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dents to see how changes were made
from page to stage," notes Caesar.
The in-control Caesar was upstaged
himself by news of the scripts' exis-
tence. Who knew?" he asks. "And you
know what," says Caesar, "the humor's
held up.
"There's no time frame for the skits,"
he says of the non-topical bits.
The secret to his success? He did
not tell funny jokes, he told funny
stories, about real people.
"I played the Everyman. I was the
father, brother cousin. Everyone
knew me and identified with me.
You couldn't touch religion or poli-
tics, and you couldn't zero in on one
guy and tear him apart. I didn't
allow any schmutzik (dirty) stuff, or
cheap laughs. And I never allowed
anyone to break up on the air, even
when [producer] Max [Liebman]
changed the running order of
the sketches and I wound up
in a bus driver sketch wearing
gold lame boots."
r
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I.
autobiography, Where Have I Been?
He's found himself since, coming
out with an exercise video and exer-
cising his talents most recently on TV
in Emmy Award-nominated parts on
Love 6- War and Mad About You.
Other notable credits include the
1963 film comedy It's a Mad, Mad,
Mad, Mad World and a Tony-Award-
winning performance on Broadway
in Little Me.
Whether portraying the pallid
Prince Cherney of Rosenzweig,
whose prolonged death scene had
audiences dying of laughter from the
royal fool's rigorous rejection of rigor
mortis; Val du Val, the invaluable
French singer; or Noble Eggleston,
the World War I fly boy with a plane
ambition to enjoy himself, Little Me
seemed an oxymoron for the larger-
than-life Caesar.
Carl Reiner, Sid Caesar
and Howard Morris performed
together on "Your Show of Shows"
and "Caesar's Hour" during
the 1950s, inspiring legions
of sketch comedians.
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The Yonkers-born Catskills
kibitzer never had a yen for
Yiddishkeit, though he still
attends services on the High
Holidays "out of respect for
my parents." But he is warmly
appreciative of what he describes as
his "Jewish type of humor," and has
always considered himself a proud
Jew.
"I have known more than my
share of pain in my life, and I used
that in my comedy," he says. "Being
Jewish played a large part in our
humor. We did a parody of Japanese
films with a character named
`Shtarker Yamagura.'"
He was possessed, he claims, by a
dialectic dybbuk.
"I don't know, I didn't intend to
use Yiddish, but sometimes I'd open
my mouth and these words just
came out naturally."
There were times, however, when
the dybbuks were disastrous, having
nothing to do with dialects and lan-
guage; for years, Caesar was besotted
by drinking and substance abuse
problems, as described in his 1982
Yet Broadway wasn't the way he
wanted his career to go.
To tell the truth, and Caesar does
just that, he found little of Little Me
to his liking. "I didn't enjoy
Broadway. After you do [a show] for
five or six months, eight shows a
week, sometimes two a day, it
becomes boring."
So if the Great White Way wasn't
so great, what was? TV, of course.
But then, TV or not TV wasn't even
the question anymore after 1970.
"The times were changing," he says,
sounding more like a disheartened
Bob Dylan than the Caesar hailed by
millions.
By the time he got to Woodstock,
says Caesar, he knew it was over.
"When I saw Woodstock, the 1970
film based on the very '60s rock
experience, I said, 'That's it, the
beginning of a new age of permis-
siveness; that's not me."'