Shelley Berman, a Chicago-born performer, was a pioneering figure in the world of stand-up comedy, known for elevating the art form to new heights. His monologues, often resembling one-act plays, drew from his heart, soul, and mind, blending artistic and theatrical elements. Trained as an actor, Berman's work was intense and dark, as well as sentimental and poignant. One of the first comedians whose stand-up was intended as "art," Berman performed "concerts" rather than traditional nightclub gigs. From an early age, Berman aspired to be an actor. However, a trip to New York ended disastrously when he "froze" during auditions. He briefly wrote comedy for Steve Allen's show but returned home, working as a cab driver and later managing a drug store. During summers, he performed with local stock companies, which allowed him to refine his craft. In 1955, Berman joined Chicago's Compass Players improv group, replacing Severn Darden. His experience there taught him to focus on action rather than merely aiming for humor, allowing the funny to naturally emerge. Berman's solo endeavors led to the creation of unique routines like "The Morning After The Night Before," which utilized the phone call as a comedic device. Other iconic bits included "Franz Kafka On the Telephone," "The Hotel Room," and "The Cut Finger." His work often touched on life or death emotions, and he could seamlessly transition from ad-libbing to delivering frenzied tirades or intimate confessionals. Critics of the time grouped Berman with figures like Lenny Bruce and Tom Lehrer, labeling them as "sick" comedians. Despite this classification, Berman was praised as a virtuoso satirist of modern angst and anxiety. His sensitivity famously clashed with the typical nightclub atmosphere, demanding an end to distractions during his performances. A pivotal moment in Berman's career was depicted in the 1963 NBC documentary "Comedian Backstage," where an offstage phone rang during his performance of "Father and Son." His backstage reaction to the disruption was aired, and the ensuing controversy contributed to Berman's decline in popularity. This incident, alongside the emergence of contemporaries like Bob Newhart and Woody Allen, who were developing their own comedic styles, marked a turning point in his career. Moving away from stand-up, Berman explored other pursuits. He authored books like 1966's "Cleans and Dirtys," which humorously dissected language, and he furthered his acting career, appearing in films and stage productions such as "Fiddler on the Roof" and "The Rothschilds." In television, Berman had mixed success but appeared on shows like "Mary Hartman, Mary Hartman" and wrote "First is Supper," a play for the National Jewish Theater. Though Berman occasionally returned to stand-up or appeared in short television spots, his legacy remained tied to his innovative approach to comedy, which forever changed the landscape of the art form.