The Comic Strip Presents returns this year as the Edinburgh Fringe hosts a tribute to one of the UK’s most daring comedy brands. This revival will feature film screenings and live Q&As celebrating the creativity of the original team behind the series. Peter Richardson, the mastermind of the movement, leads the initiative to reconnect audiences with a show that once defined alternative British comedy.
In 1980, Richardson opened a comedy night in a strip club where performers like Rik Mayall, Alexei Sayle, and French and Saunders began making waves. Just a few years later, they launched The Comic Strip Presents, a TV series that broke traditional boundaries on Channel 4. Although the show earned critical acclaim, it remained less known than contemporaries like The Young Ones. Even so, its legacy as a pioneer in television comedy never faded.
Richardson chose to host these events in modest venues rather than large theatres. During early screenings, he noted the difficulty of filling seats without major advertising. However, he valued the opportunity to interact with even small crowds who remained passionate about the show’s history.
Originally airing from 1982 to 1988, The Comic Strip Presents later shifted to the BBC and eventually returned to Channel 4 for one-off specials. Unlike most television shows, it never followed a consistent format. Richardson embraced a concept where performers changed roles from week to week. Audiences watched them portray anything from a metal band to the Famous Five. The lack of repetition challenged traditional viewing habits, but it gave the series unique versatility.
Mayall once suggested calling the series “Interesting Films” instead, as each episode stood alone with its own mood and story. While the absence of formula limited mass appeal, it gave performers total freedom to experiment. Richardson believed this freedom made the content stronger and more lasting.
The original cast included Adrian Edmondson, Nigel Planer, and Dawn French, with guest stars such as Keith Allen and Robbie Coltrane. These performers rose from the underground comedy scene, honing their style in unconventional venues. One night, Robin Williams even asked to perform, aiming to impress David Bowie, who was in the audience. Sayle, amused by the request, reminded him the club belonged to someone else entirely.
Channel 4 soon recognized their potential and offered Richardson the chance to launch the series on national television. The first film, Five Go Mad in Dorset, aired on the network’s launch night. While it sparked controversy by mocking outdated attitudes, it also helped set the tone for Channel 4’s bold identity. Still, Richardson chose not to include that episode in this year’s screenings, saying that times have changed and some subjects no longer suit the same treatment.
Instead, he revised several other classics for the new audience. He trimmed scenes in The Strike and Four Men in a Car to suit faster modern pacing. Richardson now reflects on how his performance as Al Pacino playing Arthur Scargill won laughs and awards—but admits his Pacino impression has improved since then.
During the show’s quieter periods, Richardson worked on other projects like Stella Street but never abandoned The Comic Strip Presents. He continued producing specials such as The Hunt for Tony Blair, reimagining the former Prime Minister as a fugitive. These projects carried the same spirit—smart, surreal, and unpredictable.
Richardson will appear at the screenings alongside Robin Ince, who will serve as host. Cast members like Sayle and Allen will also participate, sharing memories and insights. Richardson sees this event not as a trip down memory lane, but as a way to reintroduce the films with new energy and context. Watching comedy on a big screen with a live audience transforms the experience, he says, because shared laughter creates a stronger emotional connection.
He compares their body of work to Ealing Studios, which made over 150 films, though only a dozen became classics. Richardson feels The Comic Strip Presents delivered a solid hit rate in each series. Even the missteps brought value by pushing boundaries and experimenting with form. His heavy metal spoof Bad News Tour, and its sequel More Bad News, eventually led the cast to perform live at the Monsters of Rock festival—where they were famously pelted with beer glasses.
Despite the series’ cult status, Richardson doesn’t mind its underappreciation. He admits that his refusal to follow traditional sitcom formats may have limited its reach. But to him, that decision allowed greater creative freedom. Now, as the remastered films return to the screen, he feels proud to see how audiences still connect with work created decades ago.
He recalls touring in Edinburgh years ago with Nigel Planer, even opening for Dexy’s Midnight Runners. Back then, they were expected to present new material every night. Today, the material may not be new, but the presentation certainly is. With fresh edits and live audience reactions, these screenings offer something unexpected—a celebration of freedom in comedy and the joy of unpredictability.
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