Tell us about your show Beehavioural Problems.
So Beehavioural Problems is a show that stemmed from a desire to write about my feelings and experiences of working post-Bachelors, along with also just putting it in some fun surrealist sketches.
Over the course of the show, I go over my experiences with the NHS, animal research and one particular job I did in an industrial bakery.
What made you want to write a show exploring work as an autistic person through surrealist comedy?
I’ve always had a love of the obscure and I find surrealism the best way to express myself, but there are plenty of reasons why I wanted to explore my relationship with work and autism which surrealist comedy allows me to do.
So, some people say comedy is tragedy plus time. If so, then my work history certainly feels like that. I have many reasons why I wanted to write about my work/life, for example: How the hell did I go from 18-year-old aspiring scientist to waking up in 2020 in the pandemic thinking I must get myself a sexy/slutty bee costume?
Surrealist-absurdist and clowning comedy is one of my strengths and so I feel it is best to explore this period of my life through this angle. To be honest, the feelings of being autistic in workplaces that at best make you feel like an alien/pariah/being othered are easily explored and captured with the otherness that comes from surrealism.
In addition, prior to the pandemic I never ever wanted to talk about my autism. But something must have changed. Most likely, the restrictions of what material I could do with social distancing meant I had to explore topics I would not otherwise explore. I never wanted to be a voice for the autistic community, as I felt I would only alienate them; I imagined people dismissing my comedy because I am autistic and then thinking all autistic people are just weirdos.
I realised that these are my own fears and that if I can open up on autism it could allow people to gain new insight on the condition, warts and all.
For example, I like make use of music and clowning to convey various emotional states when interacting with people non-verbally (like many autistic people, I struggle with social communication), because why tell people what I am feeling when I can show them what I am feeling.
There is a certain nuance that would be lost if I attempted to do my material in a more traditional/straight stand-up format.
This show covers some very personal ground. How does it feel presenting so much of yourself to audiences full of strangers?
Presenting myself in such a way where I let people understand how I experience the world as an autistic individual is both terrifying and liberating at the same time.
I think the fear stems from my shame of seeing/reliving my failures, trauma (working in animal science in particular) and some of my darkest thoughts in my life. This makes me feel very vulnerable on stage.
However, when I can I turn that trauma into laughter, it makes me feel connected; one thing I said when being diagnosed (whilst bawling my eyes out) was the first time I ever felt accepted by people was my first year with the Lancaster University Comedy Institute. I see this show as no different to that beside size, scope and scale.
What do you feel is the benefit of exploring personal struggles through comedy?
It’s liberation. By doing it, I know I can conquer my fear and at least turn my pain into others’ entertainment. I feel connected to them and that is a beautiful thing, but also it is important for healing the self and becoming a more resilient person from it.
For others, it can do things such as provide insight into the minds of those who have not experienced being part of particular demographic. It can also help in finding common ground or gaining new perspectives for those with similar trauma to let them know they are not alone in their struggle.
What drew you to animal-based sketches for this show?
I feel animals are the most comfortable thing to write and I needed aspects of comfort for a show that also covers some pretty personal and uncomfortable topics. This allows both me and the audience to have a chance to breathe before plunging into the madness of reality.
It is also important to note my background in biology from interest to education and work are also closely linked to this show. Animal based sketches have also been a personal forte as comedians write what they know and I am thoroughly delighted by the weirdness that can be stemmed from the animal kingdom. The charismatic Dr Carin Bondar (who I did and do have much admiration for) and their web series “wild sex” showed much comedic potential in animals.
What animal have you found lends itself best to sketch comedy?
It is a tie between cats and dogs that lend themselves best to sketch comedy, most likely as these are animals most people are familiar with and that familiarity lends itself to relatability that leads to widest appeal in comedy in general.
Are there any animals that didn’t make it into the show that you’d like to feature in a sketch some day?
There is an old set from my university days at Lancaster which features a creature called “Larry the toilet tentacle monster” that I really, really hope to write into a show some day.
There is also animal-based material from my previous show I would like to use in future shows but just did not fit in the narrative of the current show (such as an octopus, shark and cow).
What is your trick to good surrealism?
Simplicity. Overcomplicating ideas in surrealist comedy makes them far too inaccessible. The trick is to ask the question – how do I make sure the audience understands what is going on?
There is wisdom with the adage “less is more.”.
What do you hope people take away from Beehavioural Problems?
Pragmatically, I just want to make the audience have a show they remember for it’s uniqueness and entertainment in a good way. Ideally, I hope as the show evolves that I will be able to communicate the difficulty many neurodiverse people such as myself have suffered because of our neurodiversity. The system is broken and we will lose out, but in turn society will also lose out with its unintentional (and sometimes intentional) mistreatment of the neurodiverse.
You’re taking this show to a few festivals. Are there any other shows you’re excited about seeing while you’re there?
There are plenty of comics I am particular interested in seeing. For example, in Glasgow I am keen to see what Gabriel Featherstone and Ruth Stone produced as they are two respective comics I have been thoroughly delighted and entertained by. I also look forward to seeing a Viggo Venn show at some point or what Julia Masli has been be working on.
What are your hopes for this show after your festival performances?
I hope to keep expanding the show into 2024 and take it to other festivals post Edinburgh 2023.
There are many aspects I will want to probably expand on as I feel that when I refine it, I will have the confidence to be more direct on certain much-needed criticisms of my past employers and employers in general.
Looking at statistics from my literature review from my dissertation also showed me that my own issues with neurodiversity in the workplace are not just unique to myself.
Do you have any advice for anyone looking to get into comedy?
I have a lot I could say for this. Some people think you should focus on making a great 5 minutes in your first (and sometimes 2nd) year and, while agree, I do not think working on the same material or set is always helpful.
My advice is to search for your voice and what works best for you. This means that it is an imperative that a new comic above all else experiements and learns to get comfortable with experimenting on stage (which also means learning to be comfortable when uncomfortable, such as when you are dying on your arse on stage which is inevitable).
I also advise that you find gigs that you feel get you as a baseline but then venture out as far and wide as possible to push yourself.
Furthermore when you write, write only with the intention to be funny, not dark for darkness’ sake or weirdness’ sake, as these things should come naturally, not be forced.
Stephen is performing Beehavioural Problems at Canal Cafe Theatre in London on Friday 3rd March. Book your ticket here.
He is also performing it at Aces and Eights Saloon Bar in London on 14th March. Book your ticket here.
He is performing the show at Glasgow International Comedy Festival on 18th and 19th March. Book your ticket here.
He is performing it at Brighton Fringe from 19th to 21st May. Book your ticket here.
You can keep up with Stephen’s work by following him on Facebook, Twitter and Instagram.
