You’ve seen a lot of sketch comedy, obviously. How does Chicago compare to other cities?
This is where the work is happening. This is where we try new forms and styles. This is where we get the best of the best people who have been doing it their whole lives. Some people at Second City have been in the industry since the days of the Compass Players. I get to teach these boot camps in the summer, weeklong intensive workshops. You get people from all over the nation—all over the world—and they keep in touch with you. The other day this one guy from Ohio goes, “I’m not gonna take another class, it’s just ridiculous compared to Chicago.” If you take classes at all the Chicago institutions that focus on sketch and improv, you have about five years of study. There’s nowhere else like that.

Do you think sketch comedy has to be funny?
We’ve always had that debate here. I’ve even gone so far as to say to one of my friends, “Let’s do a whole sketch show of not funny.” And you know what? I think they have to be funny. It allows for moments of real strong acting. Mick [Napier, director] did something beautiful on [Second City] mainstage where it was funny, funny, funny, and then about two thirds of the way through there’s a husband-and-wife moment. The wife is dying of cancer and the husband is a coach who won’t accept it. There’s maybe 20 seconds where she says, “I might die,” and he falls to his knees and takes her hand. Everyone was quiet. Then, there was a big funny. It’s like salt on watermelon: It makes the watermelon even sweeter.

What’s your take on comedy in general? All forms.
Whether it’s farce, like the Three Stooges or Marx Brothers, or character-driven high comedy, or vaudeville or stand-up, it’s always grounded in truth and reality. How far you stray from the truth dictates the style. Comedy equals truth and pain: That’s the formula.

Is it valuable for sketch, improv and stand-up performers to train in traditional acting?
Yeah…and sculpt; paint; read; learn how to juggle; learn how to use your body, voice, accents. Look at the people that were really awesome on [Second City] mainstage, like Jim Zulevic. They have a strong acting background, with Chekhov under their belt, and a deeper understanding of character and objectives and beginning/middle/end of scenes. Comedy is about artists, not just performing but declaring your own voice. They’re not just taking Hamlet, memorizing the lines and best depicting the story. They say, “I’m going to write a scene about something I’m passionate about, and use satire to express my point of view. Ooh! I’m on fire today, kids!”—Steve Heisler