Author: | Filed under: Getting On Stage, Great Performances, Interviews

I am very pleased to present Part 3 of my conversation about performance with actress/comedienne/writer/director JULIA SWEENEY.  

Julia is probably most identified with her 1990-1994 run on Saturday Night Live (most famously playing the gender-indeterminate character “Pat”), as well as her one-woman shows, the best known of which are God Said, “Ha!” and Letting Go of God.  Julia’s lengthy filmography includes Pulp Fiction and the recently released Monsters University, as well as such television shows as Frasier and Sex and the City, and she has also written for several TV shows including Sex and the City and Desperate Housewives.  Her latest book, If It’s Not One Thing, It’s Your Mother, was published by Simon & Schuster and is widely available.  Julia’s current project is a tour of “The Jill and Julia Show”, which teams her with singer/songwriter Jill Sobule in an evening of songs and monologues.  
This interview is being  posted in three weekly installments.  In Part 1, Julia discussed her development as a performer.  In Part 2, she talked about “the zone”, how she experiences the audience, and how Letting Go of God has affected her career.  In Part 3, Julia reveals what she’ll be up to after she completes her current tour. –VA

Are you going to keep doing voice work?

Julia Sweeney:  I love doing voice work.  Actually, that would be a very good happy ending for me.  Like Laraine Newman, who was also on SNL – she works all the time in voiceover.  I can’t believe how much she works in voiceover.  And what a great life that is.

It’s the best.

JS:  I’m telling you, it’s the best.  Do you do voiceover?

I’ve done a little.

JS:  I love it.

And I think because you have so much live experience, you have a live feel in your voice work.  And that is really hard to do.

JS:  Wow, thank you.  I never thought about that.  That’s just made my day!

Oh, I’m so glad.  Do you have a sense of that when you’re doing it?  Do you have a sense of going for the live experience, or is it just how it happens for you?

JS:  No, I don’t, it’s just how it comes out.

Well, you’re very dynamic, anyway, just in the way you are in the world.

JS:  Wow, you’re making me feel so good!  I don’t know, I guess I can kind of see that.  It’s really just the same way – now we’re getting back to, “I’m sure that you put on something…” or things that I do not really do.  No, that’s really me.  [laughs]  That’s it.  There I am.  I’m naked.  Not different later, just the same.

Well, not everybody can say that.  Even monologists and people doing their own material.  A lot of times people feel that they have to invent a character in order to do it safely.

JS:  Well, you know what, that reminds me.  When I first started, I actually took a stand-up class.  This is so funny, this is before I did The Groundlings – I guess I was kind of thinking about it enough to take the class.  But anyway, in the class, he taught us – now, this is thirty years ago – that you had to make for yourself a character, and then when you went onstage you were in that character.  So I did make a character for myself of a really shy person who didn’t want to be onstage.  [laughs]  That was my character.  And it really was a character.  And it was very useful.  I mean, I could see teaching that.

Well, I use that technique with people when they’re doing self-confessional material, as musicians, and a lot of times they feel like they just can’t do it safely.  And we’ll talk about, ok, let’s remove it one step.  You know what you need to know because you wrote this, you experienced it.  But let’s remove it one step, and let’s come up with a character who has a similar experience and come up with their own story.  And then they can use enough of what they know from their own experience to inform that character, but they can do it as that character and they’re not completely vulnerable.

JS:  Yeah.  I did it a little bit as myself.  It’s not so much a character if I think, “I want to be the version of me that is just as authentically me as any other version of me, that loves to be onstage and can’t wait to see all those people and can’t wait to tell my stories to them.”  And I kind of imagine myself like my best self in that manifestation.  And then I just can do that.

Yeah, that makes sense.  And then you can keep revisiting that if you’re getting unfocused?

JS:  Yeah, I do think that.  Especially when we were on the road, and if I stopped to think about how much I didn’t want to do the shows, I couldn’t even go there.  [laughs]  I just had to say, “I’m going to do it, and I’m going to have fun, and we’re going to be in a van for eight hours, and then have trouble parking in Manhattan, and it’s going to be fun!  We’re going to find out what’s fun about it.  And we’re going to go into the club, and the guy’s going to tell us how we haven’t sold enough tickets, and that’s going to be ok!”  I mean, it sounds like an insane person.  I think if you did it too long, you really would be insane.  But I think for short bursts, you can do that.  [laughs]

I know, I talk to a lot of nationally, and internationally, touring musicians, and they say, “Basically, I travel for a living.  And then when I actually get onstage and do the show, that’s the extra part, that’s just the recreational part.  The rest of it’s just traveling for a living.”

JS:  I know it, that’s the thing I’ve kind of hit the wall with.  It’s really many things.  One is, weirdly, I feel like I’m having an inverse parenthood, where as my daughter gets older and is about to go to high school I want to be home more, so while most mothers take off the first five years, I want to take off the last five years.

So to me, being on the road is a huge cost, because it means I’m not here and I really want to be here.  And it’s terrible for my health, because I don’t work out and I don’t eat right.  And I know there are people that do.  I’ve been with musicians like Jonathan Richman, who gets up every morning and does a hundred pushups and drives all over town so he can get the perfect nut mixture.  And I just don’t do that.  If I’m on the road I’m just eating cupcakes and having lattes all day.

And who knows what they’re going to have in the green room, if there even is a green room.

JS:  And then I get so high from the show – Jill and I both say this, we both want to eat a thousand calories after the show, we’re so hungry.  And it doesn’t matter how much we ate before the show.  There’s just something about that experience that just makes you ravenous.  I think it’s because you’ve given and you’ve given, and now you want to get back, or something, I don’t know whatever it is.  But it’s just not good if you’re trying to not be a million pounds. [laughs]

And I thought I was going to get better at it, and in fact I got worse.  Because I think as I got older and it didn’t really matter that much how thin I was, it was really “just for health”.  It wasn’t like I was trying to be the hot babe onstage – that ship had sailed many years before.  [laughs]  So it was really just about me, and it’s just a high cost.  I do a lot of shows in a month, and it takes me a month at home to just get back into the routines.  And I just don’t want to do that anymore.

And now my whole thing is how I don’t want to do performance – this is terrible! [laughs]

Yeah, do you mind if we put that out there into the universe?

JS:  No, it’s so funny, because I was just thinking of our producer, Heather [Schmucker], who’s producing our shows, Jill and I.  She just had sent me an email saying, “Don’t you think that we should make an announcement that this is it?”  And I had said this to Jill, and I said this to the booker, that I didn’t want to book more shows than we had.  But then I didn’t want to – well, because first of all I’ve said this before, and then I changed my mind, so I have zero credibility about it.  And then I didn’t know.  But, actually, now I do know.  Now it’s been several months, and I really do know.  And I’m so excited!  I’ve already planning my whole next year and how no travel there’s going to be in it.

Good for you!

JS:  So anyway, I was just thinking this is a useful conversation for me to have, because now I have to write this blog entry where I say that.  But I’m trying to say it in a way that doesn’t make it like, [self-importantly] “I’m making an announcement!”  “Aaaand, who cares about your announcement?”  [laughs]  But I also feel like I want to articulate it.  Anyway, so this has been helpful – thank you!

Glad I could help.  Anything I can do to help you put a brake on your career.

JS:  Yes, help me!

So, are you thinking you might write for TV shows anymore?

JS:  Well, I can’t really, because I’m living in Chicago – well, I’m not even living in Chicago, I’m living in Wilmette.  You know, I don’t even want to write on TV shows.  I’ve done that so much.  I have a novel that I’m going to try to write – that I am writing – and then I want to write a screenplay based on it, and then I’m going to see if I can direct a version of it.  That’s what I want to do.

That sounds fabulous!

JS:  It’s a three-year thing.  And then in the meantime I’m hoping I can just drum up enough voiceover work, because I do that here and there, to keep me making enough money to make it ok.  But it’s a hard thing for me – that’s the other hard thing, to keep me on my deadlines when I don’t have any external deadlines.  So I put some things in place that are going to keep me honest about how far I’m making it each week.

Boy, that’s rough.

JS:  I know, it’s really hard.  But I really want to do it.  I really want to.  And I’m going to.

And you know, I think if you really lobby yourself, you’ll probably get the movie rights from yourself.

JS:  I know!  [laughs]  Actually my book agent was, like, “Well, that’s not the way you make money.  You write the book and then you sell the movie rights.”  I go, “I know…but I don’t want to do that! “

“I want the movie rights.”

JS: “I’m selling them to myself right now!”

“And I’ve heard I can get ‘em real cheap.”

JS:  I know, exactly!  Oh my god, I made such a good deal with myself, I can’t believe it.

–Thanks to Julia Sweeney for taking the time to have an in-depth conversation about performance with me.  This truly was one of the most delightful interviews I’ve ever experienced.  I encourage my readers to go to Julia’s website to find out about her films and books. — VA