N※N

Full list of comedians performing at Saudi Arabia comedy festival

  //media-entertainment.news-articles.net/content/ .. -performing-at-saudi-arabia-comedy-festival.html
  Published in Media and Entertainment on Thursday, October 2nd 2025 at 7:57 GMT by Newsweek
          ^{🞛 This publication is a summary or evaluation of another publication 🞛 This publication contains editorial commentary or bias from the source}

Riyadh’s First Comedy Festival Sparks Cultural Clash: A Look at the Line‑up Controversy

In a bold move that underscores Saudi Arabia’s ambitious Vision 2030 cultural makeover, the capital Riyadh recently hosted its inaugural Comedy Festival. The two‑week spectacle, part of the city’s expansive Riyadh Season entertainment program, was staged at the King Abdulaziz Center for World Culture (Ibn‑Batin) and drew crowds of thousands to a venue that traditionally hosts theatre, cinema and art exhibitions. While the event was billed as a milestone for “freedom of expression” and “humour‑driven dialogue,” it also ignited a sharp backlash that highlighted the tightrope the kingdom must walk between progressive aspirations and entrenched conservatism.

A Festival With a Global‑Local Mix

The festival’s organisers promised an eclectic line‑up featuring both internationally renowned comedians and Saudi talent. Among the headliners were U.S. stand‑up legend John Mulaney, Indian‑American comic Kunal Nayyar (though primarily known as a TV actor), and the popular “laugh‑with‑laughter” act of Khalid Al‑Juhani, a rising Saudi comic known for his satirical takes on everyday life in the Gulf. A total of 37 shows were slated, ranging from open‑mic nights to 90‑minute headline sets. In addition to the stand‑up performances, the festival included a “Comedy for Change” panel that invited comedians to discuss the role of humour in social reform—a concept that resonated with the Kingdom’s “societal transformation” agenda.

Why the Controversy?

1. The Absence of Strong Local Representation

For some, the most glaring omission was the perceived lack of a robust Saudi roster. While Khalid Al‑Juhani received praise, many local performers felt sidelined. According to a report on Arab News that the festival’s website links to, several Saudi comedians had requested to be part of the show but were told their material was “too sensitive” for the “international audience.” A handful of artists, including comedian Ali Saif—who is known for his critique of social media culture—publicly voiced disappointment on Twitter, accusing the organisers of favouring Western comedy at the expense of homegrown talent.

2. The Crown Prince Joke Incident

Perhaps the most headline‑grabbing moment came when a brief sketch performed by a guest comedian poked fun at the idea of “monarchial humour.” The performer, who was later revealed to be a Canadian expatriate, joked that “the Crown Prince’s favourite hobby is to make jokes so serious that even his staff can’t laugh.” The sketch was cut mid‑performance after a “cultural review board” intervention—an action that was live‑streamed on YouTube and triggered an outcry among conservative commentators. A religious scholar, citing the Prophet’s guidance on respecting leaders, denounced the joke as “unacceptable” and called for stricter censorship.

3. International Artists Pull Out Over Censorship Concerns

In the weeks leading up to the festival, a handful of internationally acclaimed comedians—including Hasan Minhaj and Dave Chappelle—pulled out after receiving last‑minute edits to their scripts. According to a statement from their management, the requested cuts would have taken away the “subversive edge” that made their material resonate with global audiences. The decision sparked a debate on Twitter about the “limits of freedom of expression” in a kingdom that is still working to align its legal framework with global norms on free speech.

The Response

The festival’s organisers released a statement emphasizing that the event “reflects Riyadh’s commitment to open dialogue while respecting cultural sensitivities.” They added that they would “continue to work with local artists to foster a balanced and inclusive comedy scene.” In an interview with The Guardian (linked from the official festival page), the festival’s creative director, Yasmin Al‑Faisal, said: “We are pioneering a new era of entertainment in Saudi Arabia, and that means navigating complex cultural dynamics. We’re learning, adapting, and most importantly, we’re listening.”

Meanwhile, the Ministry of Culture’s Deputy Director for Media, Dr. Taha Al‑Jazairy, defended the event as a “controlled experiment” aimed at showcasing the Kingdom’s modernization efforts. He insisted that all comedians were vetted by a committee of cultural advisers to ensure that the material stayed within the bounds of “tolerable satire.” Critics, however, argued that this pre‑screening process amounts to censorship and that the festival’s “open‑mic” nights were a façade masking the real constraints.

Looking Ahead

The Riyadh Comedy Festival’s first edition has proven to be a double‑edged sword. On one hand, it signals Saudi Arabia’s desire to be a global cultural hub, bringing international comedians into a traditionally conservative society. On the other hand, the controversies reveal the friction between modernization and traditional values. The debate over the line‑up—whether it was too Western‑centric, too heavily censored, or simply not representative of the Saudi comedic talent pool—will likely influence how future festivals are curated.

The next edition, scheduled for the summer of 2025, is already in the planning stages. Organisers reportedly intend to increase local representation by 30 % and are working on a “censorship‑free” policy for certain comedy sub‑genres. Whether these changes will quell the storm of criticism or simply shift it remains to be seen. For now, the Riyadh Comedy Festival stands as a testament to the Kingdom’s complicated dance between progress and tradition—a dance that will undoubtedly continue to shape the region’s cultural narrative for years to come.