Editing Double act

{{Short description|Pair of comedians whose act is based on their uneven relationship}}
{{About|comedy duos|the novel|Double Act (novel)}}
{{Use dmy dates|date=January 2024}}

[[File:Laurel and Hardy.png|thumb|[[Laurel and Hardy]]]]
A '''double act''' (also known as a '''comedy duo''') is a form of comedy originating in the British [[music hall]] tradition,<ref>{{cite web|title=A curious history of the comedy double act &#124; Charlie Higson|url=https://www.the-tls.co.uk/articles/public/double-act-charlie-higson/}}</ref> and American [[vaudeville]], in which two comedians perform together as a single act, often highlighting differences in their characters' personalities. Pairings are typically long-term, in some cases for the artists' entire careers.<ref name="Roberts 2018 p. ">{{cite book | last=Roberts | first=Andrew | title=The double act : a history of the great British comedy duo | publisher=The History Press | publication-place=Stroud, Gloucestershire | year=2018 | isbn=978-0-7509-8432-4 | oclc=1065523122 }}</ref> Double acts perform on the stage, television and film.

The format is particularly popular in the UK where successful acts have included [[Peter Cook]] and [[Dudley Moore]] (Cook's deadpan delivery contrasted with Moore's buffoonery), [[Flanagan and Allen]],<ref>{{cite web|url=https://www.turnipnet.com/crazygang/gang.html|title="Chesney and Allen" The Crazy Gang}}</ref> [[Morecambe and Wise]], ''[[The Two Ronnies]]'', and [[French and Saunders]].<ref>{{cite news |title=Peter Cook & Dudley Moore, The 25 best comedy duos|url=https://www.telegraph.co.uk/comedy/comedians/the-25-best-comedy-duos/peter-cook-and-dudley-moore/ |archive-url=https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/comedy/comedians/the-25-best-comedy-duos/peter-cook-and-dudley-moore/ |archive-date=12 January 2022 |url-access=subscription |url-status=live |access-date=22 July 2021 |newspaper=The Telegraph}}{{cbignore}}</ref><ref>{{cite web|title=Who is your favourite UK TV comedy double act?|work=Radio Times|url=https://www.radiotimes.com/news/tv/2017-11-27/vote-best-uk-tv-comedy-double-act/}}</ref> The tradition is also present in the US with acts like [[Wheeler and Woolsey]], [[Abbott and Costello]], [[Gallagher and Shean]], [[Burns and Allen]], and [[Lyons and Yosco]]. The British-American comedy double act [[Laurel and Hardy]] has been described as the most popular in the world.<ref>{{cite web|title=Laurel and Hardy – the world's greatest comedy double act |work=Sunday Post|date=19 October 2013|url=https://www.sundaypost.com/in10/laurel-and-hardy-the-worlds-greatest-comedy-double-act/}}</ref>

==Format==
Humor is often derived from the uneven relationship between two partners, usually of the same gender, age, ethnic origin, and profession but drastically different in terms of personality or behavior; each one serves as a [[foil (narrative)|foil]] to the other. Typically, one member of the duo—the "[[straight man]]", "feed", "dead wood", or stooge—is often portrayed as reasonable and serious, while the other one—the funny man, "banana man", or comic—is portrayed as funny, less educated or less intelligent, silly, or unorthodox, although there are also double acts in which neither partner is the straight man
{{citation needed|date=April 2019}} When the audience identifies primarily with one character, the other is often referred to as a comic foil. The term "feed" comes from the way a straight man sets up jokes and then "feeds" them to his partner.{{citation needed|date=April 2019}}

Despite the names often given to the roles, the straight man is not always humorless, nor is it always the comic who provides the act's humor. Sometimes the straight man gets laughs through sarcastic reactions to the comic's antics, such as [[Stewart Lee]]'s [[deadpan]], reasoned reactions to [[Richard Herring]]'s ridiculous antics in [[Lee and Herring|their pairing]]. When the straight man serves no specific comic purpose, but acts as a device to make the comic look good, he is known as a stooge. Sometimes considered a derogatory term, "stooge" began to fall out of use by the 1930s with [[The Three Stooges]]. Most often the humor in a double act comes from the way the two personalities play off of each other, rather than from the individual players. In many successful acts the roles are interchangeable.

==History==

===Early development===
[[File:Lyons and Yosco.jpg|thumb|150px|left|[[Lyons and Yosco]], vaudeville act and ragtime composers from the 1910s]]
The model for the modern double act began in the British music halls and the American vaudeville scene of the late 19th century. Here, the straight man was needed to repeat the lines of the comic because audiences were noisy. A dynamic soon developed in which the straight man was a more integral part of the act, setting up jokes for the comic to deliver a punch line. Popular draws included acts like [[George Burns]] and [[Gracie Allen]] (who initially operated with Burns as the comic but quickly switched roles when Gracie's greater appeal was recognized), Abbott and Costello, [[Flanagan and Allen]], [[Gallagher and Shean]], [[Smith and Dale]], and [[Lyons and Yosco]]. The dynamic evolved, with Abbott and Costello using a modern and recognizable formula in routines such as [[Who's on First?]] in the 1930s and Flanagan and Allen using "cross talking".
[[File:Gallagher-Shean.png|thumb|150px|right|[[Gallagher and Shean]], a popular vaudeville act of the 1920s]]
Though vaudeville lasted into the 1930s, its popularity waned because of the rise of [[motion pictures]]. Some failed to survive the transition to movies and disappeared. By the 1920s, double acts were beginning to attract worldwide fame more readily through the [[Silent films|silent era]]. The comedy was not derived from "cross-talk" or clever verbal exchanges, but through [[slapstick]] routines and the actions of the characters.

The first double act to gain worldwide fame through film was the Danish duo [[Ole & Axel]], who made their first film together in 1921. The latter half of the same decade introduced to the world the inimitable team of [[Laurel and Hardy]]. The pair had never worked together on stage (they did as of 1940), though both had worked in vaudeville—[[Stan Laurel]] with [[Charlie Chaplin]] as part of [[Fred Karno]]'s Army and [[Oliver Hardy]] as a singer. Laurel could loosely be described as the comic, though the pair were one of the first not to fit the mold in the way that many double acts do, with both taking a fairly equal share of the laughs. The pair first worked together as a double act in the 1927 film ''[[Duck Soup (1927 film)|Duck Soup]]''. The first Laurel and Hardy film was called ''Putting Pants on Philip'' though their familiar characters had not yet been established.  The first film they both appeared in was ''Lucky Dog'' in 1921. Laurel and Hardy adapted well to silent films, both being skilled at slapstick, and their nonverbal interplay with each other and the audience became famous—Laurel's cry and Hardy's downtrodden glances to the camera whenever something went wrong—and were carried over to their later [[talkies]]. They were one of the few silent acts who made a successful transition to spoken word pictures in the 1930s, showing themselves to be equally adept at verbal wordplay.

===1940s–1960s===
[[File:Lewis and Martin.jpg|thumb|left|[[Martin and Lewis]]]]

Laurel and Hardy released ''[[Saps at Sea]]'', in 1940; it was their final film for long-term producer and collaborator [[Hal Roach]]. Later their popularity declined. In 1940s America the double act remained a cinema draw, developing into the [[Buddy film|"buddy movie]]" genre, with Abbott and Costello making the transition from stage to screen and the first of [[Bob Hope]] and [[Bing Crosby]]'s ''[[Road to...]]'' series in 1940. Further acts followed. For example, the first pairing of [[Dean Martin]] and [[Jerry Lewis]] occurred in 1946. About the same time [[The Bickersons]] became popular on radio. [[Mel Brooks]] and [[Carl Reiner]] started their [[2000 Year Old Man]] recordings and subsequent television appearances in 1961. The genre has continued to exist in cinema while making a successful transition to radio and later TV via [[The Smothers Brothers]] and ''[[Rowan and Martin's Laugh In]]''.

In Britain, double acts were confined to theatres and radio until the late 1950s, when double acts such as [[Morecambe and Wise]] and [[Mike and Bernie Winters]] slowly began the transition to TV on variety shows such as ''[[Sunday Night at the London Palladium]]''. These acts came into their own in the mid- to late-1960s. When Morecambe and Wise teamed up with writer [[Eddie Braben]], they began to redefine what was meant by a double act, with Wise, the straight man, being developed into a comic character in his own right. They provided the link between music hall and modern comedy for double acts.<ref name=BBC2>''The Story of Light Entertainment: Double Acts'', BBC 2, 9pm, 22 July 2006</ref> As the two leading double acts of the day, Morecambe and Wise and the Winters brothers enjoyed a playful rivalry—the Winters mocked the slight edge Morecambe and Wise had over them in popularity, while Morecambe, when asked what he and Wise would have been if not comedians, replied "''Mike and Bernie Winters''".

A series of black-and-white films based on [[Don Camillo and Peppone]] characters created by the Italian writer and journalist [[Giovannino Guareschi]] were made between 1952 and 1965. These were French-Italian coproductions, and starred [[Fernandel]] as the Italian priest Don Camillo and [[Gino Cervi]] as Giuseppe 'Peppone' Bottazzi, the Communist Mayor of their rural town. The titles are: ''[[The Little World of Don Camillo]]'' (1952), ''[[The Return of Don Camillo]]'' (1953), ''[[Don Camillo's Last Round]]'' (1955), ''[[Don Camillo: Monsignor]]'' (1961), and ''[[Don Camillo in Moscow]]'' (1965). The movies were a huge commercial success in their native countries. In 1952, ''Little World of Don Camillo'' became the highest-grossing film in both Italy and France,<ref>{{cite magazine|magazine=[[Variety (magazine)|Variety]]|date=9 September 1953|page=7|title=Europe Choosey on Films, Sez Reiner; Sluffs Flops|url=http://www.archive.org/stream/variety191-1953-09#page/n70/mode/1up|access-date=29 September 2019|via=[[Archive.org]]}}</ref> while ''The Return of Don Camillo'' was the second most popular film of 1953 at the Italian and French box office.<ref>{{cite web|website=Box Office Story|title=1953 at the box office|url=https://translate.google.com/translate?hl=en&sl=fr&u=http://www.boxofficestory.com/france-1948-c22733213&prev=search}}</ref>
[[File:Franco Franchi & Ciccio Ingrassia.jpg|thumb|[[Franco and Ciccio]]]]

[[Franco and Ciccio]] were a comedy duo formed by Italian actors [[Franco Franchi]] (1928–1992) and [[Ciccio Ingrassia]] (1922–2003), particularly popular in the 1960s and 1970s. Their collaboration began in 1954 in the theater field, and ended with Franchi's death in 1992. The two made their cinema debuts in 1960 with the film ''[[Appuntamento a Ischia]]''. They remained active until 1984 when their last film together, ''[[Kaos (film)|Kaos]]'', was shot, although there were some interruptions in 1973 and from 1975 to 1980.<ref name=":1">{{Cite web|url=https://palermo.repubblica.it/cronaca/2012/12/11/news/una_piazza_per_franco_e_ciccio-48510063/|title=Una piazza per Franco e Ciccio amarcord tra vicoli e teatrini – Palermo – Repubblica.it|date=11 December 2012|access-date=14 September 2018|language=it}}</ref> Together, they appeared in 112 films.<ref>{{cite book|first=Paolo|last=Mereghetti|title=Dizionario dei film 2006|publisher=Baldini Castoldi Dalai|year=2006|language=it|isbn=978-8884907783}}</ref> They acted in films certainly made in a short time and with few means, such as those shot with director [[Marcello Ciorciolini]], sometimes even making a dozen films in a year, often without a real script and where they often improvised on the set. Also are the 13 films directed by [[Lucio Fulci]], who was the architect of the reversal of their typical roles by making Ciccio the serious one, the sidekick, and Franco the comic one.<ref>{{Cite web|url=http://iltirreno.gelocal.it/regione/toscana/2015/01/09/news/franco-e-ciccio-amatissimi-dal-pubblico-detestati-dalla-critica-1.10634866|title=Franco e Ciccio: amatissimi dal pubblico, detestati dalla critica - Toscana - il Tirreno|access-date=14 September 2018|language=it}}</ref> They also worked with important directors such as [[Pier Paolo Pasolini]] and the [[Taviani brothers]]. Considered at the time as protagonists of [[B movie]], they were subsequently reevaluated by critics for their comedy and creative abilities, becoming the subject of study.<ref name="sentieriselvaggi">{{Cite web|url=http://www.sentieriselvaggi.it/libri-di-cinema-due-cialtroni-alla-rovescia-studio-sulla-comicit-di-franco-franchi-e-ciccio-ingrassia-di-fabio-piccione/|title=Libri di cinema - "Due Cialtroni alla rovescia. Studio sulla comicità di Franco Franchi e Ciccio Ingrassia" di Fabio Piccione. - SentieriSelvaggi|date=6 June 2005 |access-date=14 September 2018}}</ref><ref name="mondadoristore">{{Cite web|url=https://www.mondadoristore.it/Soprassediamo-Franco-Gordiano-Lupi/eai978887606548/|title=Soprassediamo! Franco & Ciccio story. Il cinema comico-parodistico di Franco Franchi e Ciccio Ingrassia. Ediz. illustrata - Gordiano Lupi|publisher=Mondadori Store Team|access-date=14 September 2018}}</ref> The huge success with the public is evidenced by the box office earnings, which in the 1960s, represented 10% of the annual earnings in Italy.<ref name="Lezioni">DVD N.9 ''Lezioni di cinema'', Repubblica-L'espresso</ref>

Throughout the 1960s and 1970s, the traditional formula was shunned by [[The Two Ronnies]], who completely dispensed with the need for a straight man, and [[Peter Cook]] and [[Dudley Moore]], two [[Oxbridge]]-educated comedians who used the double act to deliver satire and edgy comedy.

===1970s===
[[File:Lo chiamavano Trinità.png|thumb|300px|[[Terence Hill and Bud Spencer]]]]
Internationally the most popular double act of the 1970s was the Italian duo [[Terence Hill and Bud Spencer]]. The team had already made three straight westerns together during the 1960s but turned their act towards slapstick in their fourth (''[[They Call Me Trinity]]'', 1970), with massive success.

Light entertainment in Britain in the 1970s was dominated by Morecambe and Wise, who enjoyed impressive ratings, especially on their Christmas specials. Although Mike and Bernie Winters's popularity declined, The Two Ronnies' success grew while Peter Cook and Dudley Moore sporadically produced acclaimed work, in particular, their controversial recordings as [[Derek and Clive]] from 1976 to 1978.

The mid-to-late 1970s saw a resurgence in American double acts. ''[[Blazing Saddles]]'' (1974) featured a memorable performance by [[Mel Brooks]] and [[Harvey Korman]] (who later teamed up again in Brooks's 1981 follow-up ''[[History of the World, Part I]]''). ''[[Saturday Night Live]]'', first broadcast in 1975, provided an outlet for comedians to appear in sketches as double acts and continues to do so. It was here that [[Dan Aykroyd]] and [[John Belushi]] honed their characters [[The Blues Brothers]], who were soon pulled to fame in the 1980 buddy movie of the same name. [[Gene Wilder]] and [[Richard Pryor]] also embarked on a string of successful buddy films in the 1970s. [[Cheech & Chong]] also gained massive popularity during this time.

Occasionally, the straight-man/funny-man dynamic appeared in unexpected contexts between characters not normally thought of as comics. This often appeared in the [[James T. Kirk]] ([[William Shatner]])/[[Spock|Mr. Spock]] ([[Leonard Nimoy]]) relationship in several episodes of the original ''[[Star Trek]]'' series.

===1980s===
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Morecambe and Wise had dominated British light entertainment throughout the 1970s, but their presence waned in the early 1980s. When Morecambe died moments after finishing a solo show in 1984 (his last words were 'I'm glad that's over'), the best-loved double act in British comedy came to an end, and several new acts emerged. The two distinct groups could not have been more different.

In the wake of ''[[Not the Nine O'Clock News]]'', ''[[The Young Ones (TV series)|The Young Ones]]'' and the breakthrough onto television of "[[alternative comedy]]" came [[French and Saunders]]; [[Fry and Laurie]]; [[Rik Mayall]] and [[Ade Edmondson]]; [[Hale and Pace]]; and [[Alas Smith and Jones|Smith and Jones]]. These edgier comics were brasher and crude—comedy's answer to [[punk rock]].<ref name=BBC2/> They developed the satire and vulgarity of Peter Cook and Dudley Moore rather than the more gentle humour of Morecambe and Wise and The Two Ronnies. In fact, Smith and Jones showed blatant disregard for their predecessors, openly mocking the Two Ronnies (this may have been a factor in [[Ronnie Barker]]'s decision to retire from comedy in the late 1980s<ref name=BBC2/>).

===1990s–present day===
The early 1990s saw comedy become "the new rock and roll"<ref name=BBC2/> in Britain; this was inherent in the work of [[Newman and Baddiel]] and [[Punt and Dennis]] on ''[[The Mary Whitehouse Experience]]''. Newman and Baddiel, in particular, symbolized this rock and roll attitude by playing the biggest ever British comedy gig at [[Wembley Arena]]. With this came tension. Newman and Baddiel fell out with Punt and Dennis, not wishing to share screen time with them, and then with each other. [[David Baddiel]] went on to form another successful double act with [[Frank Skinner]].
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The 1990s also saw the introduction of one of comedy's strangest yet most successful double acts in [[Reeves and Mortimer]]. They at the same time deconstructed light entertainment<ref name=BBC2/> and paid homage to many of the classic double acts (Vic Reeves would even do an Eric Morecambe impression on ''[[Vic Reeves Big Night Out]]''). They simultaneously used very bizarre, idiosyncratic humour and traditional double act staples (in later years they became increasingly reliant on violent slapstick).

Another double act that emerged in the mid to late 1990s was [[Lee & Herring]], who combined a classic [[clash of personalities]] (downbeat and rational Lee contrasting with energetic, childish Herring) with very ironic, often satirical humour.

Also appearing in the latter half of the decade were [[Adam and Joe]], whose low-budget, self-produced [[Channel 4]] series ''[[The Adam and Joe Show]]'' was a very sharp combination of TV and movie parodies and satirical looks at various elements of youth culture.

Indian cinema also had its share of the double act, with [[Tamil cinema]] comedians [[Goundamani]] and [[Senthil]] teaming up for several films throughout the decade, similarly [[Kota Srinivasa Rao]] and [[Babu Mohan]] in [[Telugu cinema]].
[[File:Jordan Peele - Keegan-Michael Key (14471841627).jpg|left|thumb|[[Key & Peele]]]]
The British duo [[Mitchell and Webb]] are another successful double act from the 2000s onwards, having multiple [[Sketch comedy|sketch shows]] on both radio and TV as well as starring in the award-winning sitcom [[Peep Show (British TV series)|''Peep Show'']].

For over 20 years, Australians [[Hamish Blake]] and [[Andy Lee (comedian)|Andy Lee]] have worked together as [[Hamish & Andy]], having multiple successful TV shows and a very popular [[Hamish & Andy (radio show)|radio show]] and [[Hamish & Andy (podcast)|podcast]].

Most of the most successful double acts in the early 2000s take their inspiration from the odder strain of double-act comedy spearheaded by Reeves and Mortimer. [[Matt Lucas (comedian)|Matt Lucas]] and [[David Walliams]], who had previously worked with Reeves and Mortimer, also took inspiration from the Two Ronnies. [[The Mighty Boosh]] also played with the formula but essentially remained traditional at their roots. Another popular current [[light entertainment]]/[[Television presenter|presenting]] comedy act is [[Ant & Dec]], who are a very basic yet effective example of a double act.

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In early 2012, comedians [[Keegan-Michael Key]] and [[Jordan Peele]] appeared in a sketch comedy TV show titled ''[[Key & Peele]]'' airing on [[Comedy Central]].

Many modern-day [[YouTube]] channels follow this format. Some examples include [[Smosh]], [[Dan and Phil]], the [[Game Grumps]], and [[Rhett & Link|Rhett and Link]] of the YouTube channel [[Good Mythical Morning]].

==United Kingdom==
[[File:MitchellandWebb.jpg|thumb|[[Mitchell and Webb]]]]

In its [[United Kingdom|British]] form, the two actors would usually be composed of a "straight man" or "feed" and a "comic." The purpose of the feed is to set up jokes for the comic. This would rely heavily on comic timing.

[[Morecambe and Wise]] are arguably the quintessential British double act. They followed the traditional formula with [[Eric Morecambe]] as the comic and [[Ernie Wise]] as the feed. Other British acts such as [[The Two Ronnies]], [[Hale and Pace]], [[Vic and Bob]], [[French and Saunders]], [[Mitchell and Webb]], [[Fry and Laurie]], [[Ant & Dec]], [[Punt and Dennis]], [[Lee and Herring]], [[Armstrong and Miller (television)|Armstrong and Miller]], [[The Peacock and Gamble Podcast|Peacock and Gamble]] and [[Dick and Dom]] display the role of "comic" and "straight man" in a less obvious, largely interchangeable way or are dispensed with altogether. More obvious British examples of the comic-feed dynamic are [[Cannon and Ball]], [[Little and Large]] or the children's entertainers [[The Chuckle Brothers]], where the straight man acted largely as a humourless set up for the comic.

[[Peter Cook]] and [[Dudley Moore]] were perhaps the first double act to go against the grain as turned their double act into a complex analysis of their relationship. In many of the sketches (especially the [[Pete and Dud]] exchanges) Cook played the domineering know-it-all (who knows nothing) and Moore the put-upon dimwit (who also knows nothing).

This dominance was accentuated by the difference in height between the two, and the speed of Cook's mind, which meant that he could ad lib and force Moore to [[corpsing|corpse]] in a Pete and Dud dialogue, leaving him helpless to respond. As the partnership progressed into the often-improvised [[Derek and Clive]] dialogues, these light-hearted attempts to make Moore laugh became, as a result of Cook's growing insecurity and alcoholism, aggressive attacks on the defenseless Moore. Carrying the tradition of going against the grain of traditional double acts, when the partnership dissolved in the late 1970s, it was Cook whose career stalled due to boredom, alcoholism and lack of ambition, while Moore went on to become one of Hollywood's most unlikely leading men.

===Sitcoms===
The double act has become a popular theme in [[British sitcoms]]. One of the earliest examples of this was the relationship between [[Tony Hancock]] and [[Sid James]] in the [[Galton and Simpson]] series ''[[Hancock's Half Hour]]''. James played a down-to-earth character while Hancock was pompous and had [[delusions of grandeur]], and the comedy was derived from the two playing off each other's characteristics.

A common trend in sitcoms is to place the double act in a situation where they are forced together through uncontrollable circumstance. In another Galton and Simpson production, ''[[Steptoe and Son]]'', a son, with great ambition, was forced to live with his elderly, [[Psychological manipulation|manipulative]] father as a [[rag and bone man]]. The comedy derives from the way the characters interact in their tempestuous relationship. The series also has more heart-rending moments as the son despairs at his inability to escape his needy, selfish, grasping father.

''[[Porridge (1974 TV series)|Porridge]]'' saw "an habitual criminal", [[Norman Stanley Fletcher|Fletcher]] (played by [[Ronnie Barker]], already famous for his comedy partnership with [[Ronnie Corbett]]) and a young, naive, first-time prisoner, [[Lennie Godber]]. The two would bicker but endured a relationship of mutual respect. Barker also formed a partnership with [[David Jason]] in ''[[Open All Hours]]'', with Jason playing Granville while Barker played Albert Arkwright. Many don't see this as a comedy duo, but the straight-man element coupled with Barker's funny-man antics on the show are still compressed into the script.

[[Rik Mayall]] and [[Ade Edmondson]] combined their success in sitcoms (''[[The Young Ones (TV series)|The Young Ones]]'') and as a double act ([[The Dangerous Brothers]]) in 1991 when they created ''[[Bottom (television)|Bottom]]''. Their characters are a pair of sad, pathetic losers forced together by their mutual hopelessness. However, unlike earlier examples of such, the characters in ''Bottom'' absolutely hate each other, exacerbating their despair. This often leads to slapstick violence, such as hitting each other with frying pans. Mayall and Edmonson have said ''Bottom'' aimed to be more than just a series of toilet gags—it was meant to be a cruder cousin to plays like ''[[Waiting for Godot]]'' about the pointlessness of life.

Other popular double acts in British sitcoms include complex relationships involving status and superiority themes: in ''[[Dad's Army]]'', the social climbing envy of [[Captain George Mainwaring]], to his right-hand man (Sergeant Arthur Wilson) who is of higher status than him; and in [[Red Dwarf]], the working class everyman [[Dave Lister]] to the middle class but socially-awkward [[Arnold Rimmer]]. However, the most prominent double act is that of an intelligent person and his inferior sidekick, such as Basil and Manuel of ''[[Fawlty Towers]]'', Blackadder and Baldrick of ''[[Blackadder]]'', or Ted and Father Dougal of the Irish sitcom ''[[Father Ted]]''.

In recent years, double acts as sitcoms appear to have gone full circle, as illustrated by the cult success of ''[[The Mighty Boosh]]''. For the relationship between the two main characters this series uses a formula very similar to that between Sid and Tony in ''Hancock's Half Hour'' – that of an arrogant character whose best friend can see his faults and keeps him grounded. A similar dynamic is used in ''[[Peep Show (British TV series)|Peep Show]]'' in which the characters of [[Mitchell and Webb]] were adapted for the sitcom formula. In this case both characters have a degree of egotism. The difference between the pair is the free-spirited, uneducated and selfishness of Jeremy and the intellectual arrogance but shyness of Mark.

==U.S. and Canada==
[[File:Abbott and Costello circa 1940s.JPG|thumb|[[Abbott and Costello]]]]

In the [[United States of America|United States]] and [[Canada]], the tradition was more popular in the earlier part of the 20th century with [[vaudeville]]-derived acts such as [[Laurel and Hardy]], [[Abbott and Costello]], [[Burns and Allen]], [[Jackie Gleason]] and [[Art Carney]], [[Wheeler & Woolsey]], and [[Lyons and Yosco]] and continuing into the [[television]] age with [[Martin and Lewis]], [[Kenan & Kel]], [[Bob and Ray]], the [[Smothers Brothers]], [[Wayne and Shuster]], [[Allen & Rossi|Allen and Rossi]], [[Jack Burns]] and [[Avery Schreiber]], [[Rowan and Martin]], [[Mike Nichols]] and [[Elaine May]], the [[Wayans Brothers]], [[Stewie Griffin]] and [[Brian Griffin]] from ''[[Family Guy]]'' and Shawn and Gus in ''[[Psych]]''. The series ''[[I Love Lucy]]'' was known for its double acts, and [[Lucille Ball]] served as foil to both her husband [[Desi Arnaz]] and to [[Vivian Vance]]. Vance could also serve as foil to [[William Frawley]] when the situation required. Vance and Ball would again serve as a double act in their next series ''[[The Lucy Show]]''. More recently, the model has been largely supplanted by that of the "[[buddy film|buddy movie]]" genre, which has introduced several notable comedy partnerships not formally billed as a single "act" in the traditional manner. The earliest example of such a team may have been [[Bob Hope]] and [[Bing Crosby]]; later examples include [[Gene Wilder]] and [[Richard Pryor]], [[Burt Reynolds]] and [[Dom DeLuise]], [[Dan Aykroyd]] and [[John Belushi]], [[Corey Haim]] and [[Corey Feldman]], [[David Spade]] and [[Chris Farley]] and child stars [[Drake Bell]] and [[Josh Peck]].  Based on the gag-man/straight-man concept, "Stoner" duos like [[Cheech & Chong]], [[Jay & Silent Bob]], and [[Harold & Kumar]] have also proven quite popular with audiences. The double act format can also be used in presenting noncomedic information in an entertaining manner, such as [[Adam Savage|Savage]]/[[Jamie Hyneman|Hyneman]] pair of the Discovery Channel's ''[[MythBusters]]'' (which Savage stated was unintentional when they began the series but naturally grew into a double act as the result of their own conflicting personalities).<ref>{{cite web|title=Insider|website=[[Business Insider]]|url=http://www.businessinsider.com/mythbusters-adam-savage-wont-work-with-jamie-hyneman-anymore-2016-5|access-date=18 May 2016}}</ref> From 2006 to 2010, [[Apple Inc.|Apple]] used the double-act formula successfully in its popular series of [[Get a Mac|''I'm a Mac/And I'm a PC'']] ads with [[John Hodgman]] and [[Justin Long]].

==Italy==
[[File:Cochi e Renato.jpg|thumb|[[Cochi e Renato]] in 1972]]
[[File:Ric e Gian.jpg|thumb|[[Ric e Gian]] in 1972]]
[[File:Ficarra e Picone, Giffoni Film Festival 2010.jpg|thumb|[[Ficarra e Picone]] at the 2010 [[Giffoni Film Festival]]]]

In [[Italy]] the tradition was more popular in the late part of the 20th century with [[Battaglia & Miseferi]], [[Cochi e Renato]], [[Ficarra e Picone]], [[Fichi d'India]], [[Gigi e Andrea]], [[Katia & Valeria]], [[Lillo & Greg]], [[Pio e Amedeo]], and [[Ric e Gian]]. [[Cochi e Renato]] were childhood friends, and they grew accustomed to perform together in front of an audience of friends and relatives.<ref name=bio>{{cite book|last=Enrico Lancia, Roberto Poppi|title=Dizionario del cinema italiano: Gli artisti. Gli attori dal 1930 ai giorni nostri.|publisher=Gremese Editore, 2003|isbn=8884402697}}</ref><ref name=Grasso>Aldo Grasso, Massimo Scaglioni, ''Enciclopedia della Televisione'', Garzanti, Milano, 1996 – 2003. {{ISBN|881150466X}}.</ref> Their professional debut took place in 1965 in the small cabaret club Cab 64 in [[Milan]], where they performed along with [[Lino Toffolo]] and [[Bruno Lauzi]].<ref name="bio"/> They were also joined by [[Enzo Jannacci]] and [[Felice Andreasi]] with whom they formed the comedy ensemble Motore, who had a good success in Milan.<ref name="bio"/> The couple became first known in the late 1960s thanks to the [[RAI]] innovative variety shows ''Quelli della domenica'' (1968) and ''È domenica, ma senza impegno'' (1969).<ref name="bio"/><ref name="Grasso"/> Characterized by a peculiar comic verve, filled with paradoxical and surreal moods, their popularity increased in the early 1970s with the variety show ''Il poeta e il contadino'' and with the participation with the musical show ''[[Canzonissima]]''.<ref name="bio"/><ref name="Grasso"/> The couple began to crack in 1974, when Renato started devoting himself to a full-time film career.<ref name="bio"/> After a long separation, Cochi e Renato reunited in 2000s for a series of television and stage projects.<ref name="bio"/> Cochi e Renato were also very active as singer-songwriters (often with the collaboration of [[Enzo Jannacci]]), and they had several commercial hits;<ref name=Deregibus>{{cite book|last=Enrico Deregibus|title=Dizionario completo della Canzone Italiana|date=8 October 2010|publisher=Giunti Editore, 2010|isbn=978-8809756250}}</ref><ref name=hitparade>{{cite book|last=Dario Salvatori|title=Storia dell'Hit Parade|year=1989|publisher=Gramese, 1989|isbn=8876054391}}</ref> their most successful song is "E la vita la vita", which reached the first place at the Italian charts in 1974.<ref name="bio"/><ref name="hitparade"/>

[[Ric e Gian]] met in an [[avanspettacolo]] at the Teatro Maffei in Turin, where Ric worked as a dancer and Gian was the [[sidekick]] of the actor Mario Ferrero.<ref name=Grasso>Aldo Grasso, Massimo Scaglioni, ''Enciclopedia della Televisione'', Garzanti, Milano, 1996 – 2003. {{ISBN|881150466X}}.</ref> They then decided to performing together as ''Jerry e Fabio'' and worked in various theaters, nights and cabarets  in Northern Italy as well as at the [[Crazy Horse (cabaret)|Crazy Horse]] in [[Paris]].<ref name="Grasso"/><ref name="il gio"/>  Noted by film producer [[Angelo Rizzoli]], they renamed themselves Ric e Gian in 1962 and made their film debut in ''Ischia operazione amore'' (1966).<ref name="Grasso"/> Starting from the late 1960s, the couple gained popularity thanks to their participation in several prime time [[RAI]] variety shows.<ref name="Grasso"/> In the mid-1970s they focused on theatre, and between late 1970s and early 1980s their popularity revamped thanks to a number of [[Antenna 3 Lombardia|Antenna 3]] and [[Fininvest]] television shows they took part in.<ref name="Grasso"/><ref name="il gio"/> In 1987 the couple split to pursue some solo projects, before briefly reuniting between 2002 and 2006 for a number of stage shows and plays.<ref name="il gio">{{cite news|last1=Antonio Lodetti|title=Gian, un finale commovente dopo cinquant'anni di risate|url=http://www.ilgiornale.it/news/gian-finale-commovente-cinquant-anni-risate.html|access-date=10 October 2015|work=[[Il Giornale]]|date=15 February 2010}}</ref>

[[Gigi e Andrea]] started performing together in small theaters, cabarets and hostelries in [[Bologna]] in the second half of the 1970s.<ref name=bio3>{{cite book|author1=Enrico Lancia |author2=Roberto Poppi |title=Dizionario del cinema italiano: Gli artisti. Gli attori dal 1930 ai giorni nostri.|publisher=Gremese Editore, 2003|isbn=8884402697}}</ref><ref name=bio2>{{cite book|author1=Felice Cappa |author2=Piero Gelli |author3=Marco Mattarozzi |title=Dizionario dello spettacolo del '900|year=1998 |publisher=Baldini & Castoldi, 1998|isbn=8880892959}}</ref> They debuted in 1978 on the [[Rai 1]] variety show ''[[Io e la Befana]]''.<ref name=Grasso>Aldo Grasso, Massimo Scaglioni, ''Enciclopedia della Televisione'', Garzanti, Milano, 1996 – 2003. {{ISBN|881150466X}}.</ref> The year before they had appeared for the first time on TV in ''[[A modo mio (television show)|A modo mio]]'', directed by [[Memo Remigi]]. In the 1980s, the couple starred and co-starred in several comedy films which were usually badly received by critics but of commercial success.<ref name="bio3"/><ref name=stracult>{{cite book|last=Marco Giusti|title=Dizionario dei film italiani stracult|year=1999|publisher=Sperling & Kupfer|isbn=8820029197}}</ref> The same period, their presence on the small screen also became more intense, especially on [[Fininvest]] variety shows and television films.<ref name="bio3"/><ref name="Grasso"/> In the 1990s, having reached a more than respectable success, the couple split in order to pursue solo projects.<ref name="bio3"/><ref name="Grasso"/>

[[Ficarra e Picone]] started in 1993 along with Salvatore Borrello as a comedy trio, performing together on stage as "Chiamata Urbana Urgente".<ref name=bio4>{{cite news|title=Ficarra & Picone anno per anno|url=http://palermo.repubblica.it/cronaca/2011/11/14/news/ficarra_picone_anno_per_anno-25015752/|newspaper=[[La Repubblica]]|accessdate=7 January 2012|date=14 November 2011}}</ref> In 1998, the two remaining members began to use their surnames: Ficarra & Picone.<ref name=bio4/> In 2000, Ficarra e Picone made their film debut with ''[[Ask Me If I'm Happy]]'' by [[Aldo, Giovanni & Giacomo]], and two years later they made the first film as main actors, ''[[Nati stanchi]]''.<ref name=bio4/> On 25 April 2005, Ficarra and Picone were the TV anchor-men four episodes of ''[[Striscia la notizia]]'' to which they collaborated from 27 March 2006 up to 5 December 2020.<ref>{{cite web|author=Vincenzo Mele|url=https://www.sologossip.it/2020/11/30/striscia-la-notizia-annuncio-addio-programma-dopo-15-anni/|title=Striscia la Notizia, triste annuncio: addio al programma dopo 15 anni|date=30 November 2020|archive-url=https://archive.today/20210121043239/https://www.sologossip.it/2020/11/30/striscia-la-notizia-annuncio-addio-programma-dopo-15-anni/|archive-date=21 January 2021|url-status=live}}</ref> In 2007 they debuted as directors alongside [[Gianbattista Avellino]] with the film ''[[Il 7 e l'8]]'', for which they were nominated to [[David di Donatello]] [[David di Donatello for Best New Director|for Best New Director]]<ref>{{cite web|title=David di Donatello, Tornatore protagonista|url=http://www.dgmag.it/cinema/david-di-donatello-tornatore-protagonista-658|publisher=DG Mag|accessdate=7 January 2012|date=8 May 2007|url-status=dead|archiveurl=https://archive.today/20120729083439/http://www.dgmag.it/cinema/david-di-donatello-tornatore-protagonista-658|archivedate=29 July 2012}}</ref> and to [[Silver Ribbon]] in the same category.<ref>{{cite news|title=Ficarra e Picone candidati ai Nastri d'Argento|url=http://trovacinema.repubblica.it/news/dettaglio/ficarra-e-picone-candidati-ai-nastri-dargento/323420|newspaper=La Repubblica|accessdate=7 January 2012|date=17 April 2007}}</ref> Also in 2007 they were featured as comic characters in the story ''Zio Paperone e il rapimento teatrale'' (trad. ''Uncle Scrooge and the Theatrical Kidnapping''), published in the issue 2678 of ''[[Topolino]]''.<ref name=bio/><ref>{{Cite web|title=Ficarra e Picone anche su Topolino|url=http://www.wuz.it/spettacolo/26185/ficarra-picone-anche.html|publisher=Wuz.it|accessdate=7 January 2012|date=12 March 2007}}</ref>

==China==
{{Main|xiangsheng}}
In [[China]], [[xiangsheng]] (also known as crosstalk) is a traditional comedic performance usually in the form of a dialogue between two performers.

==Japan==
{{Main|manzai}}
In [[Japan]] the [[manzai]] tradition parallels that of the double act. Here there is a distinguished straight man (''tsukkomi'') and funny man (''boke'') and the humor consists of quick slapstick jokes, comical stories and social misunderstandings.

==Germany==
In Germany [[Tünnes and Schäl]] (since 1803/1850s), two [[Cologne]] puppet theater characters, fit to the concept of fool and straight man.

During WWII [[Tran and Helle]] appeared in a number of short films to deter Germans from actions detrimental to Germany's war effort or security.

Between 1950 and 1980, the most popular comedy duo of [[East Germany]], [[Herricht & Preil]], ran a very successful double act; [[Hans-Joachim Preil]] is the straight man and [[Rolf Herricht]] is the comic.

==Notable examples==
* [[Amy Poehler]] & [[Tina Fey]] (e.g. the first female duo to co-anchor SNL's [[Weekend Update]])<!--
"Bea Arthur, Rue McClanahan, and Betty White for The Golden Girls; .. Jane Fonda and Lily Tomlin for Grace and Frankie. That’s only seven times that leading female comedy duos have been recognized on an awards level. And while it speaks to the underrepresented recognition of women duos in comedy, it also highlights their longevity.
From the days when Lucille Ball was commandeering laughs with Vivian Vance to Courtney Cox and Jennifer Aniston doing the same on Friends, comedy and the women involved in it has evolved significantly. .. 
Over the years, women duos in the comedic landscape started to follow this pattern. While each actress was individually talented, it became almost impossible to look past the fact that their work together was what made them more powerful. Shows like Mary Tyler Moore with Moore and Valerie Harper and Laverne and Shirley with Penny Marshall and Cindy Williams took that connection one step further. They essentially drove home the “odd couple” status when it came to close friendship.
Mary and Rhoda were two sides of one coin: a driven business women who didn’t care much about getting married and a department store worker who longed for a relationship." --><ref>{{Cite web |title=The Powerful History of Women Duos in TV Comedy |url=https://nerdist.com/article/women-duos-comedy-television/ |access-date=2025-02-18 |website=Nerdist |language=en-US}}</ref>
* [[Broad_City|Abbi & Ilina (in Broad City sitcom)]]<!-- Top 5 & 6. Abbi Jacobson and Ilina Glazer, the sitcom based on their real life; only other duo listed 11. & 10. Kate Micucci and Riki Lindhome, the rest aren't duos. --><ref>{{Cite web |title=The 20 Best Comedians of 2014 |url=https://www.pastemagazine.com/comedy/the-20-best-comedians-of-2014 |access-date=2025-02-19 |website=Paste Magazine |language=en-US}}</ref>
* [[Abbott and Costello]]
* [[Ant & Dec]]
* [[Armstrong and Miller]]
* [[Barry and Stuart]]
* [[Bob Hope]] and [[Bing Crosby]]
* [[Butterbeans and Susie]]
* [[Cheech & Chong]]
* [[Dan and Phil]]
* [[Derek and Clive]]
* [[Flight of the Conchords]]
* [[Franco and Ciccio]]
* [[French and Saunders]]
* [[Fry and Laurie]]
* [[Gallagher and Shean]]
* [[Garfunkel and Oates]] (i.e. [[Riki Lindhome]], who performs as Garfunkel, and [[Kate Micucci]], who performs as Oates)
* [[Hale and Pace]]
* [[Hamish & Andy]]
<!-- * [[Heather and Shirley]] ([[Eastenders]])<ref>{{Cite web |date=2016-04-25 |title=Our salute to TV's funniest female double acts |url=https://www.bbc.com/bbcthree/article/43ee5359-e78e-4381-8fa0-281b3f94c9ca |access-date=2025-02-18 |website=BBC Three |language=en-GB}}</ref>
-->
* [[The Inspired Unemployed]]
* [[Two Black Crows]]
* [[Jake and Amir]]
* [[Jay and Silent Bob]]
* [[Mr. and Mrs. Jimmy Barry]]
* [[Kath & Kim]] (Australian sitcom and spin-off film [[Kath & Kimderella]]; and [[Kath & Kim (American TV series)|American TV series adapted from the sitcom]])
* [[Key & Peele]]
* [[Lano and Woodley]]
* [[Laurel and Hardy]]
* [[Lum and Abner]]
* [[Little and Large]]
* [[Martin and Lewis]]
* [[Mel and Sue]]
* [[Merrick and Rosso]]
* [[Mitchell and Webb]]
* [[The_Mommies_(comedy_duo)|The Mommies]]
* [[Newman and Baddiel]]
* [[Neon & Nude]]
* [[Nichols and May]]
* [[Ninja Sex Party]]
* [[The Pin (comedy act)|The Pin]]
<!-- * [[Paris and Nicole]] (in [[The Simple Life]]) won 
Fox Reality Awards
Innovator of Reality Television
-->
* [[Penn & Teller]]
* [[Primrose and West]]
* [[Puppetry of the Penis]]
* [[Sklar Brothers|Randy and Jason Sklar]]
* [[Steve Martin]] and [[Martin Short]]
* [[Rhett & Link]]
* [[Roy and HG]]
* [[Smith and Dale]]
* [[Smosh]]
* [[Sonny & Cher]]
* [[Stiller and Meara]]
* [[Tenacious D]]
* [[Tim & Eric]]
* [[The 2 Johnnies]]
* [[The Umbilical Brothers]]
* [[Trixie and Katya]]
* [[Uncle Cyp and Aunt Sap Brasfield]]
* [[Vic and Bob]]
* [[Ylvis]]

==References==
{{Reflist}}

{{Comedy footer}}

{{DEFAULTSORT:Double Act}}
[[Category:Comedy duos|*]]
[[Category:Comedy characters]]
[[Category:Fictional characters by role in the narrative structure]]
[[Category:Vaudeville tropes]]