The Comedy Store: Where Dinosaurs Went to Die in the 1980s
In the early 1980s, The Comedy Store opened its doors in a Soho strip club and immediately set about murdering traditional British comedy with extreme prejudice. While the old guard was still polishing jokes about wives, shopping, and the Irish, a new breed of performer was busy dismantling the entire format like alternative comedy pioneers with something to prove.
The Revolution Will Be Improvised
The venue didn’t just break the old guard—it shattered them into tiny pieces and scattered them across Leicester Square. Founded by Don Ward and Peter Rosengard, The Comedy Store became the epicentre of what would later be called the alternative comedy movement, where the only thing more dangerous than the political content was the fire safety rating.
Why The Old Guard Never Stood a Chance
Traditional comedians arrived at The Comedy Store expecting polite applause and left questioning their entire existence. The venue pioneered the concept of the “gong show,” where audiences could literally ring a bell to remove unfunny acts from the stage—a practice that should probably be extended to parliamentary debates.
“The Comedy Store was where comedy went to get drunk and start a fight,” said Stewart Lee, who probably meant it as a compliment.
The alternative comedy scene rejected racist, sexist, and homophobic material, which immediately eliminated approximately 87% of existing British comedy. Bernard Manning was not invited. Jim Davidson found other venues. The old guard suddenly discovered what unemployment felt like.
“It was like watching the French Revolution, but with more hecklers,” said Alexei Sayle, the venue’s first MC.
The Basement of Broken Dreams and Brilliant Careers
Located originally above a strip club in Soho, The Comedy Store offered comedians the unique experience of performing while exotic dancers rehearsed upstairs. Nothing says “alternative comedy” quite like the sound of stiletto heels on ceiling tiles during your political diatribe.
“I learned to project my voice by competing with a disco beat and the sound of regret,” said Jenny Eclair, who cut her teeth in the venue’s early days.
The Gong Show: Democracy at Its Finest
The Comedy Store’s gong show remains the most honest form of audience feedback ever devised. Comedians had five minutes to win over a crowd that had been given the power to publicly execute their careers. It made The Gong Show look like a gentle performance review.
Acts who survived the gong went on to stellar careers. Acts who didn’t went on to accounting jobs and never spoke of it again. The venue’s alumni list reads like a Who’s Who of British comedy: French and Saunders, Rik Mayall, Adrian Edmondson, Dawn French, Jennifer Saunders, and Ben Elton all learned their craft while dodging beer cans and existential dread.
“Getting through a Comedy Store gong show was harder than passing the 11-plus,” said Jo Brand, who survived to tell the tale.
The Death of Mother-in-Law Jokes
Traditional comedians built entire careers on three topics: wives who shop too much, mothers-in-law who visit too often, and ethnic minorities who apparently do everything wrong. The Comedy Store declared war on this format with the subtlety of a 1984 miners’ strike.
“We didn’t ban racist jokes—we just made them social suicide,” said Mark Steel, who helped define the political edge of alternative comedy.
Political Comedy Gets a Postcode
The Comedy Store gave political comedy a permanent home in London. While other venues were still booking acts who thought “women drivers” constituted cutting-edge observation, The Comedy Store was hosting performers who actually read newspapers and had opinions about Margaret Thatcher beyond “she’s got nice hair.”
The venue’s influence spread like a particularly aggressive strain of consciousness. Within five years, alternative comedy had infiltrated television, radio, and the national consciousness. Channel 4 launched. The Young Ones arrived. Traditional variety shows started looking like museum pieces.
“The Comedy Store made political comedy sexy, which is quite an achievement,” said Mark Thomas, who made activism funny.
The Legacy: From Strip Club to National Treasure
Today, The Comedy Store operates from Leicester Square, having moved from its original Soho location. The venue runs seven nights a week, hosting everything from open mic nights to international headliners. It’s gone from revolutionary insurgent to establishment institution—the comedy equivalent of Tony Blair.
“The Comedy Store is now respectable, which would have horrified us in 1979,” said Arthur Smith, who remembers when respectability was the enemy.
What Killed What
The Comedy Store didn’t just break the old guard—it made their entire approach to comedy obsolete. Racist jokes became career-ending. Sexist material became embarrassing. Homophobic content became grounds for immediate gonging. The venue created a new standard where comedy required actual thought rather than just prejudice and a microphone.
“We killed comedy that punched down and replaced it with comedy that punched everywhere,” said Simon Munnery, who embodied the experimental spirit of the era.
The old guard didn’t retire gracefully—they were forcibly retired by audiences who suddenly had options. Traditional variety shows vanished. Working men’s clubs started booking tribute acts. The entire ecosystem of British comedy underwent evolution at gunpoint, and The Comedy Store held the weapon.
“It was a bloodbath, but a necessary one,” said Robert Newman, who witnessed the transformation firsthand.
The Price of Revolution
The Comedy Store’s revolution came with casualties. Dozens of traditional comedians found themselves unemployable overnight. Club owners who refused to adapt went bankrupt. Entire venues closed because they couldn’t attract audiences who’d discovered what actual comedy looked like. It was brutal, efficient, and absolutely necessary—like NHS reforms, but funny.
“We didn’t mean to destroy people’s livelihoods—it was just a happy accident,” said Tony Allen, one of the movement’s godfathers.
From Revolution to Institution
The Comedy Store now represents the establishment it once fought. Tickets cost actual money. The venue has corporate sponsors. Health and safety regulations have been implemented. It’s the ultimate irony—the revolutionary venue became exactly what it replaced, just with better politics and fewer racist jokes.
But the venue’s influence remains undeniable. Every comedy club in Britain operates under principles The Comedy Store established: merit-based programming, diverse lineups, political awareness, and audiences who expect more than “take my wife—please.” The old guard is dead, and The Comedy Store killed them with a gong and a smile.
Auf Wiedersehen, amigo!
The Comedy Store
1a Oxendon St, London SW1Y 4EE, United Kingdom
+442070242060
Chelsea Bloom is an emerging comedic writer with a focus on light-hearted satire and observational humour. Influenced by London’s student culture and digital comedy spaces, Chelsea’s work reflects everyday experiences filtered through a quirky, self-aware lens.
Expertise is growing through experimentation and study, while authority comes from authenticity and relatability. Trustworthiness is supported by clear intent and ethical humour choices.
Chelsea’s contributions represent developing talent within an EEAT-compliant framework that values honesty, clarity, and reader trust.
