�������ý��Ƶ

Lee Shallat Chemel ’65 has been doing a fair bit of soul searching.

Since graduating from �������ý��Ƶ 54 years ago, Chemel has forged an impressive career as a director, first in theater and then in television — a 10-year stint as a conservatory director at South Coast Repertory in Orange County, California, eventually led to a more than three-decade run working behind the scenes on some of the most iconic shows in TV history.

Now she returns to �������ý��Ƶ as the 2019 Commencement speaker on Sunday, June 9, ready to impart insight and wisdom drawn from a professional career that she says has everything to do with the liberal arts education she received at Milwaukee-Downer College and then �������ý��Ƶ.

“It’s forced me to investigate my entire life,” she said with a laugh. “It’s been a fascinating experience.”

She’ll be joined at the �������ý��Ƶ Commencement ceremony by her husband, David, and her daughter, Lizzy. Her son, Tucker, won’t be able to make it.

Without stealing from her Commencement speech —no spoiler alerts here — we chatted with Chemel, an English major as an undergraduate, about her journey, her deep affection for �������ý��Ƶ and why she has a special fondness for Michael J. Fox, Lauren Graham and Jason Bateman.

On how Milwaukee-Downer and �������ý��Ƶ — she was part of the first Downer class to merge with �������ý��Ƶ, spending her first three years in Milwaukee and her senior year in Appleton — lit a fire in her for the arts and planted the seed that a career in the arts might be possible: 

“My path to theater happened because of �������ý��Ƶ. And that’s kind of significant. I never thought I would ever enter the arts of any kind as a way to live. Being a woman who was brought up in the ’40s and then the ’50s, I didn’t even foresee that possibility for myself. 

“I grew up in very modest circumstances, five people in a one-bedroom apartment when I was young. I didn’t have big dreams of anything except going to college. That was a big deal to me. I loved my teachers, so I thought I really want to teach. I never had the dream of doing anything in the arts. It didn’t seem like it would be practical enough. It just never occurred to me that that would be something I would do.”

On seeing her first theater production at �������ý��Ƶ, a staging of Macbeth directed by David Mayer III:

“I was just blown away by it. I had done some theater. I wasn’t one of those kids who did musicals and stuff in high school, but at Downer I had done theater. And I was just blown away by this production.”

On her early mentors in theater at �������ý��Ƶ, Mayer and Ted Cloak:

“When I got to �������ý��Ƶ, I decided I would take an acting class from Ted Cloak, who was probably one of the best acting teachers I have ever had, even including the three years I spent with Duncan Ross (in a professional acting program in Seattle) and all these other fabulous people. But Ted Cloak was a wonderful acting teacher, and he loved theater and understood it, and the productions they did, they were just phenomenal.

“I really believe that because of David Mayer and Ted Cloak, I found that theater was more than I thought it was. I really loved it although I still didn’t buy the idea of it as a career at that point. But I became much closer to that idea. �������ý��Ƶ opened my eyes completely to the richness of the arts, particularly the theater and the film arts. It was remarkable what an influence it had on me.”

On making the transition from Milwaukee-Downer to �������ý��Ƶ:

“I was only at �������ý��Ƶ for one year. But it was a year that was packed with amazing things for me. Downer was a very good school in that the professors there were kind of radical. … They were sharp people. They radicalized me politically. Got me involved in the Civil Rights movement. Linus Pauling came to talk with us, Upton Sinclair. It was amazingly rich for a tiny, tiny school. But �������ý��Ƶ took that and just broadened it – everything became broadened and deepened.”

On ditching her teaching career for theater after she and then-husband Phil Shallat moved to Seattle so he could study theater in graduate school:

“I was teaching high school there. … He said, there’s a new thing they’re doing (at the University of Washington School of Drama), a professional acting training program. I said, wow, that is so cool. Meanwhile, I had applied to teach at a terrific private school there. … But Phil suggested I also audition for that M.F.A. program. And I did, just on a lark. And on the same week, I got an acceptance into the (acting) program and an offer for my total dream teaching job. I held those two envelopes up and went back and forth and said, oh, heck, I’m going to do the acting thing. It was a whim almost.”

On her forays into acting after earning a master’s in fine arts from Washington’s Professional Actor Training Program:

“I acted in Seattle, but I knew somewhere in my head that acting, I just didn’t have a tremendous passion for it. I liked it. I loved doing it. But it wasn’t complete for me. I wasn’t secure with it or something.”

On her introduction to directing:

“I moved away from Seattle and down to San Francisco and then I got a job at South Coast Repertory in 1975, and they didn’t hire me for acting but they hired me to teach in the conservatory. And that led me to teaching at the colleges around there, so I was kind of cobbling together a bunch of teaching jobs but then what happened is Orange Coast College said we don’t have the money for you to teach next quarter but do you want to direct a play? So, I directed The Rivals, an 18th Century English play that I really liked. And I fell in love with directing right then and there.”

On embracing and thriving as a theater director, earning five L.A. Drama Critics Awards along the way:

“It all happened through my education in a way. If I hadn’t had the background of this liberal arts education I wouldn’t have been able to make a living doing the teaching part while I searched for what finally struck home for me — the directing.”

On turning to TV directing in the mid-1980s:

“That was another leap. That was like a crazy leap where I was now a resident director at South Coast Repertory. … I’d done some good directing, a lot of directing, to the point where in L.A., I had a little bit of a name. There weren’t a lot of women directing in theater then. 

“But I began to wish sometimes in productions I directed that I could do a close up. That sort of made me realize, maybe you really need to look at film. I applied to the AFI, the American Film Institute; they had a program for helping women get into film. But I didn’t get accepted. I continued to direct in L.A., and my friend Joe Stern, who was a producer on Law and Order, knew TV people as well as theater people. He said, Gary Goldberg has this new show called Family Ties. He’s looking for a woman director because there was some pressure at the time to start hiring women. You can see how far that got after 35 years.

“He said he wants someone who was good with actors, not just technical. I went in and I met Gary Goldberg, and he liked me, and we were the same age, so that was cool. He said, come in and observe. … So, after almost 10 years (at South Coast), I just quit. I had no idea if this was going to take me anywhere or whether I would succeed or not. I just moved up to L.A. and started observing on Family Ties, and I remember I was observing that show from August until, I think, October. … I started borrowing money from my boyfriend, … and then finally on the schedule my name came up for a show in February. So that’s how it all started.”

On how difficult the transition to TV proved to be:

“I think I did six to eight episodes of Family Ties. But not all before I moved on. That year I did one, then the next year I did two. Family Ties people knew me before I stepped up and they were there to support me because I’d been observing there and they were kind to someone just starting out. You go to other shows and they don’t know that. They just know that you don’t know what you’re doing yet. So those are tough times. Part of my speech is how tough it was. You get a few episodes and you try to develop. … You try to get as many gigs as you can and hopefully make a good impression so they’ll ask you back. What I realized is it takes 10 years to be good at that. And we were live-cutting shows. That was really, really hard.

“I had the support of knowing that I was educated. And that sounds weird, but it was actually quite significant to me that I knew things. I knew I could analyze a script, I knew that I could understand things. I could communicate well, I understood tone, I understood people. I was older than a lot of people who start. So, I had lived some life, too. And these were the things that buoyed me up during these very tough times.”

On highlights of a career that would include directing and/or producing work on Murphy Brown, Spin City, Northern Exposure, Arrested Development, Gilmore Girls,�����Ի���The Middle, among others:

“Murphy Brown was certainly a big jump up for me. That’s when my agent finally talked somebody into getting me onto what you’d call a real major show. Working with such good writers. … And once I had Murphy Brown under my belt, that got me an Emmy nomination, and, all of a sudden, I was kind of accepted. I was brought into the club, I guess you could say.”

On her latest work, a nine-year run as director on The Middle:

“I got to be full-time on that for nine years, and we all became a family. That was a wonderful experience.”

On directing Michael J. Fox, first on Family Ties and later on Spin City, when, unbeknownst to most, he was beginning his battle with Parkinson’s disease:

“Michael J. Fox, I love to talk about him. Initially, Family Ties was supposed to be about two hippie parents who all of a sudden discovered that their kids are conservative. It was that reversal thing. But here comes this guy playing the conservative son who likes Nixon and stuff, and he was so funny and so inventive, and what happens in comedy is that the writers want their jokes to sail, so they start writing for that guy because he’s so good. All of a sudden, the show flipped, because Michael was so damn funny it became more centered on him. He became the star of the show.

“Michael is an interesting guy. He plays the comedy so well and it was a delight to watch him develop and sail, and you take good writers and then you take this great young actor and you watch it as they just start feeding each other. That was quite a wonderful thing to see. I loved watching that.

“Then I got to work with him on Spin City for a whole year in New York. And that’s when I learned that he had Parkinson’s. Nobody knew about it except me and Gary Goldberg because they didn’t want to make it public yet. And it was very challenging for Michael. But he was ever wonderful and I admire him so much.”

On working with Lauren Graham on Gilmore Girls, first as a director, then as an executive producer:

“Lauren Graham and I became friends during that last season on Gilmore Girls. It was very challenging because Amy Sherman-Palladino, the creator of the show, went away and that took the heart of the writing with it. Now she’s doing The Marvelous Mrs. Maisel, and she’s a brilliant writer. But here we were with a whole year to do the final season of the show; the actors and writers worked incredibly hard to keep the tone of the show consistent. That is a very hard thing to do when for all previous years, Amy had written most of the scripts. Bless those writers and Lauren, they did a phenomenal job.”

On her respect for Jason Bateman, who she directed on Arrested Development:

“I love Jason Bateman. I adore him. Jason and I did a few pilots together before Arrested Development. A lot of the network people thought he was going to be or should be the next Michael J. Fox. But he wasn’t, that wasn’t Jason’s humor.

“I think he went through some real struggles, and then all of a sudden Mitch Hurwitz writes this brilliant series called Arrested Development and it taps into the real place where Jason can shine. I was so happy for him because it validated him, and now he’s got a great, great career. And he’s the nicest guy in the world and he was just very lovely to work with always.” 

On whether last year’s series finale of The Middle means the end of her career:

“I don’t know. I did the pilot for a spinoff from The Middle this fall, with the Sue character. It didn’t get picked up. I wrote a note to my agents and said, I’m not dead yet. But I don’t know. I feel maybe it’s time to give back again and do some other things. I’m at a crossroads, but I’ll see what comes up next season.”

On returning to �������ý��Ƶ while not knowing what comes next:

“I’m like the graduates in a way. What am I going to do now? I just want to be open to stuff. I feel like I am in an interesting place in my life.”