do in my life. I felt comfortable there and said to Enrico, "Let me audition." I got that job and that was really it. When Mort left for New York, I moved in. My material couldn't touch Mort's, of course, but Larry Tucker and I tried to do different stuff. I did mostly satirical things. I do an awful lot of different voices and dialects. I would do a whole Ingmar Bergman movie with a guy playing chess with death. It was good. It wasn't Copa stuff. It wasn't Jan Murray - not that Jan Murray wasn't great - but it wasn't that kind of comedy.

Kliph Nesteroff: When you were playing the hungry i around 1955-1956 it wasn't really well known. But by 1959 when you were playing it with the Kingston Trio it was famous. What was the difference by 1959?

Dick Gautier: I got more respect. In 1956 when I said, "I'm at the hungry i," they went, "uh huh." Later when I said, 'I'm at the hungry i," they went, "Whoa!" That was the difference - the awareness factor. Mort mentioned it and suddenly there was gravitas attributed to the hungry i.

Kliph Nesteroff: A a lot of people recorded comedy records at the hungry i. You never did.

Dick Gautier: I never did. I couldn't do it because I'm much too visual. I was basically an actor, which I didn't know. I would take on the persona of different characters and do the way they walk. It wouldn't work on an album. I did The Horace Heidt Show when I was in the navy. He had a big talent show on the radio and he put on a [lip synch] record act. I'm not kidding - a record act! I sat there and said, "What a schmuck!" At home they heard Spike Jones and a lot of people laughing. I mean, it was ridiculous. Thinking about that I said, "Nah, I can't do a comedy record." I would have to write a special album, so I didn't get into that race. I left it for people who were more verbal like a Bob Newhart.

Kliph Nesteroff: You mentioned you weren't a Jan Murray style comic... you were familiar with Mort Sahl... were you conscious at that time there was a new style in comedy emerging?

Dick Gautier: No, I just knew what I liked. I knew what made me laugh. I wonder if I had seen Jonathan Winters... I don't know if I had seen him or not. I don't remember. But I know I just did what I thought was funny. I did not think this was a new kind of comedy. It just happens. 

Kliph Nesteroff: Were you and Mort friends?

Dick Gautier: No, not really. I hung out with him with Larry, but when he went to New York he was gone and I took over. We were never close friends, no.

Kliph Nesteroff: Did Larry Tucker ever do an act with you?

Dick Gautier: We never did that. I did an act when I was sixteen with a guy named Mark Marcus who was the saxophone player in a band that I sang with. That was teenage stuff. We did a show on Channel 5 called TeleTeen Reporter. I called it Toiletry Reporter. A guy named Al Bertram, a producer in LA, started that show. We were on television when we were sixteen years old - pretty amazing actually.

Kliph Nesteroff: You did stand-up in New York at a place well-known in comedy circles... Woody Allen, Joan Rivers, Rodney Dangerfield and others used it as a testing ground - a place called The Duplex.

Dick Gautier: That's right. In fact, the first night Woody ever performed was when I was at the Duplex. The manager came up to me and said, "Dick, would you mind giving up your second show tonight to a writer? He's going to be trying out some stand-up material." I said, "I don't mind." And that was Woody Allen. When I actually met Woody it was many years later. I was up for a part in Annie Hall. Someone said you never know with Woody - he might like you, he might hate you, he might give you two minutes or a half hour. He's unpredictable.



I went in and said, "You know we have a good, mutual friend." Woody asked, "Who's that?" I said, "Irvin Arthur." He said, "Irvin Arthur, my old agent in New York?" I said, "Yes, he was my agent in New York too when I was doing stand-up." We had a nice chat and all that. I got back home and my agent said, "He wants you to do the movie." But the problem was there was no guarantee of billing or money or anything, so I passed. One person I used to go see perform at the Duplex was Marc London, who used to write for Laugh-In. He and Pat McCormick teamed up together.  Pat McCormick worked clubs for a while and he was one of the funniest men I ever met in my life.

Kliph Nesteroff: He had a surreal sense of humor.

Dick Gautier: I guess you could call it that. One day we were talking about the worst jobs we ever had. I said, "Okay, Pat, what was the worst job you ever had?" He said, "I was a butt rouger in a baboon mortuary." I don't know if you would call that surreal. Nuts - is what it is. He was a graduate of Yale and really brilliant. Yeah, he was incredible. I loved him.

Kliph Nesteroff: The Duplex was small and intimate...

Dick Gautier: Very small. Everyone was trying to do the hungry i and be a hip little room where everyone would go. I worked the Brown Bear Cafe, the Number One Fifth Avenue, the Blue Angel. A lot of little dinky places like that.

Kliph Nesteroff: July 1956 - you played the Blue Angel with Joey Carter, Laurie Powell, Bart Howard, Margaret Whiting and Jimmy Lyons.

Dick Gautier: That was great. I loved it. Everyone called it "the coffin" because it was long, narrow and lined in velvet. But the people came and they were very intelligent. We never got out-of-towners because they didn't know from this shit. The Blue Angel was very good to me. In fact, it's how I got Bye Bye Birdie. Margaret Whiting was headlining and I was going to open for her - which I did. During the run Gower Champion, the director, and Charles Strouse, who wrote the music, came to see Margaret Whiting. They saw me and evidently made a note that they wanted to see me again. 



I got a call from my agent, "They want to see you when you get back in town." They asked me to read for this thing. I was a little put off because I didn't like rock and roll. Not at that point. I said, "I don't think it's for me. I like Jerome Kern and George Gershwin." They said, "Will you at least come in and audition?" I went in and they said, "Would you sing an Elvis song?" I said, "I don't know any Elvis songs." So they just played some blues and I ad-libbed and I guess they liked it. Couple months later they called. I said to Charlie, "It's not for me. I feel very inhibited and very intimidated by this whole Elvis thing because it's not me." He said, "It's a satire." Then I went, "Ohhhhh." When he said that, then I got it. Suddenly it was okay. I got the part, got a Tony nomination, and my career was in a whole different place. I didn't work nightclubs anymore.