Stand-up comedy is one of the simplest theatre forms in existence. The comedian stands on a (usually) bare stage, talking straight to the audience in the hope of getting laughs. Yet it has never been more popular, with national scenes developing across every continent except Antarctica. In this insightful and accessibly written volume, diverse chapters explore the subject from many angles, ranging from national scenes, live venues, and recordings to politics, race, sexuality, and the question of offensiveness. Chapters also consider the performance dynamics of stand-up in detail, examining audience, persona, and trauma. Interspersed throughout the chapters are a series of originally commissioned interviews with comedians from nine different countries, including Maria Bamford, Jo Brand, Aditi Mittal, and Rod Quantock, providing rare insights into their craft.

The Introduction starts by considering stand-up in Mort Sahl’s terms, as ‘a primitive form of theatre’. Using a quote by Tony Allen to pin down its key feature, it argues that stand-up is defined by centring on the performer themself, a direct relationship between performer and an active audience, and the appearance and possibility of spontaneity. After briefly considering the history of stand-up in the USA and UK, it goes on to recount the less familiar story of how it developed in Australia, from the emergence of Rod Quantock to the rise of the modern comedy club in the 1980s. It then considers its rapid expansion around the world in the last 30 years – paying particular attention to India, Estonia, and Belgium – and its continuing relationship with the English language even in non-anglophone countries. It finishes with an explanation of the scope and structure of the rest of the book.

Stand-up comedy is one of the simplest theatre forms in existence. The comedian stands on a (usually) bare stage, talking straight to the audience in the hope of getting laughs. Yet it has never been more popular, with national scenes developing across every continent except Antarctica. In this insightful and accessibly written volume, diverse chapters explore the subject from many angles, ranging from national scenes, live venues, and recordings to politics, race, sexuality, and the question of offensiveness. Chapters also consider the performance dynamics of stand-up in detail, examining audience, persona, and trauma. Interspersed throughout the chapters are a series of originally commissioned interviews with comedians from nine different countries, including Maria Bamford, Jo Brand, Aditi Mittal, and Rod Quantock, providing rare insights into their craft.

Stand-up comedy is one of the simplest theatre forms in existence. The comedian stands on a (usually) bare stage, talking straight to the audience in the hope of getting laughs. Yet it has never been more popular, with national scenes developing across every continent except Antarctica. In this insightful and accessibly written volume, diverse chapters explore the subject from many angles, ranging from national scenes, live venues, and recordings to politics, race, sexuality, and the question of offensiveness. Chapters also consider the performance dynamics of stand-up in detail, examining audience, persona, and trauma. Interspersed throughout the chapters are a series of originally commissioned interviews with comedians from nine different countries, including Maria Bamford, Jo Brand, Aditi Mittal, and Rod Quantock, providing rare insights into their craft.

Stand-up comedy is one of the simplest theatre forms in existence. The comedian stands on a (usually) bare stage, talking straight to the audience in the hope of getting laughs. Yet it has never been more popular, with national scenes developing across every continent except Antarctica. In this insightful and accessibly written volume, diverse chapters explore the subject from many angles, ranging from national scenes, live venues, and recordings to politics, race, sexuality, and the question of offensiveness. Chapters also consider the performance dynamics of stand-up in detail, examining audience, persona, and trauma. Interspersed throughout the chapters are a series of originally commissioned interviews with comedians from nine different countries, including Maria Bamford, Jo Brand, Aditi Mittal, and Rod Quantock, providing rare insights into their craft.

This chapter explores stand-up comedy in the UK arising out of comic song in the music hall. Spoken patter rather than songs became the centre of performances of the front cloth comedians in variety theatres, which continued until the 1950s. Subsequently, stand-ups found other places to perform, notably the working men’s club (WMC), with varied performance styles but a shared canon of jokes. The working-class Londoner is a performer and type existing across the development of stand-up. Alternative comedy arose from 1979 as a critique of the perceived sexism, racism and limited creativity of WMC comedy, and most comedians since have careers within these broad parameters. Despite this, inequalities still exist in the UK stand-up scene, and the consequences of the Covid pandemic were greater for comedians affected by inequalities of class, gender, race, disability, and sexuality who suffered more severe career setbacks, being less able to garner income online.

The comic persona lies at the very centre of the art of stand-up, despite being inherently ambiguous. The relationship of the person on display in a performance and the private individual in everyday life is never clearly defined. This chapter starts by using a routine by Mae Martin to show how wafer thin the line between life and art is in stand-up, before examining how comedians inspire affection in their audience, using Sarah Millican’s Outsider as an example. It explores how comedians’ careers can be damaged by revelations about their private lives, using Louis CK and Aziz Ansari as contrasting examples. It then examines the rise of the ‘dead dad show’, in which comedians create full-length shows based on personal trauma, tracing this tendency back to a 1980 routine by Tony Allen. This leads into a case study of Russell Kane’s show Smokescreens and Castles, about his troubled relationship with his father.

Stand-up comedy is one of the simplest theatre forms in existence. The comedian stands on a (usually) bare stage, talking straight to the audience in the hope of getting laughs. Yet it has never been more popular, with national scenes developing across every continent except Antarctica. In this insightful and accessibly written volume, diverse chapters explore the subject from many angles, ranging from national scenes, live venues, and recordings to politics, race, sexuality, and the question of offensiveness. Chapters also consider the performance dynamics of stand-up in detail, examining audience, persona, and trauma. Interspersed throughout the chapters are a series of originally commissioned interviews with comedians from nine different countries, including Maria Bamford, Jo Brand, Aditi Mittal, and Rod Quantock, providing rare insights into their craft.

Stand-up comedy is one of the simplest theatre forms in existence. The comedian stands on a (usually) bare stage, talking straight to the audience in the hope of getting laughs. Yet it has never been more popular, with national scenes developing across every continent except Antarctica. In this insightful and accessibly written volume, diverse chapters explore the subject from many angles, ranging from national scenes, live venues, and recordings to politics, race, sexuality, and the question of offensiveness. Chapters also consider the performance dynamics of stand-up in detail, examining audience, persona, and trauma. Interspersed throughout the chapters are a series of originally commissioned interviews with comedians from nine different countries, including Maria Bamford, Jo Brand, Aditi Mittal, and Rod Quantock, providing rare insights into their craft.