Jane Duffus: "We're brought up to see men being funny and women being homely"

The founder of the What the Frock! comedy night talks to Nicky Clark.


Being “funny for” or “unfunny as” a woman seems to be a mental rut some people can't escape. The debate about gender equality across television, but most particularly comedy, rages on. Yet the numbers of women in stand up comedy and comedy writing is growing and none of them appear in anyway hampered by their "comedy neutralising" gender.
Last year Jane Duffus decided that this gender imbalance was one she was no longer willing to tolerate.
After seeing Caitlin Moran and Grace Dent being very funny about women in media at the Cheltenham Literary Festival in 2011, Jane knew that she wanted to demonstrate that funny women are the norm, not the exception. She decided to stage an evening of comedy in her home city of Bristol by launching What The Frock women's comedy evening at the Festival of Ideas.
What began as one night quickly led to more, with coverage in local and national press with Woman’s Hour picking up on the event.
The "What The Frock" comedy event is now a popular fixture on the comedy calendar and a fixed monthly venue at the Clifton Club in Bristol. It also fundraises for organisations such as Confronting Women's Poverty

I caught up with Jane to ask her how this year has been. 
Jane, it's the first anniversary of the comedy night. I've watched with awe on Twitter as it’s grown from an idea to a popular comedy event. What was the genesis of What The Frock?
It all started in autumn 2011, after I saw Grace Dent and Caitlin Moran doing an event at the Cheltenham Literary Festival. It was such a simple concept - two very funny, very intelligent, very eloquent women, sitting having a chat for an hour about women in the media (or the lack of)... and being damn funny about it. I went away wondering why this was such a hard thing to see anywhere. It then dawned on me that there were so few women on TV or radio panel shows, and that most comedy clubs don't book women very often. It all spiraled from there, and What The Frock! was launched in early 2012 - with our first show being in Bristol on May 18, 2012. It sold out well in advance and was such a hit, that it all snowballed from there.
"Women not being funny" is a cliché which persists. Why do you feel this is?
It's so hard to say. There are plenty of women who aren't funny, but there are also plenty of men who aren't funny. It's nothing to do with genetic make-up or science, I think it's to do with social conditioning. Just as kids grow up being told by the TV and advertisers that pink is for girls and blue is for boys, we're brought up to see men being funny and women being homely. Subconsciously, these gender roles are driven home to us from day one, and if you want to subvert those roles then you have a big challenge on your hands. 
Entertainment isn't noted for its generosity towards the success of others, yet What The Frock seems to buck that trend in its supportive approach towards performers. How have you achieved this?
Ha ha, thanks! It's basic good manners, I think. It sounds naff, but I try to treat people as I'd want to be treated myself, whether via What The Frock! or anything else. Generally, I find that the women I work with are all really friendly and encouraging, and while I know that part of that is because it obviously makes sense for them to be nice to promoters, it also fosters lots of good will. There's a handful of acts I've had over the past year who haven't been particularly friendly, and they really stick out to me... and also aren't going to get booked again by me any time soon!


Feminist and unfunny seems to a label applied liberally by some. Which women do you feel have been instrumental in turning the tide on this?
Caitlin Moran and Grace Dent... Both are feminist, both are very funny, both are writers whose columns I actively look forward to reading. Comedians like Tiffany Stevenson, Viv Groksop, Bridget Christie, Sandi Toksvig and so many more, they're bringing feminism and feminist issues into their sets and it works so well. Bridget's recent Radio 4 series Mind The Gap was fantastic - strong, witty, intelligent, funny shows ridiculing and highlighting the need for feminism in our contemporary world. Even Ruby Wax's recent solo show, "Losing It", has a strong message within in about the inner strength that drives women during tough times, and she's hilarious while doing it. 
Misogyny and comedy appear to be inextricably linked for some. What fuels this and are events like What The Frock an antidote?
I suppose it's simply that as the bulk of comedians are male, then it stands to reason that some of them - and I stress "some", as there are plenty of male comedians who aren't misogynist - are going to perpetuate misogynistic comedy. Especially when you think that the bulk of their audience are also going to be men, and comedians are obviously going to tell the kind of jokes they think their audiences want to hear.
In a sense, maybe events like What The Frock! are an antidote. They're certainly providing the opposite kind of comedy night out - our acts are women, they don't tell anti-men jokes, or racist jokes etc. But they do deliver outstanding comedy in a friendly space, and I get feedback from my audiences saying they really welcome the fact What The Frock! exists, as otherwise they wouldn't go to comedy locally - because the existing comedy clubs don't provide the kind of night out they want. However, I'm aware that the bulk of my audience (and we get plenty of men in, as well as women) are the kind of people who don't go to many other comedy clubs because they find them so hostile and the jokes so tedious, so in a sense my events are 'preaching to the converted'. But after every single gig we do, I get inundated with really kind and positive messages and tweets from people in the audience saying how amazing the show was and thanking me for putting it on. That means so much to me.
Do you have plans to broaden the scope of What The Frock around the country?
It's tricky, as it's just me working behind the scenes at the moment - there's not a lot of money in comedy promotion at this level, so I can't afford to take anyone else on. You need to be putting on the big shows like Sarah Millican or Michael McIntyre in huge arenas to see a decent income from doing this. So there's only so much I can do myself. We're putting on our first show in Exeter on October 26, and if that goes well, I'm looking at making that a regular event from next year. And I'm looking at other cities around the south west and Wales to expand into for next year. But I'm very aware there are a few other businesses promoting women's comedy shows around London and in the north, and I've got no interest in treading on their toes. But I do have my eyes firmly on the south west!
Reflecting on the first year, what do you feel most proud of?
Being invited to put on a show at the Royal Festival Hall in March, to an audience of about 700 people, was amazing. It was part of the Women of the World Festival at the Southbank Centre, and it was such an honour to be invited to do this. We had Rosie Wilby, Shazia Mirza and Danielle Ward on the bill, and it was a phenomenal event - I enjoyed every second of it. And where else am I going to be sandwiched on a schedule between Sandi Toksvig and Woman's Hour?! It was only our sixth ever show, so it was an enormous privilege to be involved with such a huge and exciting event.
This post originally appeared on Nicky Clark's blog, and is crossposted with her permission


Sandi Toksvig, one of the women Jane considers to have helped make feminism funny.
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In Russia, Stalin is back

New statues and memorabilia are appearing, as Russians overlook the terror to hark back to a perceived era of order and national safety.

It was during the Victory Day march to commemorate those who fought in the World War Two, the Great Patriotic War (as it is known in Russia) that I saw the face of Stalin. A young woman carried a crimson flag with the image of the Leader which appeared amidst the black and white photographs of grandparents remembered on the seventieth anniversary of the victory over the Nazi Germany. Just a few months later I was back in Moscow to face the fact that the fleeting image of Stalin, like a seed dropped into rich soil, has sprouted everywhere. At the busy Moscow Domodedovo airport you can now buy souvenir mugs and badges featuring a man with a moustache, coiffed hair and unsmiling eyes; men wearing Stalin T-shirts walk the streets of Moscow and just in time for the festive season 2016 calendars with the twelve photos of the ”Red Tsar” are spread across the counters of the book shops. Most shockingly, new statues of Stalin have appeared in Lipetsk, Penza and Shelanger, a village in a Russian republic Mari El. The monuments were commissioned and erected by the Russia’s Communist Party. Its leader, Gennadiy Zyuganov, promised new statues to be built in Irkutsk in Siberia and in Donetsk in Eastern Ukraine. Charles de Gaulle, the former French president was right: “Stalin didn't walk away into the past, he dissolved into the future.”

According to a January 2015 survey by an independent, non-profit organisation, founded by a Russian sociologist Yuri Levada, 52 per cent of Russians think that Stalin played a “definitely positive” or ”mostly positive” role in Russia’s history. Stalin’s positive image today is cultivated mostly through his association with the Great Patriotic War. Throughout 2015 the Russian media have been obsessively commemorating the 70th anniversary of the victory over the Nazis, with Stalin, the generalissimo, at its helm. Political psychologist Elena Shestopal, quoted by the Levada Centre, explains that the positive opinion of Stalin is a reflection of the society’s demand for order and national safety. In her view, Russians associate Stalin with the role of the father: strict, demanding and powerful.

Stalin’s resurrection is astounding not least because his role in history and his “personality cult” have been consistently condemned in Russia since 1956. Three years after Stalin’s death, the then General Secretary Khrushchev denounced it at the Communist Party conference. Stalin’s body was removed from the Red Square mausoleum; the monuments commemorating him were taken down and destroyed. During glasnost, the openness period initiated by Gorbachev, some state archives revealing the extent of Stalin’s purges and mass repressions were made public. My own grandfather, Aleksandr Bakunin, who devoted his entire life to the history of the Russia’s Communist Party and its accomplishments, set to work in his seventies to research the newly available materials and write a trilogy about the history of Soviet totalitarianism. In popular literature, Aleksandr Solzhenitsyn made stunning revelations about mass repressions and his personal experiences as a prisoner in a labour camp in his novel The Gulag Archipelago, first openly published in a Russian literary magazine in 1989. In Gorbachev’s days Nikolai Svanidze, a popular Russian TV host, historian and journalist – related to Stalin through his first wife, Ekaterina (Cato) Svanidze – declared that Stalin and Hitler were cut from the same cloth on national television. I do not believe that such a statement would be made by the Russian media today. 

An example of a “Red Tsar” calendar

With knowledge about collectivisation and famine of the 1930s, mass arrests and forced labour, the culture of terror and the totalitarian governance, it is difficult to understand the current sentiment in Russia which makes it acceptable to print Stalin’s image onto T-shirts and mugs. Russians, who approve of Stalin, credit him with turning around the backward agrarian economy with its mostly rural population into an economic and scientific powerhouse, responsible for sending the first man into space. It was allegedly Churchill who said that “Stalin inherited Russia with a wooden plough and left it in possession of atomic weapons”. These sympathisers hail rapid industrialisation and economic progress, forgetting its costs. Mayakovskiy put it well in his poem about the construction of Kuznetsk: “The lips are turning blue from the cold, but the lips recite in unison: ‘In four years this will be a garden city!’”

Stalinists are especially vocal in giving their hero credit for winning the war. By the end of 1930s, the Soviet Union had become the largest economy in Europe and in the 1940s it was the defence industry that carried the Soviet campaign against Hitler. Stalin united people and inspired them to fight the enemy both on the front line and in the factories, according to those who believe in Stalin as “the Leader”. “The European nations are being ungrateful”, they say. “Stalin saved them from the Nazis.” It is inconvenient to remember that it was Stalin who had signed a non-aggression pact with Hitler in August 1939 and had been falsely assured that Germany would not invade the Soviet Union. Stalin disregarded several reports from his own intelligence agents and defected German spies about the advancing of Hitler’s army in 1941. Millions of lives were lost as a result in the first months of the war. As for the gratitude, the Baltic and the eastern European nations are quite right to dispute the post-war reorganisation of Europe, implemented after the Yalta conference, when Stalin, Roosevelt and Churchill agreed to divide their spheres of influence.

After the war, the USSR became the second most powerful nation in the world and a force to be reckoned with in geopolitics, economics and technology. Previously illiterate peasants, Soviet citizens enrolled in universities, became engineers and doctors, went to the theatre and cinema, read and became part of the Soviet miracle. There is a great deal of nostalgia among the older generation in Russia, who mourn the ”golden decades” of the Soviet Union and wish for Russia’s international status to climb again. “We lived better with Stalin than with anyone else who came to power after him. He looked after us. Today only oligarchs live well,” said a Russian woman in her late seventies. One Russian blogger writes that mass repressions were necessary to align the Soviet consciousness to the new ideology, to replace individualism with collective responsibility. He believes that the terror was necessary to maintain order. There is also rising support among the younger generation who see parallels between Putin and Stalin, the two rulers who favour autocracy and ubiquitous state control.

Already in his seventies, my grandfather wrote two books about the genesis and the evolution of the totalitarianism in the Soviet Union. His third book was meant to be about the fall of Stalinism. Despite several heart attacks and a stroke, he continued working. He died from the fatal heart attack, his book unfinished. Perhaps, it was meant to be. Section 86 of the German Criminal Code makes it illegal to display Nazi images and to hail Hitler in Germany. In Russia, Stalin has never been similarly condemned. The Russian government ostensibly does not object to the new statues of Stalin being erected just 60 years after they had been taken down. The nation that has forgotten its own history is terrifying.