The Changing Face of Comedy

Ricky Freelove looks at how the comedy world has changed in the 21^st century.

IN the last ten years comedy has undertaken a major facelift with the introduction of stadium tours, tickets selling by the hundreds of thousands and some comedians earning more in a year than the Beckhams.

Photo Credits: artsmag.co.uk

Just from browsing on Ticketmaster it is clear that comedy is very much a heavy weight when it comes to the arts; the category would appear bare if comedy was not a prominent section within it. However, it must be recognized that this is very much a characteristic of the 21st century. This is not to say comedy was not popular in the 20th century, however never before has there been such popularity for the genre on stage or on TV, nor has there been such money in the business.

In 2010/11 Peter Kay’s Tour That Didn’t Tour, Tour sold some 1.2 million tickets and went on over 18 months, with 40 consecutive nights at the MEN arena. Similarly both Peter Kay and Michael McIntyre earned over £20 million during 2011, demonstrating how comedy is clearly a ‘big deal’ in the 21st century.

So why has comedy become so popular in the 21st century? One explanation as to why comedy has blossomed in recent years is due to the exponential increase in quality of technology. Huge high definition video screens and clearer digital sound have enabled comedians to become more accessible and comprehensible for huge audiences. The rapid increase in technology is the only reason comedians like Lee Evans, Michael McIntyre and Peter Kay have been able to play in venues as large as the O2 arena.

Another reason as to why comedy (especially stand-up) has become so popular in the twenty-first century is due to TV panel shows such as Never mind the Buzzcocks, Would I Lie To You? and of course Mock The Week. All of which have received huge attention over the last decade; their success on the box unintentionally advertises stand-up comedians and are perhaps responsible for the buzz for comedy this decade.

Photo Credits: BBC

Likewise, since 2004 Live At The Apollo has specifically broadcasted stand-up comedy and showcased many of the biggest acts and has advertised many, perhaps less well known comedians to fame.

Interestingly, comedians appear to have taken on a responsibility to perform and entertain in TV aid programmes such as Comic Relief, Children In Need and the Royal Variety Show.  Stand-up and sitcoms’ large participation in such programmes demonstrates that the British public want to see comedy and are more likely to donate money to good causes because they have had a good night in, in their own living rooms.

The success of comedians on stage and on TV in the 21st century seems to be supported by the availability of comedians regularly featured on television programmes, which further adds to their success on stage, forming a Catch-22 in the comedy world: the success of comedians on stage allows them to feature on panel shows or to play gigs which are recorded and shown on television. This then increases their popularity and the cycle starts again for their next stand-up tour. Many examples come to mind, such as Russell Howard, Micky Flanigan and Lee Mack.

Ricky Freelove, Arts Editor

ECWS: Dying in 50 Pound Nike Sb Vulc Rod Men's Shoes – Frankie Plummer

Following a society workshop session on the subject of “Silence”, we asked Exeter’s Creative Writing Society to send in their inspired work. What follows is a moment of silent pain and humiliation…

Dying in 50 Pound Nike Sb Vulc Rod Men’s Shoes

He stood in the backstage area which consisted of a room, a chair and a mirror in which he looked at himself. He began to doubt whether he felt “funny” in his shoes, and whether the audience would think he was good. His face was perspiring constantly.

A man came in and gestured that it was his turn. The room was vibrating as he walked on stage. The audience stared at him, judging him. Their smiles from the previous act faded. His hands were shaking and he could feel the sweat on his palms. He clumsily adjusted the microphone to his height and took a sip of water so he could speak.

He said “Hello” while looking down at his £50 Nike shoes. The audience said “Hello” back. This was a good start, he thought.
He started doing his act, hoping the audience would laugh in the right places and not heckle him. He really didn’t want to get heckled.

Two minutes into his act no one was laughing and he felt like everyone in the room silently hated him. He was shaking a little more now and looked nervous. He realised this, which made him shake even more and look more nervous. He realised this too, which made him shake even more and look more nervous, and so on.

He continued with his act even though he was the only one self-consciously laughing. He became distracted by a woman at the back of the room having a phone conversation. Not because it was rude, standing on a stage demanding people listen to you is rude, but because people seemed to be more interested in her than him. He wished someone rang him so he could answer his phone and talk to someone – Samaritans, preferably.

He didn’t feel bad really. He felt sorry for those who were listening; it must be very uncomfortable to watch a man die a social death. He wished that someone would come on stage and hug him and say “It’s okay” repeatedly, while the audience would feel bad for not laughing.

At the end of his five minute set he walked offstage to insincere applause as a fat man shouted “gay sex” at him. He sat in the dressing room in silence. “It’s the shoes” he thought.

By Frankie Plummer