The article reflects on various writers from The New Yorker who ventured onto the stage, distinguishing two types: those who are aware of the challenges and those who are less self-aware. It highlights historical figures like Robert Benchley and Alexander Woollcott, who successfully blurred the lines between performance and writing. Benchley became well-known for his comedic talents, while Woollcott transformed mockery into an act of self-acceptance in a theatrical role. More recently, writers like Calvin Trillin have also explored solo performances, showcasing a trend where literary talent intersects with performance art.
Writers who contemplate going onstage tend to fall into two camps: those who know better and those who should but don't. The New Yorker has produced many from both camps.
Alexander Woollcott turned satire into homage by taking on the part written to mock him. He was pre-mocked, like jeans sold pre-distressed.
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