Comedy reviews, news & interviews
It's always an education to see a comic – now a part of the British comedy establishment – performing a gig in his own backyard. And Dara Ó Bríain, at the Royal Theatre in Castlebar, Co Mayo, was just that; he had, as ever, done his homework, immediately throwing in several local references, plus a few more that his Twitter followers would recognise, and told them that returning to his home country on the Irish leg of his Crowd Tickler tour after a few years away from the stage was an...
Many of the audience for An Evening with Noel Fielding were still in nappies when the comic first plied his trade as one half of The Mighty Boosh with Julian Barrett, which started life on the Edinburgh Fringe in the late 1990s and quickly became a cult hit.But since Howard Moon and Vince Noir have been put into mothballs, Noel Fielding has forged a career as an actor (The IT Crowd), television host (Never Mind the Buzzcocks), and the creator of several outlandish characters in various solo TV...
British comedy has a honourable history, dating back to Chaucer’s Canterbury Tales, through Shakespeare’s and Restoration plays to Victorian and Edwardian music hall and its offspring variety, and on to Monty Python’s Flying Circus, working-men’s clubs, 1980s alternative comedy, and today's hugely popular stand-up acts in stadiums seating up to 20,000 people.
In broadcast media, the immediate decades after the Second World War marked radio’s golden age for comedy, with shows such as ITMA, The Goons, Round the Horne and Beyond Our Ken. Many radio comedy shows transferred to even greater acclaim on television - such as Hancock’s Half Hour, The Hitchhiker's Guide to the Galaxy, Knowing Me, Knowing You, The Day Today, Red Dwarf, The League of Gentlemen, Goodness Gracious Me and Little Britain.
In television, the 1970s and 1980s were the great age of British sitcom, when shows such as Steptoe and Son, Till Death Us Do Part, Rising Damp, Dad’s Army, Porridge, Yes, Minister, Only Fools and Horses, Fawlty Towers and Blackadder. They were marked by great writing, acting and directing, although the time should also be noted for great British dross such as On the Buses and Love Thy Neighbour.
By the 1990s, British sitcom had developed into intelligent über-comedy, with shows such as Absolutely Fabulous and The Office making dark or off-kilter (although some would say bad taste) shows such as Drop the Dead Donkey, Peep Show, Green Wing and The Inbetweeners possible. In film, British comedy has had three great ages - silent movies (Charlie Chaplin being their star), Ealing comedies (Passport to Pimlico perhaps the best ever) and Carry On films. The first are in a long tradition of daft physical humour, the second mark the dry sophistication of much British humour, and the last the bawdiness that goes back to Chaucer.
The 2000s marked the resurgence of live comedy, with acts (including Jimmy Carr, Peter Kay and Russell Howard) honing their talents at successive Edinburgh Fringes and their resulting TV, stadium tour and DVD sales making millionaires of dozens of UK comics. Comedians cross readily from TV to stand-up to film to West End comedy theatre. The British comedy industry is now a huge and growing commercial business, with star comics such as Peter Kay and Michael McIntyre grossing tens of millions of pounds from arena tours, and attendances of up to 20,000 at venues across the UK.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 7,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
latest in today
Leicester's finest may not be critical sweethearts but, in concert, th...
The unassailable mother ship of science fiction movies is a sacred cow
A Russian artist who casts an affectionate eye over people going about thei...
Danish family saga promises heavy weather. Don't miss it
Louise Brooks lights up Pabst's melodrama of a young girl's road...
How can music express the unimaginable?
Dance approaches religious experience in the hands of two truly magnificent...
Australian live-wire violinist leads classical and romantic string music wi...
Carlos Acosta's sunny romp of a production returns, with improvements
Austere German drama of extreme religion packs a bleak punch
A jazz festival finale of rare brilliance
Excitingly relevant revival of Philip Ridley’s 2008 play about sibling riva...
How the man from Montenegro put the classical guitar in the spotlight
Brassy office comedy recalls the early days of financial crisis
Nearly all videogames are fantastical, but few are interestingly fantastica...
Entertaining enough, but this three-parter is about as vapid as its subject