In “Machine-age comedy”, Michael North explains how formulaic and repetitive comedic artforms can be perceived as a machine, exemplified by Charlie Chaplin’s unchanging character mannerisms relentlessly being used for a laugh. What he also suggests, however, is that this machine can either take control of a comedic actor or it can be controlled if the actor is skilled enough. Phoebe Waller Bridge’s control over the machine stands out in her roles as writer and actor in Fleabag (2016).
On page 6, North states “Victorian comic theory emphasized the necessity of constraining comedy within a formal balance and taming it with a strong sense of realism.” He points this out to contextualise the reception to the absurd physical gags that arose and became a key part of “the machine”. What is admirable about Fleabag is its ability to maintain a sense of realism while using cliché physical gags without mutual dampening. Rather than conflicting, the realism and physical gags work together to create something that tickles both parts of the viewer’s brain. It satisfies the desire to see absurd visual comedy and it tugs at real emotion at the same time.
(jump to 4:12 for the painting falling down)
One repeated/running gag in Fleabag that comes to mind is the painting falling off the wall in the church. The first time seems like enough, it makes the characters and audience jump and the coincidental timing causes a laugh. But then they make it a running joke; it happens again, as though God were playing a prank on them. This repetition is not lazy or boring, it is intentional. At the same time as being visually humorous it represents both characters relationship to God, to each other, and to the painful emotions that Fleabag and the hot priest are experiencing.
Another running joke in Fleabag that cannot go unmentioned is the breaking of the fourth wall. It cannot be claimed that it is original, we saw it in the eighties with Ferris Bueller, Jean-Luc Godard did it a number of times back in the sixties, but it is the way that she uses it for simultaneous comedy and deeper ideas that is of note. We get a laugh when she mistakenly says to the hot priest “his beautiful neck” and answers his question to the camera, but then we also have the hot priest noticing that she speaks to the camera to demonstrate the character’s unique connection. Waller-Bridge use of the fourth wall for a nuanced portrayal of emotion, narrative, relationships, and on top of all that, wit, that demonstrates her ability to control “the machine”.
I think this is a perfect example of effective use of repetition and repetition breaking. When Fleabag is able to turn to the camera and speak without being noticed it adds to the comedy of the scene. It is even better when after so much repetition, the Hot Priest is actually able to hear her. The situation in which it’s revealed that he is able to do so is so awkward as well!
The fourth-wall break is my favourite part of the show as it is so refreshingly different and allows us as an audience to really relate to and know the character Fleabag. Another thing to look out for in Waller Bridge’s work (especially ‘Crashing’) is ensemble scenes, she is excellent at creating realistic characters who all react differently to a situation but all as equally hilarious.