Elaine may biography
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Elaine May wasn’t involved with her biography. That didn’t stop this author from telling the comedy icon’s complex story
On the Shelf
Miss May Does Not Exist
By Carrie Courogen
St. Martin’s Press: pages, $30
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Elaine May is one of the key architects of American comedy; an alumna of the influential Kennedy-era underground scene in Chicago that gave us the O.G. “Saturday Night Live” cast and film director Mike Nichols. Tina Fey and Jimmy Fallon have name-checked May as a comedy hero. And yet, despite sju decades as a filmmaker, actor and screenwriter whose movies are entrenched in the Hollywood canon, May is that rarity: a film legend who has opted out of public life. We know the work, but not the creator.
The director of the classic comedy “The Heartbreak Kid,” with writing credits on Warren Beatty’s films “Heaven Can Wait” and “Reds” as well as Nichols’
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Elaine May
American actress, writer, and comedian (born )
Elaine May | |
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May performing in | |
Born | Elaine Iva Berlin () April 21, (age92) Philadelphia, Pennsylvania, U.S. |
Othernames | Esther Dale, Elly May |
Occupations |
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Yearsactive | –present |
Knownfor | |
Spouses |
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Partner | Stanley Donen (–; his death) |
Children | Jeannie Berlin |
Awards | Full list |
Elaine Iva May (née Berlin; born April 21, ) is an American actress, comedian, writer, and director. She first gained fame in the s for her improvisational comedy routines with Mike Nichols before transitioning her career, regularly breaking the mold as a writer and director of several critically acclaimed films. She h
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Elaine May became famous at twenty-five and rich soon thereafter, but it took her another decade to figure out what to do with her life, by which point she was too far ahead of her time to fit in with it. In the mid-nineteen-fifties, May formed a duo with Mike Nichols that brought improv comedy out of the night clubs and into the forefront of pop culture, helping to codify the art form and to establish it as the institution it is today. But, as significant and as delightful as that work is, May stayed with it only briefly—barely half a decade. Professionally, she was at loose ends through most of the sixties, and at risk of being remembered as fondly and dimly as most topical humorists of past eras. Then, in , she became a movie director and proved, even in her first feature, to be one of the most original filmmakers to have emerged in the so-called New Hollywood. Yet her cinematic legacy has been cruelly defined for the general public not by the greatness of her films but by the un