Behind the laughter and applause of Britain's comedy circuit lies a disturbing reality of manipulation, coercion and predatory behaviour that female comedians face regularly. Author and journalist Julia Raeside has exposed this dark underbelly in her novel Don't Make Me Laugh, recently shortlisted for the Comedy Women in Print awards.
The Reality Behind the Microphone
Raeside's inspiration came from a chilling incident she witnessed at the Edinburgh Fringe three years ago, where a young female comedian recounted how a promoter demanded oral sex in exchange for another performance. This wasn't an isolated case but part of a pattern that has forced women in comedy to create protective networks.
"Stand-up comedy is probably the worst profession within showbusiness when it comes to male behaviour," Raeside tells Metro. Women across the industry have formed WhatsApp groups and collaborative Google spreadsheets to identify and track sexually predatory male colleagues, warning each other about who to avoid sharing lifts with or which comedians present the greatest risk.
A System of Control and Fear
The problem extends beyond female comedians to include fans and follows performers on tour. "They tour, like travelling salesmen, but it's often not even about having lots of sexual partners for some," Raeside explains. "They keep the control going remotely from wherever they are."
This culture of control was starkly illustrated when Raeside's book promotion faced resistance. She was scheduled for a radio show hosted by a male comedian, but the appearance was cancelled three times after the host understood the book's subject matter. The producer eventually admitted: "He doesn't want to talk about the subject on air, because he has to work with these guys."
The 2022 No Laughing Matter survey revealed alarming statistics about the UK live comedy scene:
- 21% of workers have observed or experienced workplace sexual harassment
- 63% have witnessed or experienced frequent sexual banter and graphic sexual descriptions
Why Victims Remain Silent
Women face significant barriers when considering speaking out against powerful figures in comedy. "These stories are hard to stand up legally," Raeside notes from her journalistic experience. "The men are often careful too, getting to a grey area that means they aren't breaking the law."
Victims risk not being believed and face potential career destruction through male retaliation within the tight-knit "stand-up brothers" network. The power dynamics make challenging established figures particularly difficult for those building their careers.
Raeside identifies a particular type of problematic comedian: "Who present themselves as the nice guy, someone a bit chubby in a cardigan, someone who you would feel safe with. But often this type of comedian is hiding something much harder and colder underneath."
High-Profile Cases and Industry Response
Several prominent cases have brought the issue to public attention. In 2017, Louis CK admitted to masturbating in front of female comedians during what they believed were career-changing meetings. Despite being dropped by his talent agent and streaming services initially, he later won a Grammy and plans to tour Britain next year.
More recently, the 2023 Channel 4 Dispatches documentary Russell Brand – In Plain Sight became the most-watched programme in the series' history, detailing allegations of assault and rape. The comedian has been charged by the CPS and will stand trial next year.
In August this year, another UK comedian and former reality contestant was charged with six sex-related offences against three women and will stand trial this month.
Organisations like Get Off Live Comedy have emerged as independent HR resources in an industry with little accountability. Meanwhile, veteran comedians like Helen Lederer have shared their own experiences from decades in the business.
Lederer recalls a 1983 Edinburgh Festival incident where a powerful TV producer directed her cab to his hotel. "I opted for a trick that was to serve me well for the next few years to both attract and confuse male counterparts, and cried," she writes in her autobiography. "No one likes a crier and we both agreed it would be best if I left."
Raeside believes the comedy context makes addressing these issues particularly challenging. "The thing we always used to be told about comedians is the 'tears of a clown' – that they are often sad or depressed – but if you meet many male stand-ups in real life they are really angry," she observes.
"They have the power behind the mic while they are on stage and they don't want to give hand it back and lose the control they have over the room. It's the same when it comes to women."
While the industry is beginning to confront these issues, Raeside's work highlights how much further comedy must go to create safe environments for all performers.
