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We aim to amplify women’s voices and give them the chance to prove their jokes and characters in the room, with the undeniable sound of laughter. We hope to help female writers from a broad and diverse range of backgrounds get their comedy writing produced.

​​​​Female Pilot Club was founded by Kay Stonham and Abigail Burdess in response to the stubbornly intractable problem of under-representation of female writers in British TV comedy.​​ 

 

Since June 2019 we have showcased live readings of comedy pilot scripts by women to audiences of comedy lovers and industry members alike. The writers range from first-timers to Emmy-award-winners; the performers are top British comedy actors. We've partnered with the likes of BBC Comedy, ScreenSkills, The Jewish Comedy Festival and UKTV to produce mentorship schemes and initiatives.​

 

Whether you identify as a writer, actor, industry member or fan, you're invited to Fly With Us.

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Meet The Team

We always wished something like FPC existed – a place where our scripts could go on a test flight with the brilliant casts they deserve, and women could encourage and promote each other’s work, share jokes, discuss scripts and show off. We hope to help great female-written comedy take off.

Up, up and away!

The Pilots
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Kay Stonham

Head of Scripts
Creative Director & Producer

Dr. Kay Stonham, PhD is a comedy writer-performer. On TV she's written for comedies including Harry Enfield and Chums (BBC1) My Family (BBC 1)and  Comedy Award-winning Alistair McGowan’s Big Impression (BBC 1)

 

Kids shows include the multi award-winning Shaun the Sheep and Millie In-between (CBBC). She’s appeared in TV shows like The Young Ones (BBC2) Dead Ringers (BBC 1) and People Like Us (BBC2). 

Kay created three original series for radio, Audio Dairies, Robin and Wendy’s Wet Weekends, and Bad Salsa (BBC Radio4).  She is currently developing a new comedy drama and adapting the best selling book, What Would Boudicca Do? for TV.

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Emily Chase

Head of Casting
Company Director & Producer

Emily Chase is an actress and writer. She appeared in Bad Salsa (Radio 4) and her Youtube Channel, Bloody Comedy TV, gained nominations for the British Comedy Awards and The Funny Women Awards.  ​

Emily appeared in Aziz Ansari’s Netflix Comedy Master of None and BBC Drama The Pact. She has assisted with casting for Party Girls, Treasure Island & 2:22 while working at Annelie Powell Casting. She recently cast the comedy You And Me Makes Three.

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Chelsea Kania

Head of Communications
Producer

Chelsea Kania businessed for many year in silicon valley, where she learned a lot about people and even more about storytelling. After relocating to London, she received her MA in screenwriting from London Film Academy.

 

Her short films have screened at the likes of Bentonville Film Festival, Screamfest, Abertoir and Fogfest. Her scripts have placed in the likes of Academy Nicholl and Austin Film Festival. Her first feature film produced by Stable London is slated for 2026.

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Alice Uzzan

Marketing Contributor

Alice Uzzan is a French writer and composer whose work spans musicals, comedy and genre scripts. A regular script-reader for contests like BAFTA Rocliffe, she is a senior reader at Scriptwriters & Co. She also works as a translator and cultural consultant for production companies such as Passion Pictures, KEO Films, and Lady & Bird. Her credits include 2024 TV BAFTA Nominee Vjeran Tomic: The Spider-Man of Paris (Netflix) and Culprits (Disney+). Her short film Driving With Tim premiered at the 2025 Crystal Palace Film Festival. She is a graduate of London Film Academy.

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Kate Van Boss 

Content Contributor

Kate is a writer, editor, and content creator with over a decade of experience turning ideas into clear, engaging stories. From academic briefs to Instagram campaigns, comedy scripts to visual storytelling — she has written and created content across formats, platforms, and audiences. Kate specialises in making information accessible, whether it’s for brands, universities, publications, or events. Her work spans fashion, education, digital media, and comedy, always rooted in thoughtful communication that connects and always ready to try something new.

 

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Lorna Woolfson 

Program Contributor

Lorna Woolfson started writing Comedy in 2015 after her career as an Assistant Director. She has written for Have I Got News For You and Turtle Canyon’s online sitcom, Content Content, and for stand up comedienne Helen Lederer. Her accolades include The Sitcom Mission, BAFTA Rocliffe, Funny Women and The Comedy Crowd’s Chorts. Her projects include collaborations with Company Pictures, Adorable Media and  Buffalo Dragon.

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Abigail Burdess 

Advisor

Abigail Burdess is a comedy writer-performer. TV writing includes Tracy Ullman’s Show (BBC1), Watson and Oliver (BBC2), and the BAFTA-winning That Mitchell & Webb Look (BBC2). 

 

Kids' TV includes Sorry I’ve Got No Head (CBBC), So Beano (Sky TV) and Paddington (Nickelodeon).

She’s also appeared in TV and radio shows like Cuckoo (BBC3), Fresh Meat (C4) and The Musical Life Of (BBC Radio Wales).

Reviews

Ambassadors

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Inequality In Media

FPC was founded to address inequality. Female writers continue to face challenges pursuing careers in the film and television industry. Individual successes, though very welcome, can make it seem like women writers are doing just fine, but the research tells another story. The report, 'Equality Writes' (2017) noted that 'Bias and specific hiring and monitoring problems within the film and TV industries are creating a self-sustaining loop of gender inequality.'

 

The Writers’ Guild of Great Britain (WGGB) revealed in their 2018 Gender Inequality and Screenwriters report that only 17% of comedy films made in the UK had at least one female writer, and that just 11% of TV sitcoms were predominantly female-written.

 

In 2024, that figured had not changed.

 

Female Pilot has since contributed to articles in Chortle and Broadcast to draw attention to these issues.

 

Women writers have stated that they find it hard to compete with male writers who have accumulated more credits because of historic discrimination. This perpetuates the male dominated culture within comedy. Nearly four out of five of all respondents to the WGGB report disagreed with the statement that “the way writers are hired, and scripts are commissioned, is fair and free from discrimination."

Writers Have To Say...

What The 

Pip Swallow

Thank you for everything last year, I can't tell you enough what it meant to me to be selected. And the experience itself! And the event in general- its just great. Thank you.

Lorna Woolfson

I’m still coming down from the high of Wednesday night! I seriously cannot thank you enough. As a direct result of the show, I have had two requests for meetings and one request for more material on Tudor Roses

As a non-performing new writer it’s almost impossible to prove to producers and commissioners that my scripts can make people laugh and that’s what’s so wonderful about what you’ve created here.

Janice Hallett

My sitcom pilot Two Ladies was performed at the inaugural Female Pilot Club in June 2019. It was an extraordinary experience to see the script brought to life by professional actors for the very first time, and in front of an audience as well.

Before Comedy 50:50, we had no platform from which to assert

ourselves in the industry. The event was sold out so being featured most certainly increased my visibility - since then my agent and I have received several requests from producers to read the script.

Carol Walsh

Through the Female Pilot Club I saw my work come alive in the hands of some incredible talent. I'd worked in drama previously but, taste-wise, always veered towards comedy.

Having a script selected was a real boost. The cast made the material sing and hearing the audience laugh was incredible. I gained confidence and felt a fresh rush of enthusiasm for writing the next script.

Georgia Pritchett

I went to the very first Female Pilot Club and thought it was amazing. The scripts I heard were brill. I don't feel the sexism in TV comedy has improved in this country in the almost three decades I've been writing. Every single channel in the UK has told me "we already have something with women in it. The fact that the most popular sitcom in recent years stars a man dressed as a woman is thoroughly depressing.

 

Sorry if that sounds negative - but things REALLY have to change and that's why the Female Pilot Club is such a great idea.

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