The Stage Symbol in She Memes Well: Performance, Identity, and the Pursuit of Comedy
The Stage as a Recurring Symbol in She Memes Well: From Recital to Comedy Store and Beyond
In She Memes Well, Quinta Brunson uses the stage as a recurring symbol to trace her evolution from a five-year-old dancer to a professional comedian. The stage is not just a physical platform; it represents the space where performance, identity, and the pursuit of comedy intersect. By following the stage from her first recital to her debut at the Comedy Store, Brunson shows how her relationship with performance—and with the audiences who watch her—shapes who she becomes.
The Literal Stage: A Place of Firsts
The stage first appears in Chapter 2, “V Is for Victory,” where Brunson describes her first performance at age five. The venue is the Lang Performing Arts Center at Swarthmore College, a theater she remembers as “big and beautiful, seated about three hundred people, and had a balcony.” For Brunson, this is her first experience of the “joy and magic of a theater,” with its “big echoes and dim lights.” The stage here is a literal, physical space where she performs ballet and acrobatics routines in front of her family.
The stage returns in Chapter 11, “Girl Who’s Never,” when Brunson performs at the Comedy Store in Los Angeles. This is a very different kind of stage: a legendary comedy club that “birthed artists like Robin Williams, Richard Pryor, and Whoopi Goldberg.” Unlike the recital stage, which was filled with supportive family, the Comedy Store stage is a professional proving ground. Brunson notes that it is her “first time at the venue at all,” making the performance “completely surreal.”
The Stage as a Site of Validation
For Brunson, the stage is initially a place where she receives validation. At the recital, the applause and the standing ovation from her family are transformative. She writes that the feeling of seeing her “entire family leap from their chairs in a standing ovation” is “nearly indescribable.” She credits this moment as “the thing that drove me to pursue a life of performance,” describing it as flipping “some sort of switch in my brain.”
This early validation is tied directly to her family. Brunson explains that her recitals became “kind of an institution, one of the few times throughout the year my nuclear family would all gather together around one nucleus.” The stage, then, is not just a place for her to perform; it is a place where her family gathers to witness and affirm her. This connection between the stage and family support is a foundation for her later career.
The Stage as a Test of Craft
As Brunson grows older, the stage becomes a test of her craft rather than simply a source of applause. At the Comedy Store, she faces a difficult audience: an all-Black, older crowd that came to see stand-up, not sketch comedy. Brunson acknowledges that “Black audiences are the hardest to make laugh,” and the pressure is intense. Her friend Kate worries they will bomb, but Brunson insists, “We can do this. It may be hard, but we’ll make them laugh. Trust me. Our stuff is funny.”
This moment shows how the stage has shifted from a place of unconditional support to a place of professional risk. The stage now demands that Brunson prove her comedic skill. When she performs “The Girl Who’s Never Been on a Nice Date,” she notes that the audience’s reaction will “absolutely make or break whether or not my character was funny.” The stage is no longer a place where her family cheers her on; it is a place where her talent is judged.
The Stage as a Foundation for Discipline
Brunson also connects the stage to the discipline she learned in dance class. At L and L Dance Productions, her teachers Miss Hollie and Miss Denise demanded excellence. Brunson recalls that they “had been there and seen cute. The question was: Could I perform?” The stage, then, is not just a place to show off; it is a place where technical skill is required.
Brunson explicitly links this early training to her later work in comedy. She writes that dance taught her “the art of discipline and persistence” and that she brings this “confidence and self-respect” to “any stage I stand upon.” The stage, in this sense, is a symbol of the hard work and repetition required to succeed in any performance field.
The Stage and the Internet: A New Kind of Performance
While the physical stage is central to Brunson’s story, she also expands the idea of the stage to include the internet. In Chapter 1, “Hey, Reader,” she describes how she became known online as the “He Got Money” girl after a video she made with a camera phone went viral. She explains that creating internet content taught her to be her own writer, producer, director, and editor.
The internet, in this context, becomes a kind of stage—a space where she performs for a digital audience. Unlike the recital stage or the Comedy Store stage, the internet stage is accessible and immediate. Brunson notes that the “He Got Money” video got more likes than she had followers, and strangers began sharing it. This digital stage allows her to reach a wider audience than any physical theater could.
However, the internet stage also has its downsides. Brunson describes being recognized in public and asked to perform her catchphrase on demand. She writes, “I perform when I want, not when I’m told to, and I live by that today.” This shows that the stage—whether physical or digital—can become a source of pressure and expectation.
The Stage as a Symbol of Identity
Throughout the book, the stage is closely tied to Brunson’s sense of identity. At the recital, she is a child discovering that she loves being seen. She writes that the first time she was on stage, she realized “I was being seen!” This moment of being seen is foundational to her identity as a performer.
At the Comedy Store, the stage becomes a place where she tests a new comedic identity. Her character, “The Girl Who’s Never Been on a Nice Date,” is a reflection of her own dating frustrations. She writes that she had been “thinking a lot about how shitty this dating scene is,” and the character allows her to turn her personal experience into performance. The stage, then, is a place where she can explore and express different aspects of herself.
The Stage and the Theme of Self-Acceptance
The stage also connects to the theme of self-acceptance. Brunson’s journey from the recital to the Comedy Store is not just about gaining fame; it is about learning to trust her own comedic voice. At the Comedy Store, she insists on performing her own material, even when the audience expects stand-up. She tells her friends, “Our stuff is funny. Maybe not ‘bitches be trippin’’ funny. But funny.”
This moment shows Brunson accepting her own style of comedy, even when it does not fit the expectations of the venue. The stage, in this sense, is a place where she can be authentic rather than trying to please everyone.
The Stage and the Theme of Family and Cultural Roots
The stage is also a symbol of Brunson’s family and cultural roots. Her first performance is supported by her entire family, and she notes that her parents’ backgrounds and her siblings’ African-influenced names are part of her story. The stage, then, is not just a personal achievement; it is a family affair.
Later, when she performs at the Comedy Store, she is performing for a Black audience, and she is aware of the cultural expectations. She notes that the audience wanted stand-up, not sketch, and she worries about whether her material will land. This moment shows how the stage can be a place where cultural identity is both celebrated and tested.
The Stage as a Recurring Motif
The stage recurs throughout the book as a motif that ties together Brunson’s personal and professional life. From the recital to the Comedy Store to the internet, the stage is a constant presence. It is a place where she performs, where she is seen, and where she grows.
In the end, the stage is not just a physical location; it is a symbol of Brunson’s commitment to comedy and her willingness to put herself out there. As she writes, she always remembers to “hit the stage with my eyes on the prize.” The stage, then, is a symbol of ambition, discipline, and the pursuit of a dream.
Study Questions
- How does the stage function differently in Brunson’s first recital compared to her performance at the Comedy Store?
In the recital, the stage is a place of family support and unconditional validation. Brunson’s family gives her a standing ovation, and she credits this moment with inspiring her to pursue performance. At the Comedy Store, the stage is a professional proving ground where she faces a tough audience and must prove her comedic skill. The stage shifts from a place of comfort to a place of risk.
- What role does discipline play in Brunson’s relationship with the stage?
Brunson connects the stage to the discipline she learned in dance class. Her teachers demanded technical excellence, and she credits dance with teaching her “the art of discipline and persistence.” This discipline carries over to her comedy career, where she applies the same work ethic to her performances.
- How does the internet function as a stage in Brunson’s story?
The internet becomes a kind of stage where Brunson performs for a digital audience. Her “He Got Money” video goes viral, and she gains a following. However, the internet stage also brings pressure, as she is recognized in public and asked to perform on demand. Brunson asserts her control by performing only when she chooses.
- How does the stage connect to Brunson’s sense of identity?
The stage is closely tied to Brunson’s identity as a performer. At the recital, she discovers that she loves being seen. At the Comedy Store, she tests a new comedic identity through her character “The Girl Who’s Never Been on a Nice Date.” The stage allows her to explore and express different aspects of herself, from a child seeking applause to a comedian asserting her own voice.