A Quote by Lolly Adefope
Performing a play or a musical or something is obviously an incredible rush, but I don't think you get that immediate response like with comedy unless you get a round of applause or whatever.
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Comedy crowds - we always want to come out and ask you, 'How you feeling?' We always say that, 'By a round of applause, how do you feel?' Right? 'By a round of applause, how you feeling?' It's the only place in the world that you judge how you're feeling by a round of applause... There's never like a car accident, people all over the ground, people running over - 'Ma'am! Ma'am! By a round of applause, how do you feel? By a round of applause - she's not clapping!
I still get excited performing live. When you see the immediate reaction from a crowd, its like being a theater performer, its something you can't get from being a writer or being an ad man ... its almost ritualistic.
I long for an audience. I ache for it. I think that's one of the hardest things about the television medium is that you don't get that. You don't get that immediate response.
It's the way you play that makes it . . . Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story.
With comedy, you get an immediate response. I'm the whole kit and the kaboodle. I am the whole thing and can steer the whole situation how I want to. With film, you are basically in one area. Comedy is straight to it and the film is heavily shaped the camera and editing, so it's different.
I don't like it when I see a racist comedian go up and say, 'What are we gonna do about all these immigrants?' and they get a round the applause. I think, 'Well that's not a joke. That's just your biased opinion.'
When you play the oboe, the flute or other wind instruments, there is something between you and the breath; there is the embouchure, the reed, etc. But with the recorder, I receive an immediate response from the instrument. This is something that attracted me to the instrument, that I could immediately feel the response of what I was doing.
When I was a kid, it was the attention I got from it, the immediate response from the audience, the thrill of being onstage. That's carried over into my adult life, I can't pretend I don't like the attention or whatever, but for me now, I've witnessed incredible performances that have changed the way I see the art form.
Performing comedy in San Francisco to begin with is pretty wild. You've got to - you've got the human game preserve to play off of. And it's a lot of great characters everywhere. You work off that, and then you play the rooms, and eventually you get to a point where you're playing a club that is a comedy club, with other comics.
Because I think in order to get famous you have to be known for something. Like 'You're the romantic comedy girl' or 'You're the Oscar-winning whatever girl.'
I thank you in advance for the great round of applause I'm about to get.
You can tell by the applause: There's perfunctory applause, there's light applause, and then there's real applause. When it's right, applause sounds like vanilla ice cream with chocolate sauce.
I was doing experimental theater and experimental film in San Francisco, and I moved to Los Angeles, and what I got frustrated with was, it seemed like everyone was waiting for something to happen. Obviously, films take a lot of planning, and I wanted something more immediate, and comedy started to become that.
I get an adrenaline rush from "playing with the big boys." I consider myself a tomboy and was an athlete in high school, so I like to "talk shop" anyway. But it's fun to actually get paid to cover the NFL with all these incredible former players and sports anchors.
I think you're bound to get a sense of any character that you play. It's not something you often do in comedy.
I won't play an 18-hole practice round unless I'm playing for something. That goes for when I'm at home, too. It doesn't have to be for much, but it has to be for something, because I want to hit every shot like it matters.
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