Skip to main content

'I'd love to see their parents' bank accounts': corona and comedy's class divide

From care work to shelf-stacking, many standups have taken up jobs to survive lockdown – highlighting how privilege has created a two-tier system in comedy

On 16 March, when Boris Johnson advised people to avoid pubs and theatres, the effect on live comedy was instant. “That night was like Take Me Out when all the lights go off, but with my diary,” says standup Lauren Pattison. “The first month of work went in the space of a couple of days.”

In 2017, Pattison finally became a full-time comedian after years of working in restaurants, shops and bars to support her standup career. Soon after, she was nominated for best newcomer at the Edinburgh Comedy awards. Now, she’s working in a supermarket. Pattison had moved back to Newcastle upon Tyne a few weeks before lockdown to save money for the Edinburgh fringe while living with her parents. Like many standups, she relies on live comedy for the bulk of her income, gigging most nights of the week. Some gigs are rescheduled for later this year, but, says Pattison, “I’ve got to mentally and financially prepare for the fact they might get pulled.”

Continue reading...

from Culture | The Guardian https://ift.tt/2ZCJRXC

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...