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Parts are as plain and strong as Hemingway, with some internal monologues that are downright Joycean. The rest of “Hello, Molly!” describes how this devastated trio managed to go on.
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(O’Malley’s “surprise big kick,” Shannon writes, “is me wishing my dad could kick those braces off his legs.”)
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An older sister, Mary, survived with Molly, as did their father, with injuries that required him to relearn how to walk. Shannon’s mother, Peggy, younger sister, Katie, and cousin Fran all died in the accident. (She’s also fond of italics.) In 1969, when she was 4 years old, Jim was driving the family home to Cleveland from a party and crashed their station wagon into a steel light pole. After she discovered her father, Jim, dozing off drunk with a cigarette in his mouth in a Florida hotel room, she writes: “I felt so mad I ran, ran, ran, ran, ran, ran as fast as I could down the beach.” “I was so excited that I’d just met Lorne that I didn’t even care!” she remembers. Right after she met Lorne Michaels, the overlord of “S.N.L.,” she got mugged by a drug addict. And her cadences in this memoir, worked out with her co-writer, Sean Wilsey, tend toward a Seussian singsong simplicity, even when dealing with very grown-up, dark subjects. Like many of her comedy colleagues, Shannon has already written a children’s book, “Tilly the Trickster” (2011). In her stretchy red pantsuit, O’Malley is the patron saint of all 50-year-old women who refuse to roll over and become Norma Desmond but instead want to “kick, stretch and KICK!” (If you haven’t yet made O’Malley’s acquaintance, go watch the “S.N.L.” sketch in which she tries out for the Rockettes.)
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“Pack it, pack it, pack it, pack it!” In front of those crowds, she developed another brilliant character, Sally O’Malley. “There was nothing more important than packing the house,” she writes. Shannon also invited restaurant diners, homeless people, her dentist. They kept the show under an hour, with drinks, to tempt busy industry types. Later, Shannon and another friend from an improv group called the Lumber Company created their own stage show, hiring musicians with money Shannon was making as a hostess at Cravings, a restaurant on Sunset Boulevard. (“ Always be closing,” as Mamet wrote in “Glengarry Glen Ross.”) They ran this racket with energy for six months - Shannon getting a small part on “ Twin Peaks” out of it - and were only busted once, by a talent manager for the Brat Pack. They pretended to be assistants in the office of David Mamet, the notoriously Hollywood-averse playwright: arranging each other appointments with agents, casting directors and producers, drawing on their experience selling health-club memberships. When you reach the part in her new memoir, “Hello, Molly!,” where the fortresses finally crumble for her, you want to get out the pom-poms and cheer.Īlong with her genius for physical comedy and deadpan inflection - “ don’t get me started,” she’d intone, as the mediocre stand-up Jeannie Darcy - Shannon has an uncanny knack for transgression in pursuit of higher truth.Įarly in her career, she and a friend from drama school came up with something they called the Mamet Scam. Like her famous character on “Saturday Night Live,” the nervous Catholic schoolgirl Mary Katherine Gallagher, Molly Shannon was more of a battering ram, laying siege to the false-fronted structures of Hollywood with blunt, repetitive force. Some people break into show business others burst. HELLO, MOLLY! A Memoir By Molly Shannon with Sean Wilsey 291 pages.