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Royston Vasey: Grotesque Bodies and the Horror of Comedy in the League of Gentlemen Peter Hutching S

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Royston Vasey: Grotesque Bodies and the Horror of Comedy in the League of Gentlemen Peter Hutching S Welcome to Royston Vasey: Grotesque bodies and the horror of comedy in The League of Gentlemen Peter Hutching s ( 1) The comed y show The Lea gue of Gentlemen, w hich first a pp ea red on British television in 1999 and ra n until 2002, wa s p robably not to everyone’s ta ste. Themes explored through three series and a Christma s sp ecia l includ ed murd er, kid napping and imprisonment, incest, monstrosity and d eformity, ma sturbation, transvestism and transexuality, d ead child ren, cruelty to anima ls, the imb ibing of urine, erotic a sp hyxia tion, vamp irism, vood oo, imp licit canniba lism (a ra re moment of restra int), limb g ra fting and a p lag ue of noseb leed s. Add nud ity, some violence and gore, the occasional use of the word ‘fuck’, and an ob sessive fixa tion on bod ies ma rked in va rious wa ys a s grotesq ue, and you end up w ith a most unusua l recip e for TV comed y. Given this, it is p erhap s surp rising how little controversy ha s b een provoked by the League ( which consists of w riter- p erformers Ma rk Gatiss, Steve Pemb erton a nd R eece Shearsmith a nd w riter J eremy Dyson). Instead the TV show – which ha d evolved from stag e performa nces a nd a BBC ra dio series – went on to a ttra ct critica l plaudits and p riz es (including a BAF TA a nd the Gold en R ose of Montreux aw a rd) a s w ell a s a d edica ted audience following. The League’s commercia l a scend ancy wa s clinched in 2005 w hen the film The Lea gue of Gentlemen’s Ap ocalyp se received a w id e cinema relea se. (2) One of the most striking seq uences in The Lea gue of Gentlemen’s Apoca lyp se involves a g ira ffe eja cula ting – or ‘spunking up ’, a s one cha ra cter p uts it – over some unsusp ecting visitors to a zoo. It’s ha rdly a ‘ta me’ scene b ut in the context of contemp ora ry film comed y, its g rossness is not unp reced ented. Gross-out comic effects b a sed on bodily functions a nd secretions ha ve b een around since the 1970s in films such a s Na tional Lampoon’s Animal House ( 1978) and Porky’s (1982), a nd from the 1990s onwa rd s these g ross-out elements ha ve acq uired a tab oo-b rea king exp licitness in, a mong st others, the films directed b y the Fa rrelly b rothers ( includ ing Dumb and Dumb er (1994) , Kingp in ( 1996), There’s Something Ab out Ma ry ( 1998)) a nd the American Pie films. In this resp ect, the League’s film fits into current comic trend s in the cinema. How ever, the fa ct tha t the Leag ue ha s op erated ma inly und er the a usp ices of television ra ther than cinema tend s to make its humour both more d istinctive and more p roblema tic, for television comed y, until recently at lea st, ha s not emb ra ced the opportunities for g ross-out offered b y the cinema. Even in its more vulga r or rad ica lised va riants, comed y on the b ox ha s g enerally b een reluctant to b rea ch some of the p rop rieties a ssocia ted w ith home- based viewing, esp ecially those body- centred p rop rieties so enthusia stica lly jettisoned b y film comedies. (3) F rom this p ersp ective, the success – or, more p articula rly, the la ck of notoriety – of the League on television req uires some explana tion. In pa rt, this exp la nation mig ht w ell lie in the wa y in which the activities of the Leag ue fit into, and contrib ute tow a rd s, a b roa d er willing ness appa rent in contempora ry British television to enga g e with ‘bad ta ste’ materia l within the context of pop ula r enterta inment. Certa inly the League’s TV show can b e g roup ed w ith a numb er of other British ‘da rk’ comed ies tha t app ea red in the ea rly 2000s, mainly on the sp ecialist channels BBC2 a nd BBC3. Series such a s Little Britain (2003- Present) a nd N ighty Night ( 2004- 2005) set out to shock, Little Britain la rg ely throug h its grotesque imag es of bodies urinating, vomiting, etc, Nighty N ight (which fea tured the League’s Ma rk Gatiss) through the actions of its a mora l, murd erous heroine a nd through jokes about ca ncer, disab ility, etc. It is a typ e of comed y that b uild s up on, and seeks to g o b eyond, the iconocla stic humour provid ed by the rad ica l or alterna tive comed y of the 1980s a nd 1990s ( in series such a s The Young Ones ( 1982- 1984) and Ab solutely Fab ulous ( 1992-)), w ith a new generation of w riter-p erformers (includ ing not just the League b ut a lso Matt Luca s, Da vid Walliams, Julia D a vis) pushing ba ck yet further the bounda ries of ta ste a nd a ccep tability. (F or a d iscussion of alterna tive comed y in Britain, see W ilmut a nd Rosenga rd 1989.) Ina smuch a s this new da rk comedy d ep end ed on g rotesque imag ing of bod ies (and the League led the wa y in this resp ect) , its accep tab ility wa s p robab ly assisted b y the coincid ental p op ula rity from the late 1990s onw a rd s of wha t might b e termed ‘a utop sy TV’, with American a nd British series such a s CSI ( 2000-Present), Silent W itness (1996- Present) and W aking the Dead ( 2000-Present) offering, a nd to a certain extent normalising for the television audience, g rap hic rep resenta tions of b odies in va rious stag es of d eca y or dissection. (4) Ha ving sa id this, the Leag ue is p rob ably too d istinctive – or peculia r – simp ly to b e contextua lised a nd thereby exp la ined aw ay. For one thing, the forma t of its show is d ecided ly unusual, even within the innova tive context of da rk comedy. Sketch show- like elements a re intertw ined with sitcom conventions a nd seria l narrative a rcs tha t beca me increa singly sophisticated a s the show p rog ressed, culmina ting in a mb itious exp eriments with na rrative time and ca usa lity in the third series. F or another, the Lea gue’s p rog ra mmes a re rich in allusion. In this period, other comed y series a lso offer a llusive references to other area s of culture – notab ly the Simon Pegg-Jessica Stevenson vehicle Spa ced (1999-2001) – but none have manag ed the b read th or intensity of a llusion g enera ted by the League. R eferences, d irect a nd ind irect, abound to litera ry, cinema tic a nd televisual texts and trad itions, w ith all of these interwoven into complex a nd sometimes surp rising patterns. In a d iscussion of 1970s British low culture, Leon Hunt ha s sugg ested tha t the allusiveness appa rent in the g roundb rea king television comed y series Monty Python’s F lying Circus ( 1969- 1974) rend ered it ‘clever humour for clever p eople’ ( Hunt 1998: 36) . The Lea gue of Gentlemen, which in many w a ys is compa rab le w ith Monty Python, ca n b e seen simila rly a s a clever text for the new millennium ina smuch a s a full und erstand ing a nd ap preciation of its humour seems to require both some effort and a p re- existing know ledg e of a sp ects of cultura l history. Ind eed it is this cleverness that ha s a rguably help ed to shield the League from a ccusa tions of vulga rity a nd coa rseness a nd mad e it a suitable object for critica l p raise. (5) It is w orth consid ering how p recisely this cleverness and this allusiveness op era te, pa rticula rly in rela tion to a ny p otentia lly vulga r elements a ssocia ted with the b od y. The Christma s sp ecia l ( first broad ca st 27 D ecemb er 2000) offers a useful examp le. Three child ren clad in p eriod costume, two girls and a boy, wa ve at a steam tra in a s it passes b y. It is likely that many p eople of a certain ag e w ill recognise a reference here to either the 1968 television adap ta tion of E. Nesb itt’s cla ssic children’s novel The R ailwa y Child ren or the much- loved film a daptation tha t followed in 1970.
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