Life as a Late-Night Sidekick
In its five years on the air, "Late Night with Conan
O'Brien" has become
a hit with college students across the country in much the same
way "Late
Night with David Letterman" was for college students 15
years ago. It's
likely that many of those students roll out of bed on mornings
after watching
"Conan" and stumble to class without much of a clue
of what they really
want to do with their lives.
Andy Richter, O'Brien's sidekick since the start of the show in
late summer
1993, knows the feeling well.
Richter, 31, credits a blunt piece of advice from a counselor
at the University
of Illinois at Urbana-Champaign 12 years ago with pointing him
in the general
direction that, after many twists and turns, led him to where
he is now.
Though he's now a big enough star that he's made a side career
doing voice-overs
for national commercials, Richter is still in touch with his
Illinois roots.
In fact, he holds the honor of being the only celebrity on the
annual television
summer press tour to inquire, "Is that the Illinois State
Journal-Register?"
after seeing my name tag. (Richter never mentions it in an
interview during
the press tour, but he does have Springfield connections. His
parents,
Laurence Richter and the former Glenda Palmer, grew up in
Springfield and
graduated from Lanphier High School. His uncle, Randy Richter,
and an aunt,
Nancy Canady, still live here, and his grandfather, Roy
Richter, is a resident
of the Westabbe retirement home in Springfield.)
Richter, who grew up in Yorkville, spent the 1984 and 1985
school years
at Illinois, where he took liberal arts classes in preparation
for what
he thought eventually would be a journalism or communications
major. As
a sophomore, he took a few film classes, and that interested
him as well.
When it came time to choose a major, he was fairly lacking in
direction.
"I had a conversation with a woman in the college of
communications because
I was planning on going on through there and finishing in
communications.
She said, `So what are you interested in doing?' And I said
television,
I think, or movies or something. And she said, `Well, what
kind?' " Like
many college sophomores, Richter hadn't really pondered the
specifics of
a career.
"And I said, `Well, you know, I'd like to make TV shows.
Not necessarily
news. Writing scripts and stuff like that.' And she said,
`Well, you shouldn't
be here. You shouldn't be at this school.' Which was like she
had hit me
in the head with a brick or something." On his would-be
counselor's advice,
Richter enrolled the next fall at Columbia College in Chicago,
which is
well known for its film and performing arts departments. He
looked at New
York University and the University of California at Los
Angeles, both of
which have world-class film programs, but didn't have the money
to enroll.
"The hard part about that for me was I couldn't afford to
live in the city,
so I had to move back home after two years away and was
commuting," says
Richter.
Richter finished at Columbia and got a job in television
commercial production.
He worked his way up from all-purpose assistant ("getting
people coffee
and unloading trucks," he says) to prop supervisor to set
designer. He
was working in television, but not on television. "I
started just thinking
this isn't really cutting it for me as far as being satisfied
creatively.
I had a friend that was taking improv classes, which was a
great compromise
for me because I didn't know if I wanted to be an actor or a
writer and
you're doing both."
Improvisation -- an art that forces its students to think and
respond instantly
-- proved to be Richter's unknown calling.
"For a lazy person like me, it's good because it's all
immediate. You don't
have to sit down and think about it and slave over it. So it
was perfect
and it really just kind of stuck, or I stuck to it."
Richter received improvisational instruction from Del Close, a
legendary
improv teacher whose name appears on the resumes of countless
comedic actors,
and began performing in a variety of improv groups in Chicago.
Among them
was the Annoyance Theater, which put on a play called "The
Real Live Brady
Bunch."
When the company took the show to New York for an eight-month
run, Richter
had the part of Mike Brady. A two-month run in Los Angeles
helped get Richter
enough notice to land a part in Chris Elliott's cult comedy
movie "Cabin
Boy." (To support himself during this time, Richter had
taken a job as
an assistant manager of a movie theater in Los Angeles. He
notes that his
greatest fear was that someone would see him in "Cabin
Boy," then walk
into the lobby and recognize him behind the candy counter.)
This was in
early 1993, and NBC had commissioned Lorne Michaels to design
the show
that would be the successor to Letterman's "Late
Night." Michaels has a
long history of recruiting talent from Chicago's improv
community, most
notably from the Second City, and Richter got a call when the
show -- to
be hosted by an unknown named Conan O'Brien -- began recruiting
potential
writers. The word "sidekick" was never mentioned.
"He wasn't interviewing
for sidekicks. He was looking for writers. I was hired as a
writer," says
Richter. "I knew that I would be doing something on the
show. But I wasn't
really sure how."
As it turned out, Richter and O'Brien hit it off immediately,
and when
"Late Night with Conan O'Brien" debuted on Sept. 13,
1993, Richter was
onstage in an Ed McMahon-like role.
Richter soon expanded the role of talk-show sidekick,
frequently becoming
a player in skits and comedy bits done outside the studio.
Richter often
delivers flashes of his dry, understated humor during guest
interview segments,
and he has become as much a symbol of the show's quirky comedy
as trademark
characters like The Heroic Scotsman, the Shirtless Moron,
Tomorry the Ostrich,
the Gaseous Weiner, Triumph the Comic Insult Dog and -- a fan
favorite
-- the Masturbating Bear. After a shaky start during which
critics regularly
savaged it, the show seemed to find itself. A combination of
lesser-known
music acts and the aforementioned army of comic characters gave
the show
its distinct tone. Richter says the greatest honor is being
part of a show
that can be to young adults today what Letterman's show was to
him. "There
are college kids out there thinking about our show the same way
I thought
about David Letterman. I thought that was the funniest show in
the world.
I had such a sense of kinship with that show and just such an
identification
with that show. "I felt like it gave me so much. It gave me so much fun. And it had very much a formative effect on my sense of humor. So if I'm doing that, then that's pretty cool."
This article is copyright of the State Journal Register in Springfield, Ill, Sept 17, 1998. This article was written by Matthew Dietrich. Thanks to Mr. Richard for sending me the article. |
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