Book Review: The Girl in the Show by Anna Fields

 

    I initially assumed that The Girl in the Show was going to be more of a funny girl-esque memoir that really emphasized the ‘comedy’ aspect of being a young woman in entertainment. Instead, it’s much more of an analytical look at the evolution of “comedians-who-happen-to-be-women” , or as Fields calls them (and this is my new favorite term) “comedienne-ballerinas”. Fields includes  interviews from an incredible array of comedians – I cannot imagine the sheer amount of research that went into this book. There’s Mo Collins, Lisa Lampanelli, Abbi Jacobson and so, so many more, all in their own words discussing their comedy and their lives. It’s far more insightful and wider reaching than I was expecting, but also feels deeply personal.

    This book is not just an academic exercise in the rise of feminism and fight for equal representation in comedy (and the world of entertainment in general). It makes wider cultural and political movements intensely personal through the words of the comedienne-ballerinas themselves. Reading about Marga Gomez’s experiences as a young woman confronting homophobia drives home the point that the political is personal. The arguments driving the political discourse are not far-off, abstract ideas but rather have very real implications for the people living them.

        The Girl in the Show is at its best when it is presenting the powerful anecdotes from its comedienne-ballerinas. There is one particularly poignant moment when Judy Carter discusses how Gilda Radner helped comfort her in a bathroom stall of all places – it drives home a deep sense of heart and community not often seen at the forefront of comedy.

     These were not notions typically associated with comedy, and when they do appear, they tend to be  relegated into niche issues. The Girl in the Show provided a new perspective for watching comedy, from I Love Lucy to Saturday Night Live to Broad City and the deep underlying emotionThe Girl in the Show - Anna Fieldsal work that accompanies it. Fields challenges the typical paradigm of “women comedians” and completely transforms it by demonstrating just how the personal and the political intersect for both the comedienne-ballerinas themselves and the audience watching at home.

 

I received this book free from NetGalley in exchange for an honest review