Firstly, tell us a little more about the Harry Porter Prize – what's the big deal?

The Harry Porter Prize was set up in memory of Dr. Harry Porter, who was the Senior Archivist of the Footlights from 1962 to 2003. It’s an award for a new comic play, which sets it apart from the traditional sketch shows like the Spring Revue and the Tour Show. It’s particularly exciting because the Prize is always judged by an outsider: recent years have seen it judged by Stephen Fry, Germaine Greer etc. This year’s judge was award-winning comedian Tim Key – he’s a pretty big deal.

 

In the show, you play the sole role of Agnes – could you tell us a little more about her?

Agnes is an unattractive, overweight, 30-something daughter of a jazz-singer. She’s kind-hearted, if slightly off-kilter; never had a boyfriend; kinda sassy. I’m very fond of her – she’s a good egg.

 

Comedy remains a heavily male-dominated area of performance; why do you think this is? Are men implicitly funnier than women, or is gender too simplistic a distinction?

Women are just as funny as men: I absolutely believe this. (I would.) It seems to me that in large part comedy remains male-dominated because it is perceived to be - there are relatively few female comedians, so very few of the myriad of funny women come to the conclusion that comedy is a viable option. When women with a basic level of comic talent put the time and effort in that is required to be a successful comedian they succeed in relative number to men, but the number of women that decide to do that is still very small.

I also think that general opinion of female comedians is low: the fact that the question 'are men implicitly funnier than women' is still an acceptable question obviously assumes that there is a good chance that the answer could be 'yes'. Female comedians – particularly female stand-up comedians – still have to fight against a reputation for cheap comedy: over-reliance on sexual, often 'man-hating' material that was a product of the few female comedians that became famous from the alternative comedy of the 1980s. Perhaps the fact that loud, harsh, crass female comedians are often the only female comedians able to succeed says more about the difficulties for women in this line of work than it does about women being funny…

I think, however, that prospects are good. Comedians like Miranda Hart, Laura Solon, Sarah Millican, Tina Fey, Ellen Degeneres among others are making their names as comedians and writers of all different styles – respected not just for being good female comedians but simply good comedians. Ultimately, there some completely bollocks female comedians: some quite famous, but let’s be honest, there are plenty of male ones that are, similarly, utter dogshit.

 

As a one-woman play, this show has been advertised as a 'first' for the Footlights, but was both written and directed by men. Do you still feel like you have resolved the gender issue (is it an issue?), or is this just a stepping stone?

I don’t think the issue with redressing the balance between male and female comedians is about everyone involved being a woman. It’s about the best person for the job getting that job and I don’t think you’ll get a better comedy writer in Cambridge than Mark Fiddaman or a more talented comedy director than Ben Ashenden. Do I believe that if a woman had written the best play, or a more competent female director had applied then they would have been appointed? – Yes. So I’m satisfied with that.

Is there a gender issue in comedy? – yes. Is that mirrored within the Cambridge Footlights? – of course it is, but is Anything But being staged to directly challenge that – No. That’s not why Mark chose to write the play, and people already think we’re smug Footlights pricks enough already without us claiming to be single-handedly creating a Cambridge female comedic utopia with Mark’s jokes and my piggy little face.

Anything But is the first one-woman Footlights show, but I think I might also be right in saying that it’s the first one-person show and I think it speaks highly of Mark that he thought that difficult project a worthwhile venture and I’m honoured (if terrified) to be given the chance to do it. I’ve wanted to be a comedian since I was about 13 and this is an unbelievable opportunity for me that I will try my level best not to completely right-royally balls up.

 

How do you feel about Cambridge comedy outside of the Footlights ; do you think the Footlights remains entitled to its reputation as the best Cambridge has to offer, or is it one amongst several talented comic troupes?

Without the other Cambridge comedy there is no way I would have ever have done Footlights. In my first year I auditioned for every possible Footlights show, and got rejected across the board because I was rubbish. But it was okay; I went away and did the Pembroke Smoker, the Jesus Smoker, RAG stand-up, the Wolfson Howler etc. I did every conceivable College comedy show; I observed other performers. Some of my shows went well – a lot went incredibly badly – but I got to have a go and practice and take myself back to Footlights with some tried material behind me.

The Footlights has a Committee that does administrative things (the cliquey boys-club of overly-praised under-achievers if you are to believe at least one review a year for the last 50 years), but is very much just a university club – a place to learn and practice and improve. I profoundly hope that it is seen by all Cambridge comedians as a resource; a privilege given to us off the back of Stephen Fry, Peter Cook et al (thanks for that guys) and a source of opportunity for them as it has been for me. There are different performers in every Smoker; open auditions for every show we do. Hundreds of people are involved every year. We have a theatre where we can always perform, every two weeks, to full crowds – it’s ridiculous how lucky we are.

So, does it deserve a reputation as the best comic troupe in Cambridge – nope, but does it deserve its reputation as one of the best university comedy societies in the world – well I think so, but I’m horrifically biased and a terrible person.

 

This is the final year for you, Mark and Ben; how's it been? And what's next for you?

It’s been wonderful. What’s next for me? Good things.

 

'Anything But' opens at the ADC Theatre on Wednesday 16th March. Book your tickets now.