Alan Sues - Career

Career

Alan used World War II veterans’ benefits to pay for acting lessons at the Pasadena Playhouse, where he performed, later making his Broadway debut in the stage play Tea and Sympathy, directed by Elia Kazan, which had a successful run in New York City beginning in 1953. During this period, Alan met and married Phyllis Gehrig, a dancer and actress, subsequently starting a vaudevillian nightclub act in Manhattan — with which they toured North America before divorcing in 1958.

After touring the country with his wife, Alan was able to get more work in stand-up comedy (at Reuben Bleu and Blue Angel, both clubs in Manhattan), worked with Julius Monk, and joined an improv/sketch group with The Mad Show, which led to his being cast in Laugh-In.

Outside of Laugh-In, Alan appeared in the classic Twilight Zone episode "The Masks", in a non-comic role. This episode called for his character to be of college (or, possibly even high school) age, as evidenced by references to his being captain of the football team and doing well in school. Being 38 at the time, his looks ran counter to this, with a comb-over and thinning hair. He also had supporting roles in the films Move Over, Darling (1963) and The Americanization of Emily (1964).

After Laugh-In, Alan also portrayed Moriarty onstage in Sherlock Holmes (opposite John Wood, and later Leonard Nimoy), which, according to Alan, was "one of my favorite roles, because it's so against type, and I loved the makeup". The makeup for Moriarty was used in several books about makeup as an example of shadowing and technique.

Alan appeared in television commercials for Peter Pan Peanut Butter during the 1970s, as a tongue-in-cheek Peter Pan. He also toured with Singin' in the Rain, playing the Elocution Instructor. In addition, he appeared in several movies, and provided voiceovers including Oh! Heavenly Dog and Rudolph and Frosty's Christmas in July.

Read more about this topic:  Alan Sues

Famous quotes containing the word career:

    Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.
    Lewis H. Lapham (b. 1935)

    Clearly, society has a tremendous stake in insisting on a woman’s natural fitness for the career of mother: the alternatives are all too expensive.
    Ann Oakley (b. 1944)

    I restore myself when I’m alone. A career is born in public—talent in privacy.
    Marilyn Monroe (1926–1962)