George Carlin, a renowned American comic, once expressed that even though comedy might not be characterised as one of the fine arts, the craftsmanship involved in scripting comedy is absolutely an art form. “It’s certainly artistry,” he asserted. Notwithstanding, comedy has yet to be formally recognised as an art in Ireland and hence no funding for comedy is available from the Arts Council as per the current Arts Act. This situation is poised to change with the enforcement of a new Act being considered by the Dáil that could possibly include all forms of comedy, such as stand-up, improv and sketch, in the legislation.
Ailish McCarthy, a famous stand-up comedian, is the one pushing for this change after discovering that a considerable number of her fellow comedians have failed to ever secure funding from the Arts Council. She argues that comedians should be offered similar access to available resources as other artists and not be discriminated due to their profession.
In 1988, a comedy sketch group named Mr Trellis was initiated which included comedians such as Ardal O’Hanlon, Barry Murphy and Dermot Carmody. They set up the Comedy Cellar with Karl MacDermott and funded their pursuit for comedy from their unemployment benefits for six years. The group affirms that humor was an unwelcome factor when it came to grants from the Arts Council.
Others with similar experiences include comedian Sharon Mannion, who serves as the Comedy Cellar’s booker. Her one successful funding application was for a new show which she portrayed as a theatre performance instead of a comedy project in her application.
There appears to be a curious avoidance of comedy by the Arts Council, with stand-up not deemed an appropriate artistic medium. This seems rather incongruous when considering the integral role comedy plays in Irish literature and playwriting, with renowned figures such as Laurence Sterne, Samuel Beckett, Flann O’Brien and Kevin Barry all utilising its influence. For instance, characters from Beckett’s Waiting for Godot are inspired by music-hall acts, while the work of June Caldwell visibly delights in a playful, risqué approach.
Martin McDonagh’s early compositions cleverly incorporated and reinterpreted the esteemed Irish tradition of JM Synge and Seán O’Casey, twisting it into a recognisably dark comedic style. The astute rebelliousness displayed by David McSavage exposes the quirks of the nation, while Tommy Tiernan delves into inherent Irish characteristics and Dylan Moran brilliantly explores the absurdities of the country through a surreal lens, their collected efforts illuminating unique aspects of Irish society that are competitive with any novel or play.
A recent surge in female comedians, including Deirdre O’Kane, Emma Doran, Joanne McNally and Anne Gildea, are making inroads into the industry, offering uniquely feminine takes on life to an expanding female audience. They, along with other comedians, shine a spotlight on our shared experiences, with the communal act of laughter providing both acknowledgement and escape from our increasingly atomised world.
After all, the art of stand-up has the potential to create communities, as is evident in the loyal following built by performers such as Jason Byrne. His recurring audience, eagerly anticipating his storytelling, offers testament to comedy’s power of connection and community. In his recent show “Paddy Lama: The Shed Talks”, Byrne successfully illustrates comedy’s potential to entertain while simultaneously offering striking socio-cultural commentary. Therefore, it begs one to question the reluctance of the Arts Council to acknowledge stand-up comedy amongst its recognised art forms.
There’s a prevailing notion that comedy isn’t regarded as an artistic pursuit due perhaps to an understanding that comedy is primarily a business operation. This might be applicable to high-profile comics performing in large arenas annually, but there are numerous comics beneath them who show their acts in more intimate venues. This underscores the significance of comedy clubs.
Many years ago, Lorcan Hughes, a comedian and musician, proposed to the Arts Council to fund a comedy club. He had observed that music clubs received support provided they fostered new talents. His attempt to mimic this model in comedy, however, was unsuccessful.
Comedy clubs are integral for comedians.
For over three decades, Brian Coughlan has managed City Limits in Cork. He highlights a recent issue that comedy clubs are facing.
“Recently, we’ve discovered that theatres are becoming our primary competition,” he shares. “They are pivoting away from plays with actors towards an increasing number of stand-up shows. Theatres can stage shows with minimal risks, thanks to extensive funding. If comedy clubs received funding for comedy, we could have more comedy, more frequently, and compete on an equal playing field.”
Coughlan emphasises the pivotal role of his type of clubs. “Every successful comedian performing in a sold-out theatre started and honed their skills in a comedy club. Hence, funding from the Arts Council would promote and cultivate future generations of comedians, ensuring the resilience of the stand-up industry.”
Mannion, the booker of the Comedy Cellar, agrees: “I’ve become increasingly aware of the current scarcity of support. Each comedy club exists in isolation, managing independently, hoping to sell sufficient tickets and draw enough audiences to compensate the performers.
“Generally, these clubs are managed by individuals passionate about this art form. Certainly, it’s not an easy path to a quick profit… When every decision hinges on a commercial standpoint, it minimally allows room for innovative creative expression and experimental approaches.”
McCarthy has played a significant role in creating the Irish Comedy Guide website. Her objective behind this initiative was to offer a platform for comedians to forge their careers. Though she receives no remuneration for providing this free service, it has become a significant channel for comedians to gain exposure to workshops, training days, and to apply for open calls for artists.
McCarthy previously expressed interest in serving as an external advisor to the Arts Council, in an effort to elevate the recognition of comedy as an art form. However, given that such a position would render her ineligible for Arts Council funding due to possible conflict of interest, she chose to withdraw her interest.
The council announced an extensive research project that aims to study new and existing art forms and practices in Ireland. The findings of this research, due to be concluded by Summer 2025, are expected to aid the Arts Council in becoming more inclusive to developing art forms and practices when distributing funds.
A potential game-changer in this scenario is a change in legislation, which could come about thanks to Aengus Ó Snodaigh, a Sinn Féin TD. He, along with Eoghan Ó Finn, reached out to McCarthy for a survey on the state of the arts in Ireland, particularly to determine the challenges faced by comedy in the contemporary scenario.
This communication led to Ó Snodaigh introducing the Arts (Recognition of Comedy) (Amendment) Bill 2024. This proposed law, currently in its second stage of the eleven necessary to become a statute, will recognise “comedy” in the legislation dictating the art forms that the council includes in its support structures and policies.
McCarthy is optimistic about the Bill’s prospects. She believes that its passing would place comedians on equal footing with other performing artists, with regard to access to mentorships, writing desks, developmental days, training, and workspaces.
Mannion, however, indicates that the presently insufficient funding is available only to those with the financial means to support themselves in pursuing stand-up comedy, thus limiting access. This, she argues, is not only unfair, but it also hinders the discovery and promotion of exciting and original talent.