From Smiths LONDON Y-Z magazine, Spring 2004

THE ONE AND ONLY STEWART LEE (GENIUS)
In interview with Jaimie Hodgson

They say that true geniuses are never fully appreciated in their own time, and perhaps it will be a while before we see Stewart Lee's name is engraved into comedy's all-time "Hall of Fame". It has been said that Lee is the closest the British comedy scene has to a cult hero, a title which does not begin to convey the monumental body of work, and unbridled level of influence he has made upon comedy as a whole.

With Richard Herring, Stewart produced, among other things, two of the BBC's most exquisitely subversive programmes ever broadcast - Fist of Fun and This Morning With Richard Not Judy. Recently, the sensation that is Jerry Springer - The Opera has propelled his name into the press once again.

As a stand-up, his career has been prolific, the various incarnations of his acclaimed one-man shows have covered every last inch of the English-speaking world. As a writer, Lee's list of credits are innumerable, and undeniably British comedy would be a very different place today; without him. It seems that 17 years of making people laugh have begun to take their toll on Stewart Lee. When asked for his current state of mind he offers the deadpan reply "Overweight, deaf, worried", its true, recent appearances have shown the years beginning to catch-up with the man who for some time appeared to be refusing to let go of student his wardrobe. He has even acquired a "proper" haircut, abandoning his trademark renegade, limp stands of fringe.

While Lee has watched the public eye drift away from him in recent years, it seems that off the screens, is where this 36-year-old Oxbridge graduate is destined to hone his skills. Anyone who has observed the phenomenal success of the now West-end smash-hit "Jerry Springer The Opera" would be forgiven in thinking that as director and joint writer, Stewart might have been able to sort himself out a tidy little retirement package. As he explains this is unfortunately not the case. "I didn't earn anything from the show in the fist two years of work on it. I got a director's fee for directing it at the. National Theatre in early 2003, and as of last month I receive a monthly royalty, which will go on as long as the show runs. I got some money for publishing songs I helped with. So far, I suppose I've earned about £30,000 out of it
over three years. This will add up if it runs and runs, but really the overheads involved in such a big show mean a big payout is a gamble".
As he continues the reality behind the superficial West end glamour is enforced, "On a purely practical level I had to consider quitting about a year ago because I just needed to do some paid work - I never thought it would run on this long when I got involved - but then I got some money from Sony Records, who did the live album". He seems engulfed in an air of despondency. When asked if he was pleased with the progress of what looks to be the most revered accomplishment of his career, he answers "Up to a point, but I am embarrassed by expensive West end ticket prices and worry about maintaining the show. I have seen them do a couple of nights which were a bit crap but still went down brilliantly, and this worries me". .
Stewart is more than happy to discuss his past, despite the mine-field of gossip surrounding it. Since 1999, his seemingly infallible working partnership with Richard Herring came to an abrupt end when they went their separate ways. Insisting on the amicability of the split, he adds: "People assume we fell out but it was just that everything we were doing together kind of got stopped".

There is a recurring feeling of injustice at the hands of others surrounding the story of Lee and Herring's demise, as with his career as a whole. Two shows inexplicably axed despite great reviews and viewing figures, what he describes ;"as the best and most enjoyable work of his career (Club Zarathrusta with Simon Munnery) left to flounder at the pilot stage due to administrative changes at Channel 4 and finally an early feud of legendary proportions with the rest of the all-star writing team for Radio 4's On The Hour (Steve Coogan, Chris Morris, Armando lanucci, Dave Scneider etc) preceding Lee and Herring's exclusion from the shows royalties when it converted to television (The Day Today).

But although his relentlessly sardonic demeanour may suggest otherwise, Lee is not bitter about the past. Emphasising his enjoyment of the On The Hour writing partnership at the time, he voices appreciation for everyone involved "Coogan is good whoever is writing for him and is best when it is Baynham. Morris has been great. I find Arm a bit wordy. I've not seem Marber's plays, but Dave Schneider was great as the train driver in Mission Impossible 1".

For some time now, rumours surrounding Lee and Herring's exact involvement in On The Hour have been circulating amongst fans. Stewart was quick to quash the idea that it was in fact himself and Richard Herring who invented Steve Coogan's legendary Alan Partridge character.
"Steve did the voice and the name. But we wrote lots of the early material, and P Marber who arrived later, said recently it was fair to assume it would have been very different without us".
The intense cynicism of Lee's wit is tinged with sorrow. Not a man who has lost faith in the world around him, but one who's continually been forced to wisen to its cruel twists. Stewart's love for his profession is very much alive. An encyclopedic knowledge of comedians is maintained with a dedication to the comedy circuit's underground. The Edinburgh Festival veteran refuses to let his feet leave the ground, "I remember
doing a benefit with Ben Elton in the mid-90's and he clearly never saw any new stuff and was visibly stuck in a time warp. I think you need to see the new people and be in the thick of it. I wonder if even Eddie Izzard would get anywhere if he actually did his current act unknown in clubs?" While he moans at the lack of "properly funded T.V. outlets", Stew asserts his preference for today's leftfield comedians over those of the mid-90's "with their suits and their cocaine", naming Josie Long, Garth Marenghi, The Office and Gary Le Strange as his current favourites.
" I don't especially want a future in musical theatre" he insists. It seems that "Jerry Springer - The Opera" was something he thought he'd try his hand at.. rather than a prospective new career. When asked what hopes and dreams does he have to fulfil before he's old and smelly, he lists, "I'd like to write a comic for Marvel comics, learn to play the Saxophone and write a better novel than my first one". There is a feeling
surrounding Lee that suggests he is only just getting started. An intellect and imagination beyond the comprehension of most, his work is fast becoming immaculate and is yet to create his masterpiece. While his resume is an impressive read, it does not approach an accurate depiction of his talent. Maybe, like his hero William Blake, he will never see the appreciation he truly deserves. But if history has taught us
anything, its that Britain has trouble handling its own geniuses.

Thanks to Stewart Lee, Anna Lusser and Susan Greenberg.