Sid Caesar, a comedic force of nature who became one of television’s first stars in the early 1950s and influenced generations of comedians and comedy writers, died on Wednesday. He was 91.
The Associated Press reported that his death was announced by Eddy Friedfeld, a family spokesman.
Caesar largely faded from the public eye in his middle years as he struggled with crippling self-doubt and addiction to alcohol and pills. But from 1950 to 1954, he and his co-stars on the live 90-minute comedy-variety extravaganza “Your Show of Shows” dominated the Saturday night viewing habits of millions of Americans. In New York, a group of Broadway theater owners tried to persuade NBC to switch the show to the middle of the week because, they said, it was ruining their Saturday business.
Albert Einstein was a Caesar fan. Alfred Hitchcock called Mr. Caesar the funniest performer since Charlie Chaplin.
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Television comedy in its early days was dominated by boisterous veterans of vaudeville and radio who specialized in broad slapstick and snappy one-liners. Caesar introduced a different kind of humor to the small screen, at once more intimate and more absurd, based less on jokes or pratfalls than on characters and situations. It left an indelible mark on American comedy.
“If you want to find the ur-texts of ‘The Producers’ and ‘Blazing Saddles,’ of ‘Sleeper’ and ‘Annie Hall,’ of ‘All in the Family’ and ‘M*A*S*H’ and ‘Saturday Night Live,’ “ Frank Rich wrote in The New York Times when he was its chief theater critic, “check out the old kinescopes of Sid Caesar.”
A list of Caesar’s writers over the years reads like a comedy all-star team. Woody Allen and Mel Brooks did some of their earliest writing for him. So did the most successful playwright in the history of the American stage, Neil Simon. Carl Reiner created one landmark sitcom, “The Dick Van Dyke Show”; Larry Gelbart was the principal creative force behind another, “M*A*S*H.” Mel Tolkin wrote numerous scripts for “All in the Family.” The authors of the two longest-running Broadway musicals of the 1960s, Joseph Stein (“Fiddler on the Roof”) and Michael Stewart (“Hello, Dolly!”), were Caesar alumni as well.
Sketches on “Your Show of Shows” and its successor, “Caesar’s Hour” (1954-57), were as likely to skewer the minutiae of domestic life as to lampoon classic Hollywood movies, arty foreign films and even operas.
Caesar was funny whether working from a script or improvising: In a classic moment during a parody of the opera “Pagliacci,” as he was drawing tears on his face in front of a dressing-room mirror, the makeup pencil broke. Suddenly unable to draw anything but straight lines, he made the split-second decision to play tick-tack-toe on his cheek.
With a rubbery face and the body of a linebacker, he could get laughs without saying a word, as he did in a pantomime routine in which he and his co-stars, Imogene Coca, Howard Morris and Mr. Reiner, played mechanical figures on a town clock that goes dangerously out of whack.