Cracking Wise, the Second Time Around

“Hey, you guys having fun?” asks John Caponera of the capacity crowd as he takes the Laugh Factory stage on a recent Saturday night. The enthusiastic yelps spark his smiling deadpan response: “Well, I’ll fix that.”

On this evening at the West Hollywood club, Caponera and the rest of the veteran comic lineup are “killing” the date-night audience. Even an impromptu appearance by the legendary Rodney Dangerfield doesn’t ignite as much as the topical riffs on sex, relationships and news rattled off by Caponera, John Mendoza, Chris Spencer and Mitch Mullany. Laugh Factory owner Jamie Masada prowls the rear of the club, looking more than pleased at the response.

Though the comics’ faces are somewhat familiar, the appreciative audience appears unaware of the brotherhood among the four performers, all varied in approach and style. The quartet share a bond that places them apart from other comics frequenting L.A. comedy clubs. They do not belong to the clique of novice comedians honing their craft in hopes of attracting attention and a sitcom deal. And they are also not among the superstars using the clubs as laboratories for new material.

Caponera, Mendoza, Spencer and Mullany--in addition to numerous other local comedy club regulars including Royale Watkins, Sue Costello and Thea Vidale--are the stand-up community’s “tweeners”--comics who have once been in the national spotlight with their own television series, only to have that light dim after the show fails after a short run.

Said Masada: “There are people who get into this business for the money, and if they get a show and it doesn’t work out, you never hear from them again. They’re depressed. The real true comics come back to their roots. They are real troupers. The true comics want to make the people laugh.”

NBC’s 1994 “The Good Life,” which lasted four months, was a vehicle for Caponera, 41. Mendoza was the star, executive producer and co-creator of “Second Half,” a 1993 NBC comedy that was yanked after a few months. Spencer, 30, was the host of “Vibe,” an urban-based talk show that premiered to great hoopla in 1998. But after a few months of dwindling ratings, Spencer was ousted and replaced by comedian Sinbad (the syndicated series was canceled several weeks later). Mullany, 30, was the star of the WB’s “Nick Freno: Licensed Teacher,” which lasted two seasons but was so far off the viewing radar that Mullany jokingly boasted of being the star of the lowest-rated show on television.

‘The Experience Is Bittersweet’

All of the series were based in some degree on the points of views or comic sensibilities of the comedians, who were discovered at clubs or comedy festivals. But in many cases, the comics’ perspectives were altered or diluted during the development of the show. On the other hand, the comics were plucked from relative obscurity to enjoy heightened visibility and exposure through commercials, talk-show appearances and full-page newspaper ads.

The ax would inevitably fall, however, and after toiling for years on the stand-up circuit in hopes of reaching the Holy Grail of sitcom star status, the comedians found themselves back at the clubs, a little bruised and maybe even a bit bitter at their treatment by what Joni Mitchell once referred to as “the star-making machinery.”

But several of the “tweeners” say they are definitely not beaten, biding their time for another shot at the elusive big time. They do not refer to their TV experience in their acts. Older and wiser, they say they are happy because they are once again immersed in the purity of their art.

“Yeah, what’s it like to come back to the gutter of stand-up?” quips Lisa Ann Walter, 37, who starred in 1997’s short-lived “Life’s Work,” in which she played an ambitious assistant state’s attorney juggling marriage, kids and law school on ABC.

“Actually, I’m much happier, and there are so many things happening for me now,” says Walter, who has just finished filming a co-starring role in a drama pilot for TNT. “But the experience is bittersweet. For anyone who grows up needing to be funny, making people laugh is your survival. When you get a show developed around you, it’s not just something you star in, but it’s about your voice and what you’ve built your act around.

“If the show fails, it’s like everyone saying ‘We don’t want you. We don’t want you back.’ You have to distance yourself from that.”

Caponera says he has had no problem distancing himself from his TV star experience. His NBC series, “The Good Life,” about a suburban family in Chicago, received poor ratings when it aired for four months in 1994. One of the co-stars of that series--Drew Carey--went on to become the star of his own hit on ABC.

Even though no network executive ever called to tell him his show was officially canceled, he doesn’t “have sour grapes at all about what happened,” says Caponera, as he relaxes before his opening set at the Laugh Factory. He asked to go onstage first because he has to rush to a headlining gig at a Valencia comedy club later in the evening.

Caponera says “The Good Life” was “literally thrown to the wolves” when the network teamed it with other new youth-oriented comedies such as “Saved by the Bell: The College Years.” He does wish the network had supported the show more: “If they had given us one more year, instead of pushing the panic button, it would have been all right.”

He adds, “To taste how the other half lives is exciting. At the time, I thought, ‘This is what it means to be a hot commodity.’ I knew at the time it was going to be a special shot. But some people never even get that shot. I can’t go on thinking about what might have been. I am grateful for what I have. I’m not going to dwell in the past.

“I know it’s hard to get that second shot, but I really love what I’m doing now, and I really love stand-up,” says Caponera, who’s been performing for 22 years. “I have a great life, two kids, I live in Studio City. Stand-up is my bread and butter. I still get choice corporate dates. It’s what keeps me going. It would be nice to get back on TV, but I’m not 36 anymore.”

Comedian Feels ‘Lucky’ His Show Was Canceled

Mendoza is another veteran who has let the past stay in the past. Mendoza, distinctive for his sad-sack, streetwise demeanor, says he is actually happy that his show, “Second Half,” didn’t make it.

“I was one of the lucky ones,” insists Mendoza. “I was making so much money at that time working at clubs, I was losing money doing the series. And once the series was up and going, I never had time to enjoy it. When it was canceled, it was a double blessing, physically and mentally. I had never done comedy to get my own show anyway. My goal had been to get on ‘The Tonight Show.’ Now I’m comfortable and loving what I do. I’m not exactly driving a bus.”

And he is not eager to get back into the TV game.

“I’m not exactly what they’re shopping for,” he says. “Plus, I like telling jokes and going home. It’s the only thing I do well.”

Spencer, who still relies on his handsomely mischievous face in his comic routines, says he is regularly approached by people who recognize him from “Vibe.” “Sometimes they’ll say, ‘Oh, you’re the dude that got fired. Dang, like why?’ And I’ll say, ‘Did you watch me? Well, why not?’ ”

He adds, “Being on ‘Vibe’ was really a learning experience. It’s taken some time for people in the industry to look at me beyond being ‘that host guy.’ So when I went out on auditions, I had to be a bit better than everyone else because of that.”

Spencer’s stint on “Vibe” was particularly awkward. Before the talkfest premiered, Quincy Jones, one of the executive producers of “Vibe,” touted Spencer as a hot and hip talent who was the perfect host, despite his lack of national exposure. Spencer was confident and assured.

But when the series premiered, Spencer was visibly nervous and uncomfortable. Rumblings about replacing him erupted immediately. The young comic improved and gained more confidence, but the die was already cast. Eleven weeks into the show’s run, Spencer was unceremoniously yanked.

Reflecting on the “Vibe” fiasco, Spencer says, “Everything was fine and lovely until we heard the name ‘Keenen’ [“In Living Color” creator Keenen Ivory Wayans, who launched his rival talk show against “Vibe”]. It was all going to be fresh and new before that, and I would be able to do my thing. But when we found out about Keenen, everything changed. They wanted to do it straight by the book, a standard talk show.”

Spencer says he is enjoying life at the clubs, and working in films and making TV guest shots. “I was a little bitter, but not now. There’s always someone who has it worse than you. I know now what battles to fight. I want to get my own sitcom and do films as well.”

Recalling his failed television experience, Mullany was also upbeat. He had little creative control in his show, “Nick Freno: Licensed Teacher,” in which he played an actor who was also a substitute English teacher at a middle school. He displayed his stand-up rhythm, but the series was not based on his life.

“The show runners would want the show to be one way, then the studio and the network would want it another way,” he says. “It was a valuable experience because I was learning my chops.”

Mullany says he has a deal with ABC, which is developing a show about a character that will be closer to him.

‘Built to Last’? Yeah, Right

Watkins, 31, had the opposite experience of Mullany. His ironically named 1997 NBC sitcom, “Built to Last,” was based on his real-life family. His father ran a successful construction business in Washington, D.C. In the series, Watkins played a computer genius who put his career on hold to help run the family construction business.

The series lasted less than a month. “Some people remember the show, but to most it’s just a blip, just a credit on a piece on paper,” says Watkins, who was also an executive producer. “The show didn’t have that much of a life to leave an impression. At first, I was bitter and angry that the network didn’t give it the chance it deserved. But that’s OK. My career is a journey, and this is one of the slopes I had to climb to get to where I’m going.”

In addition to performing in clubs, Watkins has just finished playing legendary guitarist Jimi Hendrix in the independent film “My Dinner With Jimi” and is developing other projects with his partner. “Nothing would be sweeter than having another sitcom,” Watkins says. “I’m not one who is easily disillusioned.”

‘It Ain’t Over Until God Says It’s Over’

Vidale, 44, says she would also like another sitcom--one that would be the polar opposite of “Thea,” her short-lived 1993 ABC sitcom in which she played the no-nonsense mother of four children (including a young Brandy Norwood, who would grow up to become singing and “Moesha” star Brandy).

“I want to be trampy and sexy,” quips Vidale.

She had hoped that “Thea” would allow her to play a character that was closer to her bawdy stand-up act. “But they wanted me to be June Cleaver, since we were on at 8 p.m. My perceptions and their perceptions were different.”

Vidale says of the experience, “God has a purpose. I’ll be back on TV. I wasn’t going to let that show be the end of my career. It ain’t over until God says it’s over.”

And Mullany says there is a bottom line to getting a successful show: “If you have a good show, then people will come to see you at the clubs. And that’s when they’ll see us at our best. And they can really laugh.”

* John Mendoza, Mitch Mullany, Royale Watkins and Chris Spencer will perform tonight, Friday and Saturday at 8 and 10 p.m. at the Laugh Factory, 8001 Sunset Blvd., West Hollywood. Also at the Laugh Factory, Chris Spencer hosts “Urban Comedy” Sundays at 8 p.m.; Royale Watkins performs most Sundays at 8 p.m.; Thea Vidale performs Fridays and Saturdays at midnight and this Sunday at 8 p.m. Shows are $10-$12. Call (323) 656-1336.