In the extensive and, quite frankly, questionable history of impulsive decisions, one stands out above the rest: Comedian Alex Edelman’s spur-of-the-moment choice to crash a white nationalist gathering in New York City. What prompted this bold move? Curiosity. Edelman, a Jewish individual, wanted to experience firsthand what it was like to be a part of a gathering that would never have knowingly included him. This event became the inspiration for his one-man show, “Just for Us,” which is set to premiere on Broadway tonight.
After seeing “Just for Us” in December, I couldn’t help but be captivated by its brilliance. Not only is it hilariously entertaining, but it also possesses a level of sophistication unlike any other comedy show I’ve encountered. As comedian Mike Birbiglia, who produced the off-Broadway run, aptly described it, the show has an “elegantly light touch.” Birbiglia was compelled to help bring Edelman’s story to a wider audience, recognizing its exceptional quality. “You can’t keep a story that good from being heard by everyone,” Birbiglia remarked. It’s worth noting that every person Birbiglia has recommended the show to has given it rave reviews.
One aspect of Edelman’s work that Birbiglia deeply admires is his commitment to revising and rethinking even when something appears to be working well. Birbiglia explained, “Most people, when their show is incredibly well received, feel like they’ve reached the pinnacle and refuse to make any changes.” However, Birbiglia finds inspiration in those who never consider their work to be finished. In a recent conversation with Edelman, we discussed his writing process, the essence of comedy, and the invaluable advice he’s received from his comedic idols. The following interview has been edited for clarity.
Adrienne LaFrance: Let’s start by talking about your journey to Broadway. It must feel incredibly surreal.
Alex Edelman: Oh my God, it absolutely does. When people ask me if this was a lifelong dream, my response is, “Yes,” but I never dreamed of it actually happening.
LaFrance: It’s an unexpected twist of fate, to say the least. You’re undeniably hilarious, which is crucial, but what struck me most about “Just for Us” is the quality of the writing. It’s incredibly layered and sophisticated in the way you revisit and expand upon jokes throughout the show. I’m curious about your approach to the writing process.
Edelman: Laughter is of utmost importance in any comedic endeavor. If it doesn’t elicit laughter, it doesn’t belong. Once you’ve achieved that, you can focus on other elements. After seeing the show in its original form, Mike Birbiglia gave it a “B+.” I was taken aback by this rating, but he urged me to delve deeper into certain aspects. For him, it was crucial to uncover what the story of the meeting represented for me personally. It’s like crafting a poem and ensuring that the underlying meaning shines through. Or, as TV writers often say, what is the episode really about? Many claim that “Seinfeld” is about nothing, but that’s not entirely accurate. It’s about the dynamics between complex individuals, the experience of living in a city, and what it means to be unyielding in a world that demands compromise. A single piece of work can have countless layers, so it’s important to identify those layers and strengthen them. And if you can do so with humor, it’s truly remarkable. I began refining my material, focusing on crafting lines that hit people in unexpected ways – like a line from John Updike that leaves a lasting impact.
LaFrance: Is it safe to say that surprising people is an essential component of comedy?
Edelman: Oh, absolutely. It’s about being astute and on-point. Surprise plays a significant role. I refuse to tell a joke if I don’t think it will catch people off guard. I can’t stand low-hanging fruit; it’s simply not satisfying. The need to surprise an audience was recently reinforced during a conversation between Judd Apatow and Mel Brooks. They discussed “Blazing Saddles,” and when asked about his intention to shock viewers, Brooks clarified that his primary aim was always to garner the biggest laughs – and achieving that requires surprising people.
LaFrance: That level of moral clarity is a defining characteristic in Brooks’ work.
Edelman: Absolutely. When looking at “Blazing Saddles,” I’m amazed by how outlandish it is, yet how resolute it remains in its message. Take the scene where the railroad bosses sing “Camptown Ladies,” for instance; it immediately establishes who the joke is on.
LaFrance: That precision in storytelling is undoubtedly one of Mel Brooks’ trademarks.
Edelman: It definitely is. As a comedian, watching “Blazing Saddles” allows me to appreciate its clarity, its humor, and its multifaceted perspectives. The sheer audacity of it all is mind-blowing. Every show should leave you in awe.
LaFrance: That’s quite the high standard.
Edelman: Just last week, I visited the New York Theater Archives and watched a performance by the late playwright and performer Spalding Gray. He executed a particular movement with such precision and efficiency that it was truly captivating.
LaFrance: It’s important to consider movement on stage as well.
Edelman: Absolutely. Stand-up comedy consists of both content and aesthetics. The substance and the style. In the best shows, these elements intertwine and enhance each other.
LaFrance: Who are your comedic heroes?
Edelman: Oh, my goodness. Steve Martin, for sure.
LaFrance: I’m a huge fan of his.
Edelman: It was mind-blowing when he came to see my show. I also admire Judd Apatow, Mel Brooks, Chris Morris, the writer and director of the movie “Four Lions” – often described as a Muslim version of “Blazing Saddles.” Jesse Armstrong, the creator of “Succession.” Lucy Prebble. Nathan Englander. And, of course, Jerry Seinfeld and Billy Crystal. Elaine May. Tom Lehrer, an old comedy genius. Plus, Mike Birbiglia and John Mulaney.
LaFrance: Have these legends imparted any notable advice during their visits to your show?
Edelman: Absolutely. I make it a point to ask everyone who attends for feedback. Billy Crystal gave me a game-changing suggestion: Instead of using a regular handheld mic, he recommended using an earpiece mic. We made the switch, and it was a remarkable improvement. With the new setup, I have greater freedom to embody characters and explore smaller nuances. It wasn’t something I initially liked, but he was right. Steve Martin provided an insightful tag for a joke, and Jerry Seinfeld advised me against addressing the audience’s reaction to a joke, as it detracts from the performance. Stephen Colbert highlighted the importance of stillness in one particular segment, which proved to be valuable advice.
LaFrance: That sounds like very Colbert-like guidance.
Edelman: Birbiglia has given me around 50 notes for the show, and each one has been invaluable. It’s as if one of the heads of my Mount Rushmore produced my show, and now all the other heads have come to see it. So, yes, I actively seek out feedback. It’s not just about receiving notes from comedy legends; I also appreciate input from non-famous individuals who watch the show. I’m a big advocate for notes because I know I can’t improve without them.
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