The book under review is the first of a series of six volumes devoted to the genre of comedy from antiquity to the modern age. The volume opens with an editorial introduction, followed by nine essays addressing different aspects of ancient comedy, divided into six main thematic sections: Form, Theory, Praxis (focusing on the artistic representation of plays and on the interaction between verbal humour and visual elements), Identity, Politics, and Ethics. The book contains ten illustrations, twenty-three pages of notes, and twenty-three pages of bibliographical references. The volume ends with a useful index of proper names and key themes.

In the section on Form, Gesine Manuwald surveys the various forms of comedy in chronological order, from classical Greece to Late Antiquity. This informative chapter provides a clear overview of the development of Greek and Roman drama. Manuwald traces the evolution of dramatic structure (from the flexible scene structure of Aristophanes, through the rigid five-act form of New Comedy, to the more improvised performances of the fabulae Atellanae) as well as changes in the playwright’s engagement with the audience, the degree of direct or indirect political allusion, and stylistic differences, such as the exuberant language of Aristophanes and Plautus compared with the more refined and controlled dialogue of Menander and Terence.

With Theory, Caleb Dance explores ancient theoretical approaches to comedy and the comic, from Plato’s banishment of drama from the ideal city (since, he argues, by indulging in laughter in the theatre the spectator risks becoming a comedian at home) to Aristotle’s emphasis on the universality of poetic plots, which should express what could happen rather than what has happened. Despite their reservations, both philosophers acknowledge that poetic mimesis in the theatre involves learning, and that learning is a source of pleasure.

In Praxis, Michael Ewans examines theatre architecture and dramatic conventions in Athens and Rome and compares the ‘illusionistic’ plays of Aristophanes (with their robust political criticism of contemporary society and its leaders) with the more ‘realistic’ and plausible plots of New Comedy. According to Ewans, similar contrasts can be observed in Roman comedy, particularly between Plautus’ subversion of social norms (for example, the servus callidus outwitting his master) and Terence’s more sober and reflective plots.

Natalia Tsoumpra’s chapter on Identities explores space and social class. Particular attention is paid to the representation of places: ‘the countryside is often praised and idealized, and becomes a locus of peace, prosperity, and fertility’ (p. 79). Social class is also central, as Aristophanes frequently ridicules the elite, whereas Menander offers a more sympathetic portrayal of the aristocracy.

In The Body, Louise Peacock focuses on the use of grotesque costumes and masks that exaggerate the human body in order to ridicule social norms and individual idiosyncrasies. Both Aristophanes and Plautus stage highly physical performances in which beating, running, and cross-dressing (as in, for instance, Aristophanes’ Frogs and Assemblywomen) are prominent sources of comedy. In these plays, laughter functions as a corrective force.

The chapter on Politics and Power by Isabel Ruffell is particularly significant. As she observes: ‘comedy … can claim to be the only theatrical genre unambiguously introduced by democracy’ (p. 119). In contexts of freedom of speech and active political participation, comedy is deeply embedded in the life of the polis; when such freedoms are curtailed, comedy tends to become an ‘insulated … environment into which the external world only rarely intruded’ (p. 135).

In Laughter, Marcel L. Lech examines both the techniques used to elicit laughter and the explicit presence of laughing characters within the plays. While jokes, wordplay, and riddles are common in both Greek and Roman comedy, surviving Greek texts contain no instances of characters laughing on stage. By contrast, laughter is more ‘audible’ in Roman comedy: Terence and Plautus include examples of fictitious laughter, laughter as a reaction to anticipated events, and, especially in Plautus, laughter expressing relief or joy.

The volume concludes with a chapter on Ethics, divided into two sections: Valeria Cinaglia on Greek comedy and Serena Witzke on Roman comedy. In Greek comedy, ethical tensions often arise between the common good and private interest (for example, oikos versus polis in Aristophanes’ Clouds), or from extreme individualism as a threat to civic unity (as in the Acharnians). In Menander, the stock figure of the greedy old man, narrowly focused on his own interests, likewise poses a danger to the community. In Roman comedy, Plautus frequently adopts the perspective of non-Roman citizens, outsiders, and slaves, allowing them to comment on the morals and behaviour of the elite. This ‘Saturnalian inversion’ places marginalised figures in a position of comic dominance. In Terence, by contrast, Roman families and their hypocrisies occupy centre stage.

Overall, the volume addresses the question of the purposes for which ancient comedy was written and performed. It should be noted that the book is well edited, although some inevitable repetitions occur across the different contributions. It offers both a valuable introduction to the genre and a useful collection of ancient sources dealing with the many complex aspects of ancient drama. A Cultural History of Comedy in Antiquity is a substantial, interdisciplinary introduction to ancient comedy as a social and cultural force. It emphasises theatre, performance, politics, identity, and laughter, going beyond mere literary analysis to situate comedy in the lived experiences and values of Greek and Roman societies. One notable omission, however, is any sustained discussion of the question of female attendance at comic performances. Given the importance of audience composition for understanding the social function of ancient comedy, consideration of whether women may have been present at some, if not all, performances would have further enriched the volume.

In sum, this volume offers a wide range of thoughtful and valuable insights that merit attention beyond specialist scholarship. In particular, secondary school teachers may find it rewarding to draw on its discussions of ancient play, the social spaces of performance, and the dynamics of laughter, embodiment, and mask use to enrich their teaching. While the book itself is likely too conceptually demanding for most students, its ideas can nonetheless be adapted into accessible classroom material, helping to bring the cultural dimensions of ancient comedy vividly to life.