Writer/Director: Paul Hendy
A beautiful, poignant love letter to our comedy greats, respectful in its admiration. A fond, nostalgic reflection, delivered with plenty of laughs which are balanced by moments of melancholy.
The crackling pops, flashes, and interference coming from the dressing room table bulbs suggests that what’s about to happen will be surreal, and definitely magical, as the scene is set for the reuniting of three comedy giants.
The mere physical presence of Damian Williams as Tommy Cooper, is enough to set the audience off, the iconic red fez resting confidently on his head. Simon Cartwright as Bob Monkhouse is spot on, and Bob Golding delivers the excitable flare of the great Eric Morecambe. All, absolutely deserving of the non-hesitant standing audience ovation.
Paul Hendy’s writing interweaves intriguing insights into the three men, their diverse comedic styles, and their influences. We learn about their personal preferences in terms of the set up and delivery of jokes, their relationship with the audience, and creative processes.
We’re reminded of the greats who came before them, including Arthur Askey, Sid Field, Max Miller, and George Formby, including a marvellous ukulele rendition of ‘With My Little Stick of Blackpool Rock’. Each legend, whose picture is adorned on the wall, is given their moment through the reminiscing of Cooper, Morecambe and Monkhouse.
The greatness of these three men is found within their individual complexities, which is touched upon with sensitivity, bringing a sting to the eyes. Their vulnerabilities come through, in how they describe the psychological stress and pressure of being on “the treadmill to oblivion” as they chase the next big laugh. The effects of the isolation, and loneliness is also represented in the gradual consumption of the bottle of whiskey which is passed throughout between the three.
Lee Newby’s set design has great attention to detail, a worn-out dressing room, with three dressing tables, one heavily adorned with some familiar props and set pieces. Two misplaced theatre seats are placed at the centre of the back wall, a rare front row view into the secrets of the dressing room. The mood and direction of the production is instantly changed by the brilliant use of lighting designed by Johanna Town. Complimented by Callum Wills sound design, the wider concept and context of this gathering is clear and impactful.
For most of us this is the closest we’ll ever get to experiencing the essence of being in their presence. Williams, Golding, and Cartwright, who are all visibly having so much fun in these roles, deliver performances so endearing, and mannerisms so believable, they make this experience as authentic as it can be. They let us, the audience, in. An absolute delight.
Runs until Saturday 27th September 2025.
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