Continued The Midnight Show
To: Madeline Cohen
From: Aaron Adler
Re: Re: Re: [EXTERNAL] Request for Interview—Lillian Martin Feature
Hello there, Madeline.
Thanks for following up. My apologies for the delay in responding. I’ve been up to my ears in contracts and paperwork post-finale.
To answer your initial question: Yes, I am very happy to talk about the late Lillian Martin. She was quite a special lady, a key member of that Midnight Show first class.
As for your second query: also yes. There is indeed a kernel of truth in the “lore” surrounding the show, as it were.
At the time I drove up to Boston to see these kids I’d heard about doing improv at Beacon Bar, I already had offers out to two women to test for the show, both of whom were fairly big names at the time.
That left one slot open for another female cast member, and immediately after seeing the Townies, it didn’t occur to me to extend an offer to Lillian Martin.
She was fine, very cute, certainly presentable.
But the Lillian you’re thinking of—the Lillian you’re writing your piece about—came later.
She emerged as a result of the particular synergy of The Midnight Show.
A product of her environment. She might have been good with Sam and Kent and Stevie, but it was with the full cast that she was great.
As for my take on what happened offstage, I’m not sure if I can be of much help there. I’ve tried very hard over the years to keep my relationships with cast members purely professional.
If you’re looking for a window into the social heyday and whatnot of those days of yore, your efforts are better focused on Kent Romero and Gina Ross, Gina in particular.
There is no story about the life and death of Lillian Martin without her perspective, although I will warn you—over the years, she seems to have become increasingly more resistant to sharing it.
Best of luck.
Aaron
Aaron Adler
Creator and Producer of The Midnight Show