Brighton Year-Round 2025

The Last Laugh

Jamie Wilson Productions, Evolution Productions, Kevin McCollum and Evolution Productions (Aus).

Genre: Adaptation, Character Stand up, Comedy, Drama, Interactive, Live Music, Mainstream Theatre, New Writing, Short Plays, Stand-Up, Theatre, Tribute Show

Venue: Theatre Royal Brighton

Festival: Brighton Year-Round

Low Down

Review

Lights up. A man stands in just his underwear, a fez and chicken-feet  boots. “That’s fowl” quips Tommy Cooper and his dressing-room lights flicker. Paul Hendy’s The Last Laugh arrives at Theatre Royal Brighton also directed by Hendy till February 15^th.

Tommy Cooper (Damian Williams) stands vaguely appalled at himself. Williams not only looks Cooper, he inhabits him. He’s soon joined by Bob Monkhouse (Simon Cartwright) who’s going on in another act. What a coincidence. Cartwright too, who has the hardest job, catches Monkhouse’s smarm and flinch of regret; albeit under a deep tan. Monkhouse, the supreme crafter of jokes and timing, declares he lacks the natural comedian’s flair to turn anything at a millisecond’s flick into mega-gales of laughter; as he tells Cooper he can.

Which is why invoking Monkhouse is so difficult: he’s a slightly forgotten giant. His one immoral joke (“They all laughed when I said I wanted to be a comedian. They’re not laughing now”) is actually withheld. Cartwright plays straight-man and admirer of others; but shows he’s the great originator. Cooper says he steals jokes, but of course his funny bones do so much more.

As they do for the third comedian arriving. Eric Morecombe (Bob Golding) has the same instincts as Cooper, can make his own jokes (often at Monkhouse’s amused expense) but lacks the confidence to work without Ernie Wise. “When I’m alone I feel this cold air at my side where my partner should be” he explains. Golding too looks and breathes Morecombe, boggling on a pause, snapping a slap-happy moment in a manic gesture. And there’s that hint of glowering menace as the man stoops over, like an Emperor Penguin; and about to frolic like one fitted with an electric battery.

Still they work exuberantly together. “It’s hard to forget a man like Des O’Connor.” “But worth the effort.” Jokes stud the evening, and lights flicker around Tommy Cooper’s dressing table. They discuss how they’d like to go: actually cracking a joke or safely in bed? As the three great comics spool back over their lives and previous meetings, they look over at the photographs of past comics. Not just Arthur Askey, Max Miller and George Formby (Golding particularly exuberant playing his banjo) but forgotten ones like Sam Field and a couple so dreary every double-act soars above them. Monkhouse reflects on the death of his comedic partner, after he himself had moved on, and other difficulties. Indeed we learn more about him than anyone else, Hendy determined to place him on a footing with the others.

Talking of feet, the trio discuss technique and Cooper institutes the gate test. “How would you walk through the white gate?” he asks, actually producing one. The differences between them as Cartwright, Golding and finally Williams walk through it, establish Cooper’s genius. It’s one of several moments designed to expand the original 70 minutes to 85 straight-through (but wait!) of the original acclaimed Edinburgh show. That and a different song at the end (crafted by Hendy, Joana Donnelly and the shows’ composer/arranger Ethan Lewis Maltby) dilate the original fringe show’s brilliance into one of superbly-written West End show-stopper.

There are moments when gags morph into each other in a string of stand-ups; but there’s craft too with returning moments like leitmotifs; and a finale that’s unexpected even if you expect it. Hendy perhaps shies from probing below end-to-end gags for fear of a drop in energy. The play though could have only gained depth, structure and perspective had there been such moments; because one comes. Williams persists in making Cooper-esque gestures that Cooper could never make. And he ends with one of real poignancy – and celebration.

That though isn’t the end. After an interval a Q&A hosted by Richard Hodder as Cover has much to do, re-introducing the three actors as themselves. Hodder is generously allowed a crackle of a role as he hosts. Writer Paul Hendy joins them, and the quintet discuss each actors’ relationship with the person they’re inhabiting. Golding not only impersonated Monkhouse: Monkhouse was delighted and promoted him. Each – Williams and Cartwright too – tell stories of their long impersonations of these characters.

Hendy knowing this determined to yoke them together in a show to reveal more than each individual’s life. It’s a homage not only to three of the most brilliant comics of their time, but to a way of life, a discussion of stand-up craft. And indeed family entertainment. Asked to mention comedic giants of today Peter Kay was particularly referenced. But so was Les Dennis, and indeed his recorded voice announces “Beginners please” over the tannoy. When you go, you might find similar stories, or ones no-one can guess yet.

Amy Chamberlain’s costume design recreates the comedians’ attire with flecks of detail. Lee Newby’s set is a seedy simulacra of a provincial Dressing Room One (Two is full of chorus girls which the men declare they’d prefer). Three dressing-tables in lights beckon conveniently (Johanna Town scoops some affecting lighting moments), and upstage there’s those photographs of past comics, begging for addition. Callum Wills’ sound suggests an edgier world out there.

This is a must-see. Never outstaying its welcome, you can leave this show after 85 minutes, but stay for that Q&A. I envy everyone the night I won’t be there for it.

Script Consultant Emily Wood, Wigs Designer Craig Forrest-Thomas, Production Manager Dan Kay, Technical Designer Stuart Relph. Photographer Danny Fitzpatrick

Published February 13, 2025February 16, 2025 by Simon Jenner