Comedy and The Velvet Glove

Iain Christie, Marketing Manager at Liverpool’s Royal Court, makes the case for comedy as one of the best ways to make social and political comment.

Last Friday 3.5 million people watched the ten o’clock news. Just an hour earlier 5.2 million watched Have I Got News For You.

I was one of the 1.7 million who switched off between the two as I’d had my fill of news from Paul Merton and Ian Hislop so I didn’t need to stick around to get the more straight-laced version.

The biggest problem that news has is that it’s boring. It doesn’t make you smile, it doesn’t make you sing. It’s just not entertaining.

More and more people are turning to comedy and satire to find out what is going on in the world. In America The Daily Show and Last Week Tonight With John Oliver highlight serious issues every week while the news channels fill the hours with bluster and opinion.

Many Americans watch Comedy Central for news and Fox News for entertainment.

As I was growing up, the vast majority of my news and current affairs came from television shows like Spitting Image and HIGNFY as well as radio such as The Now Show and Dead Ringers. Private Eye was always lying around at home and I started off reading the cartoons before graduating to the articles for further political insight.

Spitting Image was particularly good at creating a shorthand for politicians. You knew who held each cabinet post because you could see them being lampooned on a Sunday Night, which in turn helped wider political debate around the country. The caricatures were merciless and David Steel’s portrayal as a tiny man who lived in David Owen’s pocket was so damaging that he believed it ended his political career.

Much laughter comes from shared experiences. The comedian or actor puts forward a situation and the audience show their understanding and affinity through laughter. That laughter in a group situation shows the audience member that they are not alone and that can lead to discussion and debate.

The point of all of this worthy waffle is that comedy can be very, very effective for getting a point across. Whether it is a political one or a social one comedy can reach people in way that speeches and lectures can’t.

The judges for the Liverpool Hope Playwriting Prize are looking for something to make them laugh. This could be silly or witty, clever or stupid but don’t be put off by the idea that comedy is less worthwhile than drama.

Recently we produced Alan Bleasdale’s Down The Dock Road and we saw how powerful drama can contain great moments of comedy. Audiences remember Alan’s Boys From The Blackstuff and talk about it with great fondness. Their memories are of a very funny programme that kept them entertained on a Sunday night in spite of the fact that it was a hard hitting political drama with some elements of comedy.

Down The Dock Road was the same. Audiences were visibly taken aback by the political nature of the show but there was enough humour in there to keep them listening. The message came through much more clearly as the audience was more receptive.

Many playwrights want to change the world but, at the moment especially, the world is full of comedians calling for change. If you are looking to enter the Liverpool Hope Playwriting Prize then you don’t need to abandon serious ideas or messages, just make them funny!

Liverpool’s Royal Court

Find out how last year’s winner Katie is preparing her play for the stage

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Playwriting Prize Now Open

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The second Liverpool Hope Playwriting Prize is now open for entries.

One comedy writer will walk away with £10,000 and the opportunity to have their play considered for production by Liverpool’s Royal Court, while up to two Highly Commended awards of £1,500 will also be on offer.

New judges for this year include comedian and actor Les Dennis, playwright Amanda Whittington, editor of The Stage Alistair Smith and last year’s winner Katie Mulgrew.

Returning to the judging panel are screenwriter and novelist Frank Cottrell Boyce, Royal Court Chief Executive Kevin Fearon, Playwright and critic Paul Allen, Liverpool Hope University theatre expert Dr John Bennett, and the Liverpool Echo’s arts editor Catherine Jones. The panel will read the final ten scripts and announce the winner in Spring 2017.

The Stage and the Liverpool Echo have both been confirmed as media partners for the 2016-17 Playwriting Prize.

Budding playwrights have until May 31st 2016 to submit their comedy stage play. This year’s competition is open to anyone over the age of 18 in any UK territory or the Republic of Ireland.

There is a £20 entry fee.

Scripts (in PDF or Microsoft Word format) should be uploaded to the Liverpool Hope University Online Store at store.hope.ac.uk from 10am on Thursday 18th February.