Last year, the announcement of a stand-up comedy season at London's Royal Court, curated by comedy producers Avalon, raised eyebrows and sparked a debate about the integrity of the esteemed theater known for its commitment to radical drama. However, this blending of comedy and theater is not a novel concept. The Park Theatre in London recently introduced a comedy strand in response to the challenges faced by theaters in the current climate.
Catherine McKinney, the executive director of the Park Theatre, acknowledges that financial considerations play a role in this trend. The theater industry is facing financial constraints, with rising costs, reduced subsidies, and diminishing traditional sources of funding. In such circumstances, incorporating stand-up comedy makes sense as it requires lower investment compared to theater productions. Stand-up can be executed quickly and easily without the need for extensive rehearsals or elaborate sets.
Additionally, since many venues are still not operating at full capacity due to the impact of Covid-19, incorporating stand-up comedy helps attract new audiences, including sought-after demographic groups. McKinney points out that when the Park Theatre presented previews of Julia Masli's comedy show, they found that 52% of the audience was new to the theater. This influx of newcomers is seen as a positive development.
McKinney, who previously worked at Soho Theatre, recognizes the pioneering role of her former employer in the convergence of comedy and theater. She believes that if a theater space is empty, it should be utilized rather than left unused. Comedy programming is not intended to replace theater but rather to supplement it. McKinney emphasizes that theater remains of utmost importance, and comedy can be scheduled alongside theater productions, family performances, community events, and other activities to maximize the use of under-utilized theater spaces.
Jon Thoday, the head of Avalon, has been advocating for comedy in mainstream theaters for years. He sees the incorporation of stand-up comedy as a way to build audiences for mid-range comedy acts, especially since television is currently less interested in comedy. Thoday believes that this collaboration between comedy and theater benefits both art forms and helps them survive in challenging times.
While some may view the inclusion of comedy in theaters as a threat to traditional theater, McKinney and Thoday argue that the boundaries between different art forms are more fluid than people think. They see it as an opportunity for theater to evolve and thrive, with influences and talents from both theater and comedy intersecting and enriching each other. They believe that this integration is not the end of days for theater but rather the beginning of a new era, where different art forms can support and sustain each other.