“Geeking
Out with…” is a series of interviews with well-known, highly experienced
improvisers. It’s a chance to talk about stuff that might interest hardcore,
improv dorkwads like me. The series can be found in full frontal geek out
version on My Nephew is a Poodle and in
pithier version on the Women in Comedy Festival blog.
“when i say i put the ‘ho’ in ‘pantyhose’, what you
should assume i mean is that i helped a struggling prostitute into her
stockings.”
This is Zabeth Russell on Twitter (@zabsters.)
So you’d better damn well believe I was looking forward to having her all to
myself during an improv geek out session. Zabeth Russell had me at “ho.”
Zabeth is a relatively recent defector for the west
coast who left Boston to cast her fortunes upon the sands of Los Angeles.
(Sands, freeways. Whatever.) She has a burgeoning TV and movie career that includes roles on Raising Hope and The Office, and she also appeared in the Clint Eastwood-directed Mystic River. And the very night before our
geek out session, I giggled away at Zabeth in a clever Valentine’s Day sketch on Jimmy
Kimmel Live. Before decamping
the east coast, she made her comedy home at ImprovBoston as the Director of Outreach and where she
performed in Sitcom, Micetro, and Blue Screen, among many other classic IB shows. She was a founding member and
director of Boston’s first all-female improv troupe, Boston Creem. These days, her improv life revolves
around iO West where she can be seen with INNY-nominated Harold troupe Trophy
Wife as well as in The Armando
Show, Kind Strangers, Glory Stories and
Middle Seat.
I especially was excited to geek out with Zabeth
Russell because I had spent hours laughing myself silly while watching videos
of Middle Seat, the rare improv show that plays well on the screen. In typical
fashion when meeting someone for the first time, I put my ass-ish foot forward when
I f’ed up the time difference and turned up six hours early for our online
interview. SIX hours, you guys. Totally. Embarrassing.
***
ZABETH RUSSELL: You don't know how many times I've gotten the east-to-west
coast time conversion wrong.
PAM
VICTOR: That makes me feel much better, to be in such good company.
ZABETH: Ha!
I have no sense of direction either. Just while I'm being honest about things I
get wrong.
PAM: OMG. Just today, I said to
my husband, "You take a left," and I totally pointed to the right!
So thanks for doing this interview! I know we know a
lot of people in common.
ZABETH: Hey,
no problem! Thanks for asking me. All the Boston people are great. I miss them.
PAM: I bet you do. They clearly
think the world of you. In fact, everybody seems to.
ZABETH: Thanks
for saying that! Clearly they deserve large bonus checks this year
 |
| This is Zabeth Russell. If she didn't sleep with Louis C.K., it's totally his loss. |
PAM: LOL.
ZABETH: (Obligatory
joke about paying people to like you.) I bet in interviewing comedy people, you
get a lot of compliment-deflection.
PAM: Um, yeah. Definitely. But I
don't interview a lot of stand-up comedians.
(Obligatory stand-up dig.)
ZABETH: Hah!
It's true, they do seem to wallow a bit more. I just saw Louis C.K. the other
night.
PAM: GET OUT! In person? [As if
I need to add more ass-ishness to our meeting, I display in full flourish my
country bumpkinness by assuming that everyone in L.A. shmoozes with famous
people by the pool of the Chateau Marmot.]
ZABETH: At
a show. We didn't like HANG OUT or anything. He was playing The Improv here.
PAM: If you slept with him, you
can tell me. I won't tell.
ZABETH: Um,
if I slept with him I would want you to tell everyone.
PAM: Ok. Let's just go on the record now
as saying you slept with Louis C.K.
ZABETH: Well,
YOU'RE the reporter, you know best!
PAM: [How cute is it that Zabeth Russell
thinks of me as a reporter???] Actually, that poor guy seems to have
such bad self-image issues. I don't know if he would be so great in bed.
ZABETH: Yeah,
he'd probably want a lot of reassurance afterward... a real boner-killer. Ladyboner,
I mean. But you'd still be able to say you did it.
PAM: Hahaha! [Reader: You should
be forewarned that I laugh excessively during this interview. So much so that
my husband, who was in the room during the interview, got annoyed and maybe a
little jealous.]
ZABETH: Did
you see the
episode of his show when he sleeps with Joan Rivers?
PAM: Yes, I did see that
episode.
ZABETH: I
just wonder what it would be like after they were done? Just a barrage of,
"How was I?”
“How was I?”
“You go first."
PAM: Then he would start
masturbating.
Did you see her documentary? Eek.
ZABETH: I
haven't seen her doc. but it's on my list. Heard it's amazing.
PAM: I found it really sad, but
I'm a totally softy co-dependent.
ZABETH: I
hate watching her red carpet stuff, but you have to respect her stand-up and
longevity. I mean, she obviously went after what she wanted and is still going
after it.
PAM: She definitely deserves
respect. No doubt about it.
ZABETH: I
just read what I typed and it sounds like I'm saying that, you, Pam, HAVE to
respect her. I meant me. I have to
respect her.
RESPECT HER, PAM, OK???
PAM: OK. OK. SHIIIT.
ZABETH: NOW
WE MAY BEGIN THE INTERVIEW!
PAM: I heard you were a bitch,
but I didn't know you would start right away. Geesh.
ZABETH: When
you're a bitch like this you just don't quit!
PAM: LOL! Ok. Let’s start at the
very beginning (a very good place to start.) When did you first meet improv and
was it love at first sight?
ZABETH: Oh,
jeez. Okay. Well! I knew about improv before I ever started doing it, because
I'd watched Whose Line and all that
stuff, which was the only idea anyone I knew had about improv. I really thought
that's just what it was: Someone gave you a game to play, and then you
hilariously played it with Ryan Stiles.
I never did any improv until
I moved to Boston after college. A friend of mine saw an ad in The Phoenix saying that ImprovBoston was
auditioning female improvisers to be in the shows there. So he saved it for me
and said I should try it. I was nervous, but I'd spent about a year in Boston
doing absolutely jack-shit to try to further my acting career, or whatever. I
decided I didn't have anything to lose, and so I went to audition. I'm glad I
didn't know anything about improv, or I might have been more nervous. But I
just had fun. And they cast me.
PAM: What year was that?
ZABETH: Oh
god. Um...2000? Maybe?
PAM: I mean, was Elyse
[Schuerman, co-producer of the Women in Comedy Festival] there already?
ZABETH: She
auditioned at the same time I did. That's how we met. AND NOW WE ARE MORTAL
ENEMIES!
PAM: I bet! Elyse is MEAN.
ZABETH: Don't
even get me started! Is there a heart in that cold robot body of hers?
PAM: HAHAHAHAH! [Readers: If you didn’t
catch Geeking
Out with…Elyse Schuerman, you should know Elyse is just about the
nicest person on the planet.]
ZABETH: But
for reals, though, we became friends very quickly. It was great to have someone
else that was new to bond with and go through the whole rigmarole of being the
new girl. She's still one of my best friends.
PAM: For reals, Elyse is
amazing. Nice. Talented. Pretty. I would hate her if I didn't like her so much.
Did you go through the levels at IB? Or just hit the
ground running?
ZABETH: I
didn't go through the levels. They put us in sort of a kind of a junior
company, a B-team. So it was a few months till we performed. We rehearsed and
then they started to work us into the schedule.
I remember my first show. We
had to wear ImprovBoston t-shirts. Ron Jones was the director at that time. And
it was all short-form.
PAM: How disappointed were you that
Ryan Stiles wasn't there?
ZABETH: SOOO
disappointed. “Where is Ryan?” I kept asking. “Shut up, Zabeth,” they kept
saying.
PAM: Did you get the improv bug right away?
ZABETH:
Actually…no. For the first few months after I started doing shows, I contemplated
quitting. A lot.
PAM: Because it was so
challenging? Or because it just didn't resonate with you?
ZABETH: I
think it was because I wasn't getting out of it what I felt I should be getting
out of it? Or I just didn't feel very successful at it right away. After my
first show, I felt pretty triumphant that I had gotten through it. And in those
days we used to get notes after the show that would last a couple of hours,
easy. So right after the show, our
director said to me, "So, Zabeth...where were you? Having coffee?" Like,
implying that I just hadn't ever come out. And it's true that I hung back. I
was nervous. But I felt really crushed. That was his only note for me that
whole night.
PAM: Ouch.
ZABETH: (Out
of two hours.)
PAM: Damn.
ZABETH: And
I think that feeling kind of stuck with me for my first several months of doing
improv.
PAM: So what shifted for you?
(I'm assuming that you love improv now and aren't a glutton for punishment.)
ZABETH: Ha!
I still hate it! I cry myself to sleep every night.
I think the turning point for me was when Will Luera started
doing stuff at Blue Screen Theater in Davis Square. He had a much different
approach to improv, and the spirit was different when he took over. Much freer.
I started having fun and when that happened, I realized that I could actually
improvise.
PAM: Yay! What was Will saying
that worked for you?
ZABETH: I
think the difference was that he was a very encouraging director.
Encouragement was really
what I needed. I think some people have dogged on him for being too positive
and ignoring the negative. But it was pretty great for me. Plus he was willing
to do more experimental stuff.
PAM: I feel like we should take
a moment to say how much we love Will Luera, don't you?
ZABETH:
Yeah! Will is the best.
PAM: The best.
ZABETH: Our
two-person show [Ay, Diego] is
still one of my favorite shows to do, ever. I don't think there's anyone from
my time at IB who hasn't been positively influenced by him. He made IB a really
welcoming place in a lot of ways. Very inclusive and really like a big family.
There was a place for everyone. It became a really great place to do improv.
 |
| Zabeth and Will in "Ay Diego" at the San Francisco Improv Festival (2008) Photo by Clay Robeson |
PAM: Will is a big
"relationship/emotion" guy. Is that your go-to on stage also? Or...
ZABETH: Hmm.
That's a good question. It depends on the show. I play differently with Will
than I do with other people, which is why I have so much fun doing that show, I
think. When we're doing that show, I really come from a place of doing whatever
I think is fun, and also fucking with Will as much as I can.
PAM: Ha.
ZABETH: Like
if he starts a scene, and you can tell he's combing a horse, but I tell him the
way he pats his mannequin is creepy. We both really love doing stuff like that
to each other.
Overall, I think I do come
from a relationship/emotional place, though. I'm not one of those improvisers
who comes from a super intellectual/structural place. Though I admire what
those improvisers bring.
PAM: Nice cover.
ZABETH: Ha!
I do, though.
PAM: I know. I was just teasing.
ZABETH: Pam,
I don't understand teasing. I am a very fragile lay-dee.
PAM: Oh. I forgot you live in L.A.
ZABETH: Yes,
please stroke my ego constantly.
PAM: Sorry. On the east coast,
sarcasm is a form of flattery.
Zabeth, you are an incredibly talented improviser.
ZABETH: LOVE
ME, PAM!
PAM: Hang on, woman. I can't
build an altar and type at the same time!
ZABETH: Thank
you for the compliment. I really love improv; so when people think I'm good at
it, it makes me happy.
I sounded like a second
grader just then.
PAM: I'll draw a smiley face in
the interview when I publish it. Gold star for Zabeth!
 |
ZABETH: Thanks,
Mrs. Victor.
PAM: Now, go drink your juice.
Ok, back to the interview. I know you teach improv
because I've taken a workshop with you.
ZABETH: Busted.
PAM: What classes do you like
teaching?
ZABETH: Hmm!
I have a character class that I really like teaching. I tend to come from a
very character-y place, so it makes me happy to push people to become people
they normally aren't on stage. I also
like teaching people to stick with what happens in the first ten or so seconds
of a scene. Which is not to say that
you have to keep doing that thing. It's just that generally I think the first
10-15 seconds tell you what the scene is about. So you don't have to push to
invent PROBLEMS.
PAM: One of your former IB Mainstage cast
mates said that you’re particularly good at becoming “believable and quirky
characters.” What is the key to creating a believable character?
ZABETH: I don't know that there is one "key" to
creating a believable character. Maybe commitment? I think that people try to
create weird characters on stage, and then spend the whole time pointing out
their weirdness. But a weird person never thinks they're weird.
I also tend to love all the
characters I play. Even if they're disgusting, I really like to wallow in the
disgusting-ness. That's really fun to me. To really play the shit out of a
person who does unlikable things.
Oh man, I've been saying
"really" a lot. Really.
PAM: Really great answers so
far, by the way. Really.
Where do you get your inspiration for different
characters? Is there a certain hook that you use (like a physicality, a trait,
an accent, an attitude)?
ZABETH:
I think it comes from all over. I love eavesdropping. It's always been one of
my favorite things to do. And of course, we're surrounded by ridiculous people
all the time. So when I'm out, I am totally guilty of eavesdropping on
conversations and overhearing something ridiculous and then creating a
character out of that.
But a lot of times the
character I play just depends on how I enter the stage. Or it's inspired by
making a certain face, and how it changes my voice, and how that changes
everything else.
PAM: Improv-wise, you're
exclusively at iOWest now?
ZABETH: Pretty
much. I've done some stuff at UCB and some stuff at Second City. But iOWest is
really like home base. It's kind of like an IB away from IB, if you know what I
mean.
PAM: How do the L.A. improv scene and style
differ from your experiences at ImprovBoston? Those folks in Cambridge are
pretty damn sweet and supportive. It’s hard for me to imagine that L.A. peeps
are that adorable, but maybe my east coast bias is showing?
ZABETH: L.A.
people are great, but I do very much miss the Cambridge vibe.
One big difference is that
almost everyone I perform with out here is trying to pursue an acting career. A
lot of people start doing improv here just because they know it looks good on
an acting resume. So there's a little less experimentation and silliness, and a
little more showboating. That's not to say that there aren't people out here
who are doing improv just for the love of it. There are. But I do miss doing
improv with people who bring a different skill or knowledge set. At IB I was
doing improv with teachers, people who worked in advertising, MBA's,
lexicographers...
It can feel a little more
desperate here. Like it's a means to an end.
PAM: Holy shit! Lexicographers!
ZABETH: I
KNOW, RIGHT?
PAM: Woah.
ZABETH: Getting
their lexicography all over me.
PAM: I'm sort of turned on.
Oh wait. I just looked up "lexicographer."
Nevermind.
ZABETH: I'm
thinking of [IB cast member] Steve Kleinedler. Do you know him? That's what he
is, right? A lexicographer? I could be totally getting that wrong. I refuse to
Google it.
PAM: Don't.
ZABETH: I
won't! Ignorance is bliss! I will continue to call him a lexicographer until he
sends me an angry email!
PAM: Let's pretend lexicographer
means...
ZABETH: …someone
who paints the bodies of people who work in arty porn?
PAM: …something to do with
leopard-print lingerie?
ZABETH: …someone
who paints leopard print on the bodies of people who work in arty porn?
GROSS, STEVE! GET A REAL
JOB!
PAM: HAHAHAHA!
[Readers: Only click on this if you want to know what Steve Kleinedler does, from the horse’s mouth.]
In this article series, we’ve talked about the
New York-originated UCB style of improv and the improv style in the
mecca in Chicago, among others. Realizing that the work you do at iO differs
than the work done at UCBT-LA, what would you say
the L.A. style of improv is?
ZABETH: L.A.
is a mishmash of all of that, because people come here after they learn improv
in other cities. Because of that, I think, there really isn't an LA
"style."
PAM: I see. Are L.A. audiences
different in your experience?
ZABETH: Yeah,
I'd say L.A. audiences are different. They're savvier because a lot of people
are in the entertainment industry, so they know more about improv before they
come to see shows. You don't get a lot of, "We thought it was going to be
stand-up" here. But it's also harder to get people to come to see shows,
because everyone is an actor and they're constantly inviting everyone they know
to come and see their shows all the goddamn time.
PAM: Congratulations on Trophy Wife’s
INNY nomination for best longform! How long have you been performing with them?
ZABETH: Oh!
Thanks. I think we're about to hit seven years.
PAM: I’d love to hear your views
on spending so much time inside the Harold, and how your experience of this
classic structure has grown and changed for you over the years?
ZABETH: Well,
if I can be really truthful about it - and I hope I can because I'm about to -
the Harold has never really been my thing. I don't hate it, but I prefer other
types of longform. I kind of cut my teeth doing freeform at IB and I still love
that best. At first the Harold felt confining for me. It was a real learning
curve to come from IB and then get put on a Harold team at iO where I couldn't
just do whatever the fuck I wanted.
But I can see now that it's
helped me a lot, even in freeform, because it's much easier to make callbacks
and connections. You're always thinking in a very concrete way about what's
already happened, and trying to bring it back.
PAM: Because I'm truly a geek,
right now I’m re-reading Truth
in Comedy, and I came across this
quote, “If honesty is the best road to comedic improvisation, the best vehicle
to get there is Harold. Simply put, it is the ultimate in improvisation.” First
of all, do you agree? And secondly, what’s your take on this idea?
ZABETH: I
think the people who wrote that are the people who invented Harolds and do
Harolds. Everyone thinks their form
is the best. I don't agree, and I
don't disagree, necessarily, either. You
don't need to do a Harold to improvise honestly. I know that.
PAM: Why do you think it's had
such longevity?
ZABETH: I
want to make it clear that I'm not hating on Harolds. I've had a lot of fun
doing them.
PAM: Zabeth Russell hates the
Harold. Got it.
ZABETH: Thank
goodness you can read between the lines.
I think they've stuck around
for a really long time - and will continue to stick around - because a lot of
people who are improv gurus right now trained under Del Close, who really
promoted the Harold.
PAM: Good point. The fascinating
thing about the Harold is that it's a structure that is the basis for most, if
not all, of the longform structures, whether they are copying it, creating a
variation, or reacting to it through rejecting the structure altogether.
ZABETH: True.
It's a great, training-wheel structure. I think the problem comes when people
think that the most important part of doing a Harold is sticking to the
structure very, very closely. A lot of the best Harold teams I've seen really
don't do a cookie-cutter Harold.
PAM: Let's talk about another
one of your shows at iO, MiddleSeat. I love the concept, and I’m kind of
pissed I didn’t think of it first. [Middle Seat takes place entirely in one row of an airplane. Zabeth and Andy Trask
play characters who know each other but sit on the end seats, while Kevin
McShane silently plays a stranger
stuck in the middle seat.]
By stationing your show in a more or less sedentary
position and paring away extraneous elements of traditional scenework, I would
think performing the show would be surprisingly liberating. Is that your
experience? Do you find it liberating or restrictive?
ZABETH: Oh,
totally liberating. I love that show. Probably my second favorite show to do
ever, behind Ay Diego.
PAM: I love Middle Seat
too, and I'm not just flattering your ass.
ZABETH: Ha,
thanks! Flatter this ass! Like expensive jeans!
PAM: "Behind Ay Diego"
is my least favorite show.
ZABETH: Nobody
likes that one.
PAM: Totally different
structure.
ZABETH: So
assy.
PAM: I WAS JUST THINKING THAT!
ZABETH: GREAT
MINDS!
I have to talk for a minute
about Kevin McShane and Andy Trask because they make that show such a dream to
do.
PAM: Please do!
ZABETH: When
we first thought of doing the show, I thought Kevin was going to kind of get
shafted because he never says anything. But in a lot of ways he's the star of
the show. People are always like, "Who WAS that guy? He's so great!" And
to do that without actually ever using any words, that takes a lot of talent. He
can do a lot with his face and physical gestures, even from a sitting position.
So he's really talented.
And Andy Trask. Oh my god,
what can you say about that guy? I love playing with him SO MUCH. I never know
what he's going to say. And I don't think he does either. So a lot of the fun
of that show for me comes from justifying what he says and normalizing it for
my character.
PAM: So what shows are you doing right
now?
ZABETH: I
do the Armando Show, Middle Seat, and
Trophy Wife. We're also doing a show that's like Armando but with porn stars, called Glory Stories.
I also perform with Kind Strangers,
who do genre improv. Right now we're doing an improvised post-apocalyptic
movie, and we're moving on soon to an improvised medical drama.
PAM: Hold on. I have to change
my shirt. Too much drool.
ZABETH: Because
I said porn stars? Pam! My goodness.
PAM: No, improv abundance makes
me salivate with desire.
ZABETH: Don't
be ashamed of your love of porn.
PAM: But, yes, tell me about the porn
star show.
ZABETH: I
KNEW IT, PAM!
PAM: Hey, this article is for
the Women
in Comedy Festival blog. Gotta give the ladies what they want.
ZABETH: There's
a guy, Patrick Ian Moore, who put this show together because he works kind of
on the fringes of the porn industry. I think he writes porn reviews? Anyway, he
realized he knew porn stars, and could get them to come and do monologues, and Glory Stories was born. It's a pretty
fun show to do because it's fascinating to hear porn stars talk about their
jobs. And it's also cool to kind of go the opposite of blue when taking that
inspiration into a scene. We've had Nina Hartley a couple of times, who's
like porn royalty.
PAM: I really want to see that
show, and I also really do not want to see that show.
ZABETH: I
know how you feel. A lot of people
probably think that! But it's a late night show and iO also serves booze, so
you have time to lose some inhibitions before the show. It definitely brings in a different audience.
I had an uncomfortable
moment after the show once. We have a sponsor, so we get to give away whatever
sex toy they give us to the person who gives the suggestion for the monologue. So
this woman in her 50's, who was clearly not an improv person but there to see
the monologist, won the toy. It was a giant vibrator.
After the show I went to the
bar and she was standing there, and she complimented me on the show as I was
trying to close my tab. THEN she started talking about how excited she was
about her new vibrator to me, and she would not stop saying “PUSSY.” Like,
"I can't wait to use this on my pussy! My pussy is getting wet just
thinking about it!" And I'm just smiling, staring a hole into the back of
the bartender's head, like, “I DO NOT WANT TO HEAR ANY MORE ABOUT THIS WOMAN'S
PUSSY!”
To that kind of thing can
happen.
PAM: Hahahaha. Do porn shoots
really have fluffers?
ZABETH: I
haven't asked! But I will at the next show, and let you know.
PAM: Thank you. I expect you to
let me know. And I would be especially honored if you post it on my FB wall.
ZABETH: Oh
for sure. "Pam, I have an answer to that question you really wanted to
know the answer to... so stop texting me about it."
PAM: Did you want to talk about
pussies some more, Zabeth Russell, or should we move on?
ZABETH: There's
so much to say... but I understand time is limited so we can move on.
PAM: I don't want to pussyfoot
around the topic. So I'll just dive right in.
ZABETH: You're
incorrigible.
 |
| It's always a good time of year to send an Awkward Valentines ecard. |
PAM: I’m
really curious about creation and impetus for Awkward Valentines, the
hilariously snarky virtual Valentine’s Day cards you write and Kevin McShane
illustrates.
ZABETH: I'm
sitting here racking my brain trying to remember how they came about and I
honestly can't. Kevin's a really good friend of mine so I'm sure it probably
just came from dicking around at the bar and doing bits. That's where all of my
ideas come from, I think. Obviously Kevin's a very talented artist, so I want
to take advantage of his talent and use it for my own benefit as selfishly as I
can.
PAM: And, more importantly, do
you have plans to make a Valentine for next year about pussies?
ZABETH: Well,
now that you've asked me that, I don't see how I can't.
PAM: Oh thank goodness.
Here is a question from the Dorky Pharmacist of
FacebookLand: Do you find left-handed people to be better in bed than
right-handed?
ZABETH: Left-handed people are all sex gods. You heard
it here. (Actually I'm trying to think if I have ANY basis for that whatsoever.)
PAM: I
have to fire up the presses right now.
ZABETH: Well,
who needs a basis?
PAM: Porn stars?
ZABETH: I
like that you're assuming that I sleep with my co-stars.
PAM: I've been married for over
20 years. I assume everyone else is sleeping with everyone else. Especially in
L.A.
I saw you on Jimmy Kimmel! And you have quite a film
career starting up. What are you working on outside of improv these days?
ZABETH: Jimmy
Kimmel was fun!
I shot a role on Raising Hope that just aired in
February. And I'll be on an upcoming episode of The Office.
PAM: HOLY SHITTTTT! OMG. That's
so amazing.
ZABETH: Yeah!
I LITERALLY shit my pants, Pam. Literally.
(Don't put that in the
article. I'm not a pants shitter.
OR AM I?)
PAM: I just shit my pants too, then I took them off and shit my
husband's pants.
(You are.)
ZABETH: (Thanks!
I am really happy about it.) That's one of the joys of being married, I hear,
shitting your partner's pants.
PAM: So you want the
pants-shitting in or out of the article? Because Elyse wasn't wearing pants
when I interviewed her.
ZABETH: So
she just shit on the floor? What a dirty monkey.
PAM: HAHAHAHA!
Ok. I need to be a fan girl for a moment. Tell me
about The Office.
ZABETH: Well.
I actually don't know how much I can say about it, because the episode hasn't
aired yet. But the episode I was in was directed by Ed Helms, and he's in the
scenes I'm in.
PAM: Dammit. Another pair of
pants shit.
ZABETH: And
I can say that he is incredibly nice and remembered everyone's names on set.
And I threw a cupcake.
 |
| Zabeth Russell, cupcake thrower on "The Office" (Episode 20, "The Welcome Party")! |
PAM: I love cupcakes. That is a
waste.
ZABETH: I
took a bite out of it before I threw it.
PAM: In that case, I'll be
watching and loudly cheering for sure.
ZABETH: Thank
you!
PAM: I am assuming the giant
vibrator comes into play at some point in the episode. But I don't want you to
give it away.
ZABETH: It
plays a part in everything I do.
PAM: On that note, I'll let you
go on to your next...er...task.
ZABETH: And
that lady I met at the bar? We're now married.
PAM: How can you not marry her after
being introduced so thoroughly to her vag?
THANK YOU SO MUCH for doing this interview!!!
ZABETH: You're
welcome! And thank you so much for asking me to do it! I'm honored that you
wanted to interview me!
Exclamation points!
PAM: Smiley emoticons.
ZABETH: Ellipses
for no reason.
PAM: Period.
ZABETH: I
think that right there should be the very last thing in the interview!
PAM: And so it shall be.
***
Pam Victor is the founding member of The Ha-Ha’s, and she producesThe Happier Valley Comedy Shows in Northampton, MA. Pam directs, produces and performs in the hot, new comic soap opera web series "Silent H, Deadly H". Pam also writes mostly humorous, mostly true essays and reviews of books, movies and tea on her blog,"My Nephew is a Poodle."
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