Funny's Funny - That's What She Said

I’d like to start this piece by thanking Funny Women, which is a pretty unusual thing in the comedy community right now. The organisation is less popular than ever, following their recent decision to start charging entrants £15 to compete in their annual all-female contest. It was the last straw for many from an organisation which seems to have set back feminism far more than it has promoted it. Whilst founder Lynne Parker denies such allegations, female comics all over the country tell tales of censored material and a clear steer towards lovely girlie acts performing 'appropriate' material. Parker was allegedly thrilled by any competition winner who "looked pretty on the posters".

Funny Women’s latest move has been described as causing controversy in the comedy community, but that’s not entirely accurate. In fact, it has caused unity, distilled in the creation of new co-operative organisation Funny’s Funny, who are running their own competition this month to promote the best of female talent. Entry is free, material is uncensored (provided, of course, that it is original), and the competition is open to anyone who identifies themselves as female.

However, this isn’t about the industry uniting against a common enemy. "Leading by example" is how Funny’s Funny co-founder Ashley Frieze puts it. Frieze was a leading voice in the outcry against Funny Women’s actions, but rather than just sit back and complain about inadequate provision, he decided – together with fellow comics Okse, Jane Hill, Rob Coleman and Bethany Black – to create a workable alternative.

But does an organisation promoting women, but which is run predominantly by men, not run the risk of seeming patronising? “I don’t think we who are male see it that way,” says Frieze “Why can’t men appreciate the value of women in comedy?” This in fact is feminism at its very strongest. It’s not about treating women differently, pandering to their delicate sensibilities and uncomfortable shoes, or ghetto-ising them. It’s about recognising that any comedian is part of the same community, and that the predominate function of that community is to be funny.

But if that’s the case, why do a female comedy competition at all? This was a question raised by Chortle editor Steve Bennett when Funny’s Funny emailed him to call on his support.

“It’s not our philosophy that women must have their own competition,” explains Frieze “Our philosophy is that it doesn’t matter what your gender, or persuasion, or anything else, is – if you’re funny, you’re funny." But they did see the need to redress the imbalance caused by Funny Women's monopoly on declaring the title of Funniest Female Comedian.

Well, it was good enough for Bennett. Chortle have thrown their whole-hearted support behind the competition; hosting the final, donating the prize money and – perhaps most importantly – ensuring the presence of industry professionals at the final, making it an invaluable showcase for all the finalists.

It’s a clear message of solidarity, and one that has been echoed by club owners, promoters and comedians all over the country. Frieze describes that he was “touched” by the way the industry have responded. “There’s a clear message that the comedy industry likes its women.”

This isn’t about Girl Power, Solidarity Sistas or positive discrimination. It’s about comedy and genuine equality.