Comedians tell ministers lack of funding is no laughing matter

Britain is known round the world for its comedy – but industry leaders are warning the "next generation of comedy voices" will struggle to break through without more funding and incentives.

While comedy is considered to be one of the most popular forms of entertainment in the country, it has not traditionally been one to receive guaranteed state support.

But although there are big name comedians selling out arenas and sitcoms pulling in millions of viewers, there are grassroots venues - where young comics hone their craft - and production companies needing help to support the next wave.

Leading figures from the world of comedy have met the government to make the case for comedy, including that it be recognised as an art form in its own right to improve funding access and policy development.

Further talks are expected and Culture Minister Ian Murray has said he is "entirely behind" a proposal to work with comedy to "better understand the opportunities for government intervention".

He also encouraged comedy to "explore" whether it can introduce a voluntary ticket levy similar to music, which sees larger venues reinvest in the grassroots.

Arts Council England (ACE) has insisted it does offer support for comedy but has no plans to change how it organises its funding.

For several of those at last month's meeting, there is a belief that more has to be done to support an industry that is a regular part of people's lives in all sorts of forms.

Comedian Tom Walker, who portrays the fictional journalist Jonathan Pie, said the government needs to recognise comedy "as an important cultural thing from grassroots to sitcoms on the BBC".

Walker suggested changing how stand-up comedians and others in the industry are viewed, explaining: "Essentially every stand-up comedian is a small business, they are an entrepreneur and that should be rewarded and acknowledged."

Ro Dodgson said comedy is "often based on risk" and clubs and promoters who are struggling financially are less able to take a chance on new acts.

The comedian said if the government agreed funding to clubs "as almost a form of insurance" to keep trying new acts and supporting emerging talent "then we'd have an industry that can sustain itself".

Dodgson added: "If you don't get an influx of diverse perspectives at all times, comedy won't stay relevant."

Comedian Carly Smallman said art form recognition for comedy would open up support routes available to other creative industries.

Smallman said: "The support that music gets, the support that theatre gets, it's not open to comedy because as far as a lot of the decision-makers know, it's not a thing.

"But it clearly is a thing and it's a huge industry and it's like we've just had to kind of get on with it."

For Baby Cow Productions, which can list Gavin and Stacey and Alan Partridge among its success stories, there is a desire to keep supporting live comics and emerging talent to make the move to television.

Chief creative officer Rupert Majendie explained this could include incentives to production companies to encourage them to invest in pilots and tasters to help comedians make the next step.

Majendie said: "What we need from government is a clear commitment to protecting that ecosystem: strong public service broadcasters, the right incentives for production, and conditions that allow independent producers to keep backing new talent.

"If we get that right, the UK will remain one of the most vibrant and successful creative industries in the world. If we don't, we may lose the next generation of comedy voices."

Tech entrepreneur Lu Jackson, who recently founded the Comedy Representation & Artform Trust (Craft), said comedy is "completely omitted" from policy and structures in government and at key organisations.

Jackson said: "That trickles downstream to mean that comedy is not getting funded even though it generates billions in revenue, millions in tax, it's not being proportionately reinvested back into the sector."

He said: "One of the problems with the structure of comedy is that the big comics are on loads of money and they're all fine and the small comics are playing to 20 in a shed and not getting paid for it all and it's a bit like music in that way."

Opher suggested comedy could "mimic" the work of the music industry, including the voluntary £1 ticket levy.

A DCMS spokesperson said it was pleased to hold the meeting with the industry, adding: "We look forward to continuing this engagement in the future."

ACE awarded £12.23m in funding where an applicant name, project title or category contained the word "comedy" between 2010/11 to 2024/25, according to the government.

An ACE spokesperson acknowledged the importance of live comedy, adding: "It is an art form which we are proud to support especially given the range of audiences it reaches."

They said they offer "regular and project-based funding" to organisations supporting the production and performance of comedy.

The spokesperson added ACE organises its funding under nine main classifiers, including dance, libraries, museums, music and theatre.

They added: "Within these categories, we also track our investment in specific artforms such as opera, circus and comedy. At present, we have no plans to change how we classify our investment."