instructions for
how to use this book
THIS BOOK IS A MISSIVE FROM THE MIDDLE. It’s a street-level view of my life so far. It’s an attempt to speak to that feeling of being young and old at the same time. I cannot change the fact that I am an American White Woman who grew up Lower-Middle-Class and had Children after spending most of her life Acting and Doing Comedy, so if you hate any of those buzzwords you may want to bail now. Sometimes this book stays in the present, other times I try to cut myself in half and count the rings. Occasionally I think about the future, but I try to do that sparingly because it usually makes me anxious. Yes Please is an attempt to present an open scrapbook that includes a sense of what I am thinking and feeling right now. But mostly, let’s call this book what it really is: an obvious money grab to support my notorious online shopping addiction. I have already spent the advance on fancy washcloths from Amazon, so I need this book to really sell a lot of copies or else I am in trouble. Chop-chop, people.
In this book there is a little bit of talk about the past. There is some light emotional sharing. I guess that is the “memoir” part. There is also some “advice,” which varies in its levels of seriousness. Lastly, there are just “essays,” which are stories that usually have a beginning and an end, but nothing is guaranteed. Sometimes these three things are mixed together, like a thick stew. I hope it is full of flavor and fills you up, but don’t ask me to list all the ingredients.
I struggled with choosing a quote that would set the table for you and establish an important tone once you started reading.
I thought about Eleanor Roosevelt’s “A woman is like a tea bag; you never know how strong it is until it’s in hot water.”
I dabbled with “A woman who doesn’t wear perfume has no future” from the seemingly hilarious and real “girl’s girl” Coco Chanel.
I was tempted by “I always play women I would date” from Angelina Jolie.
But Wordsworth stuck with me when he said, “Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity.” This book is a spontaneous overflow in the middle of chaos, not tranquillity. So it’s not a poem to you. It’s a half poem. It’s a “po.” It’s a Poehler po. Wordsworth also said that the best part of a person’s life is “his little, nameless, unremembered, acts of kindness and of love.” I look forward to reading a book one day in which someone lists mine. I feel like I may have failed to do so. Either way, it’s obvious I am currently on a Wordsworth kick and this should give you literary confidence as you read Yes Please.
The title Yes Please comes from a few different places. I like to say “Yes please” as an answer to a lot of things in my personal and professional life. The “yes” comes from my improvisational days and the opportunity that comes with youth, and the “please” comes from the wisdom of knowing that agreeing to do something usually means you aren’t doing it alone.
It’s called Yes Please because it is the constant struggle and often the right answer. Can we figure out what we want, ask for it, and stop talking? Yes please. Is being vulnerable a power position? Yes please. Am I allowed to take up space? Yes please. Would you like to be left alone? Yes please.
I love saying “yes” and I love saying “please.” Saying “yes” doesn’t mean I don’t know how to say no, and saying “please” doesn’t mean I am waiting for permission. “Yes please” sounds powerful and concise. It’s a response and a request. It is not about being a good girl; it is about being a real woman. It’s also a title I can tell my kids. I like when they say “Yes please” because most people are rude and nice manners are the secret keys to the universe.
And attention, men! Don’t despair! There is plenty of stuff in here for you too. Since I have spent the majority of my life in rooms filled with men I feel like I know you well. I love you. I love the shit out of you. I think this book will speak to men in a bunch of different ways. I should also point out that there is a secret code in each chapter and if you figure it out it unlocks the next level and you get better weapons to fight the zombie quarterbacks on the Pegasus Bridge. So get cracking, you task-oriented monkey brains.
I still wish this book was just a compendium of searing photographs I took in Afghanistan during my years as a sexy war correspondent, but hey, there is still time.
Shall we?
? Liezl Estipona
how i fell in love with improv:
boston
I WAS IN FOURTH GRADE AND IN TROUBLE. The students of Wildwood Elementary School in Burlington, Massachusetts, shifted in their uncomfortable metal seats as they waited for me to say my next line. A dog rested in my arms and an entire musical rested on my shoulders. I was playing Dorothy in The Wizard of Oz, and it was my turn to speak. Dorothy is Hamlet for girls. Next to Annie in Annie and Sandy in Grease, it is the dream role of every ten-year-old. Annie taught me that orphanages were a blast and being rich is the only thing that matters. Grease taught me being in a gang is nonstop fun and you need to dress sexier to have any chance of keeping a guy interested. But The Wizard of Oz was the ultimate. It dealt with friendship and fear and death and rainbows and sparkly red shoes.
Up to this moment, I had only been onstage twice. The first was for a winter pageant in second grade. I was dressed as a snowflake and had to recite a poem. The microphone was tilted too high, and so I stood on my tiptoes and fixed it. A year later I was in a school play in the role of a singing lion. My “lion’s mane” (a dyed string mop worn on my head) kept slipping, and I surreptitiously adjusted it midsong.
My parents would later point to these two small moments and tell me that was when they knew I would be a performer. Honestly, I don’t think I had a burning desire to act at that young age. Back then, I didn’t know acting was a job, really. All I knew was I liked roller-skating in my driveway and making people sit and watch. I liked setting up dance contests in my basement and being the only judge. I liked attention. Attention and control. Attention, control, and, it turns out, laughs.
In The Wizard of Oz, the part of Dorothy isn’t exactly the comedic lead. She spends a lot of time listening to other people explain themselves. She is the straight man among a bunch of much juicier character parts. The Wicked Witch of the West is more dynamic. The Scarecrow has a bigger arc. Even the Lollipop Guild has a killer song. Dorothy just asks a lot of questions and is always the last to know. I didn’t care. At the time, I was in fourth grade, which, for me, was a heavenly time to be a girl. It was all elbows and angles and possibility. I hadn’t gotten my period or kissed a boy. My beloved grandfather hadn’t yet died of a heart attack on my front porch on the Fourth of July. I wanted to be an astronaut or a scientist or a veterinarian and all signs pointed to my making any or all of that happen. The worst things I had encountered to this point were lice (which I’d had), scoliosis (which I didn’t), and the threat of nuclear war (a shadow that loomed over everything). My generation was obsessed with scoliosis. Judy Blume dedicated an entire novel to it. At least once a month we would line up in the gym, lift our shirts, and bend over, while some creepy old doctor ran his finger up and down our spines. Nuclear war was a high-concept threat, two words that often rang out in political speeches or on the six o’clock news. Our spines. Lice. Nuclear war. The Big Three.
AIDS was just around the corner, but we didn’t know it yet. The only AIDS I knew were Ayds, an unfortunately named caramel diet candy my mom had in our kitchen cabinet. The anxiety-filled eighties would dovetail nicely with my hormonal teenage years, but in fourth grade, in 1980, I felt like I would live forever.
I stood onstage in my blue-checked dress, Toto in my arms, and looked at the audience of parents, teachers, and students. I breathed in and had a huge realization. I could decide right then and there what the next moment would be. I could try something new. I could go off script and give something a shot. I could say whatever I wanted.
It was because of this Dorothy Moment that I had the nerve, years later, to try out for the high school musical. It was my senior year and Burlington High School had been a great place for a floater like me. I weaved in and out of activities and groups, and hid on occasion. My school was big and sprawling, with four hundred students in my graduating class. I played basketball and soccer for a while and I thought I might be some kind of athlete. My dad was a semipro basketball player in college and I inherited his hand-eye coordination. I was a decent point guard and middling fullback. Softball was the most fun because of the opportunity to shit-talk. But my enthusiasm for team sports fell away once I realized I would never be great. (Once they move you from shortstop to second base, you might want to start making other plans.) I was a cheerleader for a while. I did student council. I started to hang with the popular crowd but was never considered the prettiest or most interesting. I tended to blend. In my high school yearbook I was voted third runner-up for “Most Casual.” I never figured out if that meant most casual in dress or in overall manner. In any case, I didn’t come in first. I guess the two ahead of me wanted it less.
Every year our school put on one musical, and in my senior year I auditioned for Once Upon a Mattress. I didn’t know any of the “theater kids” by name. My experience with musicals was limited, at best. In our sophomore year, my class had taken a trip to New York City and gone to a few Broadway shows. We saw a production of The Fantasticks, which I liked, and A Chorus Line, which I loved. The part of Diana Morales spoke to me. I loved that she was short and blue-collar. I loved how she stood up to her grumpy and withholding acting teacher, Mr. Karp. I loved how she cried when that bastard died. Because she FELT NOTHING. So badass!
On the same trip, we visited the Empire State Building and the World Trade Center, as well as swinging by 30 Rockefeller Center and taking the SNL studio tour. We pressed our noses against the glass and watched the SNL cast rehearse. It was 1985, and Anthony Michael Hall and Robert Downey Jr. were on the main stage. I would meet both of them twenty years later—I directed Anthony Michael Hall in a reenactment of Sixteen Candles for a VH1 program, and I met Robert Downey Jr. in a Hollywood coffee shop, where I pitched him my idea for a little indie film called Iron Man.
In Once Upon a Mattress, I was cast as Princess Winnifred, a part that had physical set pieces and lots of loud singing. It would be the beginning of me playing a long line of crazy big-mouths.
Carol Burnett had originated this role on Broadway and I loooooved The Carol Burnett Show. I loved Carol Burnett. She was funny and versatile and up for anything, but most importantly, I could tell that the ensemble around her loved her. I could tell that she was a benevolent captain of that team and was having a hell of a time. Watching that show proved that good comedy can be fun and you don’t have to treat people badly to be on top. I felt the same when I watched Gilda Radner, Andrea Martin, and Catherine O’Hara. You could tell that the cast adored them. You could see Bill Murray look at Gilda in a way that told you he loved her, for real.
I was lucky enough to meet and do an interview with Carol Burnett once, for TV Guide. I told her that I loved everything about that show: how it represented time spent with my mother, how it reminded me of myself as a young woman learning to love comedy, how when she took off her makeup and answered questions at the end of the show it was such a generous act because she seemed like one of us. She said, and I quote, “Oh, Amy, you are my new best friend!” It’s in print, I swear.
A lot of people ask me if I always knew I was going to be on Saturday Night Live. I think the simple answer is: yes. I don’t mean to sound cocky. I didn’t know if I had the talent or drive, I just had a tiny little voice whispering inside of me. That same voice would tell me I would meet Carol Burnett someday, I would find love, I would be okay. We all have a tiny whispery voice inside of us, but the bad ones are usually at a lower register and come through a little clearer. I don’t know where the good voice came from. It was a mix of loving parents, luck, and me. But ever since I was a small child, I would look at places where I wanted to be and believe I would eventually be on the other side of the glass. I believed that someday in the future, I would be rehearsing onstage at Saturday Night Live while a gaggle of sophomore girls would be waving to me. All of them wearing cooler outfits than my classmates and I wore that day.
My high school musical did not offer a shirtless Zac Efron, but it did provide me with many lessons. I learned that I loved being in a theater, attending rehearsals, and building sets. I loved listening to the director and groaning about rehearsing choreography. When I would leave the bright sunlight of outside and enter into the dark and empty theater, I would feel like a real artist with a true sense of purpose. Time passed and the world spun, but all that mattered was the thing in the room you were making together. I started to go to theater parties and tried cigarettes. I had floated into the right pool, finally.
The play itself went well, from what I remember. It was a blur of adrenaline and costume changes. I reveled in this new feeling of being incredibly stressed and pulling things off last-minute. (A talent that I hope will help me finish this goddamn book—dear lord, when will I finish this book?) My parents rushed to congratulate me after the show. “You were so great, Ames!” my mom said. “You don’t have to go to college if you don’t want to!” my dad exclaimed. My mother hit him in the arm and told him he was crazy. This one-two punch of support and realism would help me deal with the many years of rejection I didn’t know were ahead of me. I then thought about the idea of being an actress and tried it on for size.
Back to fourth grade, The Wizard of Oz and Dorothy. I stood onstage in soft Dearfoams slippers. My mother had bought two pairs at Bradlee’s, and we spray-painted them silver and sparkly red. My hair was braided and I was wearing my own denim overall dress and blue-checked blouse. It was my time to speak during the tornado scene. All of the other actors were supposed to be running around and reacting to heavy winds. A teacher made a whistling-wind sound effect on a handheld microphone and construction-paper tumbleweeds were rolled across the stage. In my arms was Toto, played by a real dog. Some sucker had allowed us to cast their tiny poodle as Toto, which in hindsight begs the question: What kind of maniac hands over their tiny dog to a bunch of ten-year-olds for an elementary school play?
We were in the second night of a blistering two-night run. The previous evening I had delivered my line “Toto, Toto! Where are you?” during the tornado scene. The problem was the damn dog was in my arms at the time. The audience laughed. Lightning struck—and I discovered three important things. I liked getting a laugh. I wanted to get one again. But I wanted to get it in a different way and be in charge of how I got it. So, I stood onstage that second night and tried something new.
Trying something new was all I wanted to do when I graduated high school. I was so excited to go to Boston College that I distinctly remember wiggling in my seat as I wore my cap and gown. I wanted to go, go, go. Arriving at Boston College was like moving to a new country. I was unprepared for the fact that most of the kids were a lot wealthier than me. I met prep school kids who knew how to decorate their rooms with tapestries. I became friends with private school athletes who were familiar with living away from home. I studied with foreign students who had their own credit cards. When I got the name of my new freshman roommate sent to me in the mail, I noticed she was from Illinois and so I immediately assumed she lived on a farm. I was wrong. We spoke on the phone and I asked her if classical music was playing in the background and she informed me that was the sound of her doorbell. Her name was Erin and she ended up being very nice and fun. We would sing the soundtrack to Les Misérables by the light of a neon beer sign her dad sent us to put in our dorm room window.
I looked at my high hair and heard my New England accent and realized I was certainly bringing a lot of Boston to my Boston College experience. I decided I might want to tone both my hair and the lazy r’s down a little. The accent is a really hard thing for me. It reminds me of my family and my childhood, but it’s one of the worst-sounding accents out there. I love Boston, but we sound like idiots. Our mouths never close and we talk like big, lazy babies. I might get shit for this but as a true Bostonian all I will say to that is FUCK YOU, AHHSOLE, IF YOU GOT A PRAWBLEM WIT ME THEN LET’S MEET BY THE RIVAH!
During my first week of freshman orientation I went to a performance at the Eagles Nest, the BC cafeteria and general social center. I was struck by how much fun it looked. It was ensemble comedy. It was improvisation. It was quick jokes and group mind dynamics. Everyone was getting to act and be funny and write and direct and edit all at the same time. The group was called My Mother’s Fleabag and it was the oldest running improvisational group on campus. I wanted in. I met Kara McNamara, one of the performers. She was a Boston girl and would eventually be my roommate, and she pushed me to audition, though I have no memory of actually doing it. I think it was mostly short-form improvisational games. I do remember that it was thrilling. I went back to my room and waited.
We were told that we made the group by being woken up in the middle of the night and taken to a secret location to drink. It was like being hazed for one day, which is the exact amount of hazing I am able to withstand. We rehearsed constantly. We would spend hours arguing over one joke. Relationships were formed and trust was built. My Mother’s Fleabag performed shows a couple of times a year. A cover band played “Pulling Mussels (from the Shell)” by Squeeze, and we would run out in baseball shirts. We did short-form improv games, sketches, and songs based on specific Boston College humor. It was fun but not too cool, and it got me in front of an audience. I had a theater I went to every day and a group that needed me all the time. It was heaven.
Kara and I moved in with a bunch of men and women off campus and my college life sort of exploded in happiness. We used to host big and boozy parties. We had a “Good-bye to the Eighties” party and everyone dressed in costume. At least twenty different women arrived in sexy Robert Palmer–girl outfits. I dressed as Baby Jessica, the little girl who fell down the well. (And was successfully rescued! Important fact!) I wore pajamas and pigtails and made my face a little dirty. Sexy stuff. We lived on a street called Strathmore and our motto was “Live More, Love More, Strath More.” I learned about Charles Busch and Kate Bush. I sat with the cool Jesuit priests and talked about Edna St. Vincent Millay. I took classes like “The Medium Is the Message” and “The Male Lens.” I carved out a pretty groovy off-campus curriculum in what was a very competitive academic program. I spent my days directing scenes from True West and my nights writing sketches about bad cafeteria food. I studied Shakespeare and learned to control my voice, and at night I huddled with a bunch of misfits and practiced being stupid on purpose.
I didn’t really know what kind of actor I wanted to be back then. I didn’t have a real plan or even a mentor to follow. I just knew the things I didn’t want. I didn’t want to be tied down and stuck. I didn’t want to decide who I was going to marry or where I was going to live. I took a public speaking class in college with Craig Finn, a friend of my cousin Lynn (Sheehan) Gosselin. Craig is a great musician who is now the lead singer of the band Hold Steady. I remember feeling like we both knew a secret: we were going to keep performing no matter what, and we both were going to have no money, stability, or children for the next ten years. I think we should stop asking people in their twenties what they “want to do” and start asking them what they don’t want to do. Instead of asking students to “declare their major” we should ask students to “list what they will do anything to avoid.” It just makes a lot more sense.
I was in my off-campus Strathmore kitchen when Kara told me she was going to move to Chicago after she graduated. She was a year ahead of me and had heard about these classes at the comedy mecca Second City. Further investigation led us to research ImprovOlympic, and they also had classes. That settled it. Kara was going to Chicago and was going to get an apartment, and I would join her a year later. “I can be a waitress anywhere!” I said to my horrified parents, who had remortgaged their small house twice to pay for my brother and me to go to college.
I started to believe in myself. I realized I could say whatever I wanted.
In the second and final performance of The Wizard of Oz, I decided to take control during the tornado scene. I paused, put the blinking dog down on the stage, and walked a few feet away from it. “Toto, Toto! Where are you?” I said, pretending to look for my lost dog in the fearsome storm. The dog froze and played it perfectly. I got laughter and some light applause for my efforts. I had improvised and it had worked. One could argue that it worked because of the dog. A good straight dog can really help sell a joke. Whatever. I have been chasing that high ever since.