From Second City to Stephen Colbert: author Sam Wasson tracks history of improv comedy
President Donald Trump would not be good at performing improv comedy.
That's the opinion of Sam Wasson, the author of the new book Improv Nation: How We Made Great American Art.
"No, because saying 'Fake News' is not saying 'Yes, And,'" Wasson tells The Current's Anna Maria Tremonti.
In improv, saying, "Yes, And" is a rule that allows the improvisers to move the scene forward. By saying no, the scene is blocked.
Wasson sees a direct connection between freedom and improv.
"If we can be free then we will be OK," says Wasson. "You can't be free on your own, because you get caught up in your own thoughts. You can only really be free with another person."
Viola Spolin's improv games
He traces the emergence of improv games and theatre back to the 1940s when a Jewish Socialist social worker in Chicago named Viola Spolin used improv games as a way to break down class and race barriers for children.
Second City's launch
Then, in 1959, Second City opened its doors in Chicago, ushering in a new era of comedy.
Some of the alumni from Chicago Second City were John Belushi, Bill Murray, Harold Ramis, Tina Fey, Chris Farley and Stephen Colbert.
When Second City moved to Toronto in the early 1970s, it hit the jackpot, discovering an incredible number of talented young comedians including John Candy, Eugene Levy, Andrea Martin, Dan Aykroyd, Catherine O'Hara and Martin Short.
Wasson points out that the closeness of the troupe often led to romance — something he said worked very well for them.
"It was a different time, it was the '70s. Sex was a little lighter, a little easier. It happens so much, especially in this work because when you are doing it right, you create a connection, and sex can flow so naturally out of that," he says.
"I can only imagine really how beautiful it was to be a part of this community."
From the SCTV vault, here's The Dusty Towne Sexy Holiday Specialwith Canadian comedy great, Catherine O'Hara:
This segment was produced by The Current's Howard Goldenthal.