Passover

It is 1979, my first night of Seder in America since I fled Iran eight months before.  My husband remains back in Iran, hoping to salvage a small part of our valuable properties, our home and business, a chewing gum factory that remains the largest in the Middle East.  “Come with us,” I insisted, “It’s too dangerous, especially for Jews.” 

He would not hear of it.  I was "being an alarmist", as always, he will join us "in a few weeks", a couple of months at most. 

Now, in hindsight, I realize that we were blinded by a certain naiveté and senseless hope that is common with having lived in comfort—this could not be the end of Mohammad Reza Pahlavi who had, with enormous pomp, crowned himself King of Kings in 1967. 

We were wrong of course.  Once we landed in LAX, I learned that the Air France Plane that carried me and my daughters, age two and ten, to safety was the last allowed out of Iran before Mehrabad Airport was shut down by the Islamic Revolutionaries.  It would take another three years before my husband would be allowed to leave the country.

Decades ago, as a fledging (broke) New York stage actress, I had the good fortune to be befriended by the film producer Robert Chartoff (“Raging Bull,”  “The Right Stuff,”  “Rocky’s I—VI”). We met on the basis of our identical surnames, but traced our ancestry back to different origins.  It seemed our names were accidentally namesake bastardizations of different, multi-syllabic and multi-Slavic monikers of yore, carelessly abbreviated by uncreative Ellis Island officiates.

Having the same name (although it came from different sources) and feeling like we were kin, felt almost like the miraculous time my malfunctioning checking account was so out of balance, it somehow came out balanced to the penny.  Even a broken clock is correct twice a day. How fortunate for me, who’d been thrilled when Robert first put our name in lights and on the big screen with “They Shoot Horses Don’t They.”

I hate matzoh. There, I've said it. I may be Jewish but matzoh sure feels like penance to me. It was bad enough my ancestors had to wander through the desert for forty years, but adding insult to injury, they had to eat crumbly crackers with all the flavor of cardboard. I know there are some people who claim to love eating matzoh, but frankly, I don't buy it.

Sure, slathered with butter and liberally sprinkled with kosher salt or cinnamon sugar improves the taste of matzoh, but that treatment would work on just about any kind of tasteless cracker or bread. Don't try to sell me on flavored matzoh. Flavored matzoh tastes artificial. Whole wheat matzoh has to be the worst. I've never heard anyone even claim to like it. It's what I imagine must be served in jails or orphanages.

It probably never would have happened had it not been for the fact that we were trapped in Studio 8H for camera blocking for hours on end which was business as usual.  A group of us were sitting around the Green Room, which was next to Lorne’s office on the 9th floor overlooking the studio stage.

This was where we took our meals between the dress rehearsal and the live show. It was also where we got notes and the chopping block for sketches. But you’d never know that kind of carnage took place at any other time in this unassuming spot. It was furnished with the kind of couches and chairs that said ‘we don’t give a crap about this late night summer replacement show, let’s give them the stuff we have in storage’. The color palate was ‘tan 70s vomit’.

In the room were Gilda Radner, Paul Schaffer, Cathy Vasapoli (Paul’s girlfriend, now, his wife) Marilyn Miller, Alan Zweibel, Al Franken, and me. We were all in varying stages of exhaustion (the writers, obviously, even more so) and were draped over the furniture like the kids in the “Going Steady” number from Bye Bye Birdie.

“Hey, isn’t it pasacccchhhhhhhhhh?” Zweibel asked, shredding his throat and getting the laugh his sacrifice deserved.