Paula Poundstone says she’s still evolving

Paula Poundstone learned her trade on a Greyhound bus, traveling around the country, doing stand-up wherever she could find a mic. Eventually, she found enough work to settle down in San Francisco. Then actor and comedian Robin Williams persuaded her to move to Los Angeles.

That changed everything. It led to a list of stage, screen and broadcast credits that goes to many pages.

Today, she’s athlete-fit, sharing video of her workout on her website, storytelling and joking through her reps, surrounded by cats. She’s published two books and has a regular podcast, “Nobody Listens to Paula Poundstone,” which, of course, all her many fans listen to.

The podcast’s content can’t be summarized any more specifically than as a survey of humanity in the 21st century. “Quirky” is too small a term. “Eclectic” is too exotic. Topics are street-level, submitted by listeners. Answers may be earnest and authoritative, but Poundstone’s sharp-shooting one-liners (sometimes two) keep things light. No one is able to stop laughing.

Looking back, she says she is still evolving. “I’ve been at this job for 44 years now, and one of my goals over time has just been to be more and more myself on stage,” she said. “I like the idea of having my own voice.”

Who knew she wasn’t herself all along? She’s always seemed like one of the most authentic humans in comedy. But she’s referring to the evolution of comedy itself. There are many more voices to be found in it.

Having a voice of her own, she said, takes the pressure off competition from other comics. “Honest to God, you can’t swing a dead cat without hitting another comic,” she said. “So, there’s always the concern that you’re going to tread on the same material.

“A lot of us have the same experiences, but so long as I know that I’m doing it from my own personal perspective, then I don’t worry.”

She said she sees more diversity overall in comedy, among performers and among audience members. “Some of it’s very deliberate for clubs and shows to include more voices, but I don’t think they’re just doing it to be good people,” she said. “There’s economic value in in that you play to a bigger and bigger crowd.”

That’s especially important since the COVID-19 lockdown, when venues were shuttered. Almost unnoticed in the social breakdown around COVID isolation was the loss of laughter itself.

“You don’t laugh out loud when you’re by yourself. I mean, it’s pretty rare. But when you’re with a crowd, it’s so easy to get caught up in waves of whatever the emotion,” she said.

“People got out of the habit of being with one another. People watch things on their flat thing or stream things instead of going into movie theaters. I think that’s a big loss.”

“When someone types at you, generally speaking, they’re lying,” she said. Then she laughed.

“I have the best audience in the world,” she said. “They’re just fun to talk to. They’re sort of willing to go where I take them. Sometimes, I fool around a little bit looking for the funny part. And they go along for the ride. They’re game. They’re willing. They’re supportive They’re open, and they’re responsive.

“I talk about politics here and there, but I feel like overall, we are drowning in politics more than usual. And so, some nights I intentionally sort of give people a break from it.”

Asked how much time she likes to spend on crowd work, she said that on a good night, that could be about a third of her show. “I probably do the only show in the country where the audience gets homesick,” she quipped.

“I work alone, because I have the best audience in the business, and I am unwilling to share them for even 15 minutes. I do two hours, and I don’t want to be away from the audience for any part of that.

“As an audience member, you know, you go to see a band or something and somebody that you hadn’t planned on seeing comes out and does the opening thing. Generally speaking, I feel that’s just an impediment to getting to see the band that I wanted to see getting.”

She noted an exception: “A thousand years ago (1990), I saw Tracy Chapman at The Greek (in L.A.), and she had Johnny Clegg and Savuka open for her. The stage was full. They were dancing. It was loud. It’s a lot of instruments. And then little Tracy Chapman, all by herself, comes out.

“It didn’t make sense as a booking. I can’t believe that show. But I fell in love with Johnny Clegg.

“Anyway, I do have a wonderful crowd, and I think I’m a lot more attached to them than they’re to me.”

Paula Poundstone, Fox Tucson Theatre, 17 W. Congress Street, 7:30 p.m. Saturday, Oct. 28, tickets start at $30.25, foxtucson.com

OTHER SHOWS

Catalina Craft Pizza, 15930 N. Oracle Road, Suite 178, Tucson, 520-825-0140, reservations

8 p.m. Saturday, Oct. 21, “Comedy in Catalina,” free; Amie Gabusi hosts, Autumn Horvat headlines, Magghie O’Shea features, Matt Ziemak, and Cory Lytle round out the lineup. Donations of nonperishable food and clothing are welcomed to benefit Impact of Southern Arizona.

Catalyst Creative Collective, SAACA, 4500 N. Oracle Road, Suite 110, Tucson, saaca.org

7 p.m. Saturday, Oct. 21, “Caliente Comedy,” a benefit for Ben’s Bells and Esperanza Dance Company, tickets start at $15; Suzy Sexton hosts, Monique Marvez headlines, and Gene Moore features. Jan Brenner and Butch Lord fill out the lineup.

Diamond Center, Desert Diamond Casino, 7350 S. Nogales Highway, Sahuarita, ddcaz.com

8 p.m. Saturday, Oct. 21, ddcaz.com, tickets start at $40, Ronny Chieng of “The Daily Show” and “Crazy Rich Asians.”

Fox Tucson Theatre, 17 W. Congress Street, Tucson, foxtucson.com

7 p.m. Sunday, Oct. 22, foxtucson.com, tickets start at $39.50, Roy Wood Jr. of “The Daily Show” and “Imperfect Messenger.”

Hop Street Lounge, 7215 E. 22nd Street, Suite 101, Tucson, hopstreetlounge.com

6 p.m. to 10 p.m. Saturday, Oct. 21, “Goodie Fest: A Smoker’s Party,” $15 includes a dab bar and raffle ticket, Elmer Espinoza hosts comedians Drake Belt, Chris Quinn, Anthony Jenkins and Jen Blanco.

Laff’s Comedy Caffe, 2900 E. Broadway Boulevard, laffstucson.com

8 p.m. and 10:30 p.m. Friday, Oct. 20, and 7 and 9:30 p.m. Saturday, Oct. 21, $15, $20 preferred seating, Andy Gold “Addicted to Comedy” is his new, improved addiction.

MotoSonora Brewing, 1015 S. Park Avenue, Tucson, motosonora.com

7:30 p.m. Saturday, Oct. 21, “Belly Tanks and Belly Laughs Comedy Show,” free, Stacy Scheff hosts, Kristine Levine headlines, Lynne D., Gay Rose, Leo Skrzypczak, Tony Bruhn, Maddie Shuman and Dom DiTolla round out the lineup.

Tucson Improv Movement/TIM Comedy Theatre, 414 E. Ninth Street, tucsonimprov.com

$7 each show, $10 for both shows, same night, free jam. 7:30 p.m. Thursday, Oct. 19, “Harold Eta” and “Shatfan;” 6:30 p.m. Friday, Oct. 20, Improv Jam; 7:30 p.m. “The Soapbox” with Kathy Prather; 9 p.m. “Femme Drop” stand-up; 7:30 p.m. Saturday, Oct. 22, “Tootpole” and “The Game Show Show;” 9 p.m. “Spooky Double Feature” (Dirty T’s and Spooky Girls)

Unscrewed Theater, 4500 E. Speedway Boulevard, unscrewedtheatre.org

$8, live or remote, $5 kids. 7:30 p.m. Friday, Oct. 20, Not Burnt Out Just Unscrewed; 6 p.m. Oct. 21, Unscrewed Family Hour; 7:30 p.m., Not Burnt Out Just Unscrewed; 9 p.m., The Backyard.

This article appears in Oct 19-26, 2023.