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It turns out that becoming a comedian is an act of instantaneous self-creation. There are no intermediaries blocking your way, no gallerists, publishers or distributors. Social class is a nonissue; you do not have to pass your eleven-plus. In a sense, it would have been a good career for our father, a creative man whose frequent attempts at advancement were forever thwarted, or so he felt, by his accent and his background, his lack of education, co
It was a mixed bill. Before Ben, two men and two women performed a mildewed sketch show of unmistakable Oxbridge vintage, circa 1994. A certain brittle poshness informed their exaggerated portraits of high-strung secretaries, neurotic piano teachers, absentminded professors. They put on mustaches and wigs and walked in and out of imaginary scenarios where fewer and fewer fu
And now the compere was calling my brother’s name. He stepped out. I felt a great wash of East Anglian fatalism, my father’s trademark, pass over to me, its new custodian. Ben was dressed in his usual urban street wear, the only black man in the room. I began peeling the label off my beer bottle. I sensed at once the way he was going to play it, the same way we had played it throughout our childhood-a few degrees off whatever it was that people expected of us, when they looked at us. This evening, that strategy took the form of an opening song about the Olympics, with particular attention paid to equestrian dressage. It was fu
I waited, like my father, for the slipup, the flat joke. It didn’t come. Ben did a minute on hip-hop, a minute on his baby daughter, a minute on his freshly minted stand-up career. Another song. I was still laughing, and so was everyone else. Finally, I felt able to look up from the beer mats to the stage. Up there I saw my brother, who is not eight, as I forever expect him to be, but thirty, and who appeared completely relaxed, as if born with mike in hand. And then it was over-no one had died.
The next time I saw Ben do stand-up was about ten gigs later, at the 2008 Edinburgh Festival Fringe. He didn’t exactly die the night I turned up, but he was badly wounded. It was a shock to him, because it was the first time. In comedy terms, his cherry got popped. At first, he couldn’t see why: it was the same type of venue he’d been doing in London-intimate, drunken-and, by and large, it was the same material. Why, this time, were the laughs smaller? Why, for one good joke in particular, did they not occur at all? We repaired to the bar to regroup, with all the other comedians doing the same. In comedy, the analysis of death, or near-death, experiences is a clear, unsentimental process. The discussion is technical, closer to a musician’s self-analysis than to a writer’s: this note was off; you missed the beat there. I knew I could say to Ben, honestly, and without fear of hurting him, “It was the pause-you went too slowly on the punch line,” and he could say, “Yep,” and the next night the pause would be shortened, the punch line would hit its mark. We ordered more beer. “The thing I don’t understand-I don’t understand what happened with the new material. I thought it was good, but… ” Another comedian, who was also ordering beer, chipped in, “Did you do it first?” “Yes.” “Don’t do the new stuff first. Do it last. Just because you’re excited by it doesn’t mean it should go first. It’s not ready yet.”
We drank a lot, with a lot of very drunk comedians, until very late. Trying to keep up with the wisecracks and the complaints, I felt as if I’d arrived late to a battleground that had seen bloody action. The comedians had the aura of survivors, speaking the language of mutual, hard experience: venues too hot and too small, the horror of empty seats, who got nominated for what, who’d been reviewed well or badly, and, of course, the financial pain. (Some Edinburgh performers break even, most incur debts and almost no one makes a profit.) It was strange to see my brother, previously a member of my family, becoming a member of this family, all his previous concerns and principles subsumed, like theirs, into one simple but demanding question: Is it fu
Russell Kane, a relatively new British comic, is a death defier, the sort of comedian who won’t let a moment pass without filling it with laughter. I went to see him on the last night of his Edinburgh run. His show was called Gaping Flaws, a phrase lifted from a negative online review of his 2007 Edinburgh show, which, in turn, was called Easy Cliché and Tired Stereotype, a phrase lifted from a negative review of his debut 2006 show, Russell Kane’s Theory of Pretension. All these reviews came from the same man, Steve Be