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So I was heading to their office to give them a piece of my mind. There were people who didn’t want me as a part of anything, including Anne Beatts and the second-in-command, a Harvard guy who stole a sketch idea from me and didn’t give me credit. So word was getting around that I wasn’t producing.
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I didn’t know how to write for a three-minute sketch. I had been writing plays that were a couple hours long. He read the play and hired me as a writer.
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Bring your play.” I brought the cop play. A friend of mine says, “They’re looking for a Black writer. Lorne Michaels, bless his heart, wanted a Black person to be a part of the Not Ready for Prime Time Players, and he also wanted a Black writer. That second one doesn’t sound like a comedy. I wrote this in 1968 - way before Judas and the Black Messiah. The other play was about a Black cop who infiltrates a Black Panther-like group. New York asked playwrights from each borough to write a play for each borough, and I wrote a play for Brooklyn for schoolkids called Stagger Lee. That led to an audition with them, and that’s how I got my first job in the business, as a singer-arranger for The Belafonte Folk Singers.īy the time I got to Saturday Night Live, I had written two plays, one commissioned by the city of New York. So I’m rehearsing in the YMCA, in the auditorium, and sure enough, a member of The Belafonte Folk Singers also rehearsed there. The executive director of the YMCA agreed to let me stay there until I got a job. He sent me to his, comes in, ignores my crying, goes to the phone and calls the YMCA. That’s when I saw something I didn’t think existed: I saw a Black judge. But the next time, his white sergeant caught me and sent me to jail. I got picked up twice, once by a Black cop who was very empathetic. My first month and a half in the city, I was homeless. I graduated “Thank you, lawd!” I left New Orleans in 1958 and came to New York City. I didn’t graduate summa cum laude or magna cum laude. Joel Stein: How Not to Sell Your Hilarious Comedy Pitch
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Now 84, Morris, who lives in Los Angeles and since SNL has maintained a busy acting career - he was a series regular on CBS’ 2 Broke Girls and more recently appeared on NBC’s This Is Us and HBO’s A Black Lady Sketch Show - sat down with THR at La Piazza restaurant, his favorite terrace at The Grove, for a frank, fascinating and hilarious conversation about the business of comedy, then and now. Over the next five years - alongside such legends as John Belushi, Dan Aykroyd, Gilda Radner, Bill Murray, Jane Curtin, Laraine Newman and Chevy Chase - Morris would become a household name with characters like the Dominican Mets player Chico Esquela (“Baseball been berry, berry good to me!” was his catchphrase) and a “Weekend Update” segment “News for the Hard of Hearing.” That he was the first Black castmember on SNL is of no minor significance Morris came out of the gate shattering barriers, confronting racism and busting taboos. That producer was Lorne Michaels, and the meeting led to a coveted spot as a founding member of the Not Ready for Prime Time Players on the inaugural season of NBC’s Saturday Night Live. Garrett Morris was a 37-year-old playwright and singer performing on Broadway in Porgy and Bess when he took a long-shot meeting in 1975 with a 30-year-old Canadian producer looking for writers for a new late night NBC variety show.