THE LAST LAUGH at Noël Coward Theatre. Bob Golding (Eric Morecambe), Damian Williams (Tommy Cooper) and Simon Cartwright (Bob Monkhouse). Photo Pamela Raith.Paul Hendy’s play hinges on the abilities of Damian Williams, Simon Cartwright and Bob Golding to breathe life into Cooper, Monkhouse and Morecambe respectively. Thankfully, each gifted actor proves more than up to the task, mimicking both mannerisms and vocal delivery to pitch perfect precision. In terms of substance, the play attempts to reveal a little of each individual’s beneath-the-mask persona as they delve into snippets of well-known routines and journey through a nostalgia trip which in many ways serves no significant purpose nor asserts any particular agenda.
For all that it is simply a stand alone reflection on comics and their varying styles, the dialogue never flags, nor does the 80min piece ever outstay its welcome. The comedy simply serves as a steer to a joyous jaunt down memory lane whilst hinting gently at the pathos and tragedy which is never far from the surface of those who are born to make others laugh, often at the expense of their own health and sanity.
Oddly, it is in these moments that the play slightly falters. We cringe as Monkhouse reflects sentimentally on the suicide of his once comedy partner and other family challenges which occupy his thoughts and momentarily imprint themselves on his otherwise tanned and veneered professional expression. Both Morecambe and Cooper suffered heart conditions exacerbated by smoking, alcohol and the inevitable stress of living up to everyone’s comedic expectations of them. Again, it is in these moments of reflection when their humanity is revealed that their masks thud as they hit the stage - not least when Cooper recounts once sitting kerbside, convulsed in tears as a crowd gathered finding the spectacle inherently amusing simply because he was a renowned comic.
In Lee Newby’s authentically drab dressing room set, is a photographic rogues gallery of comedy greats and music hall era comedians adorning the tatty back wall, which serves as a constant backdrop to proceedings. They provide a reminder of those who’ve already departed, leaving behind comedy legacies which as the years pass will continue to fade like their portraits. Recognisable faces included such notables as Sid James, Arthur Askey, George Formby and Tony Hancock among others. For those of us in the audience who grew-up watching and listening to the routines of such notables, it was perhaps unsurprising to see so many 80s and 90s TV celebrities in the audience at the Noel Coward on press night. Comedians and soap stars rubbed shoulders and hailed each other as the lights dimmed and reacquainted themselves later as we shuffled off into the chilly London evening. Many of those faces had changed markedly from their heydays being beamed into living rooms having left our screens long ago such is the nature and transition of comedy styles down the ages.
Whilst this last statement is in essence sad, tragic even, it is also an acknowledgement that comedy and humour is a constantly evolving medium subject to the whims and capriciousness of the society which it mirrors. If THE LAST LAUGH is about anything at all, it is the ephemeral and fleeting nature of everything. Comedy, styles, celebrity, health and indeed, life itself. And on that note, if you want to experience the play, grab your chance now, for it will be playing the venue for one month only until 22nd March.
