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Alexandra Palace Theatre, London – until 8 March 2025

Reviewed by Debra Stottor

4****

More than 30 years after the publication of Sebastian Faulks’ original novel, and well over a century after the events it describes, Birdsong is back on stage. Rachel Wagstaff’s adaptation reminds us not only of the horrors of war, but of the personal trauma, loss and endeavour behind those events.

Having read the book not too long after it was published, I was uncertain how it would translate to the stage – I needn’t have worried. And we were warned that the show was three hours with two intervals – however, the evening flew by as we became absorbed into the story and its characters.

The first act in this Original Theatre production was in many ways the least successful: shifting swiftly from Azaire’s house to his factory, to Amiens itself and back again many times to set out the back story of visiting Englishman Stephen Wraysford (James Esler) and the woman he falls in love with, Isabelle Azaire (Charlie Russell).

Those who have read the novel will recall the all-consuming passion of this affair, and this is portrayed somewhat graphically here (the play is advised as being suitable for ages 15 and over, for good reason) – it’s questionable as to whether this was entirely essential to the adaptation, but it is faithful to the novel.

As the first act cantered along at great pace to fit in the detail of the story, there were times it felt as though certain characters were reduced to caricatures, particularly Lisette Azaire (Gracie Follows), Isabelle’s flirtatious, immature stepdaughter, who is very much smitten by the handsome young Englishman who has come to stay.

We are then taken to the trenches and tunnels of war-torn France, where the battles were not just with the Germans, but between the army ranks, with Wraysford the officer in charge of a ragtag group of soldiers, including boy soldier Tipper (Raif Clarke), whose youth and naivety amplifies the horrors all are witnessing. The camaraderie of the lower ranks works well here, portraying the banter between them, and the burgeoning friendships born of the hardship suffered. Particularly poignant was the bond between Jack Firebrace (Max Bowden), desperate for news from home, and Arthur Shaw (Tama Phethean), to whom he turned to for help in reading the letters from his wife, thus receiving devastating news second-hand.

The end of the war is not the end of the drama, as we see the effects on Wraysford of all that he has witnessed and discover the fate of Isabelle, her sister Jeanne (Natalie Radmall-Quirke) and others we met before war changed their lives irrevocably. We end, as we began, in the present as Wraysford’s great-grandson searches for clues about his ancestors.

It’s an epic story that spans decades and disparate settings, so the staging is challenging, but by paring back the props to essential items only and using lighting (and a lot of dry ice) to create atmosphere, the scenes shift easily, without disrupting the story. This is an ambitious novel brought to life in an equally ambitious production – and will leave viewers both emotional and in awe of what they have witnessed.

A WATERMILL THEATRE PRODUCTION

CAST AND CREATIVE TEAM ANNOUNCED FOR

WRITTEN BY PAM GEMS

4 APRIL – 17 MAY

DIRECTED BY KIMBERLEY SYKES

STARRING AUDREY BRISSON

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Joint CEOs Artistic Director Paul Hart andExecutive Director Claire Murray, and the whole team at Newbury’s Watermill Theatre are delighted to announce full casting for Piaf, a Watermill Theatre production playing from Friday 4 April to Saturday 17 May.

Be drawn into the extraordinary world of Édith Piaf, the French chanteuse who captivated the world with her unquestionable talent. Pam Gems’ play, starring Audrey Brisson who returns to the Watermill after her critically acclaimed performance in Amélie, charts The Little Sparrow’s dramatic rise from the squalor of the streets of Paris to the glamour of international stardom.

Piaf intertwines the great loves, losses and questionable decisions of this complex and fragile star with her raw, spellbinding songs, performed live by an ensemble cast of actor-musicians.

Still revered as an icon, decades after her untimely death, be enchanted by this fascinating talent who lived a life of no regrets.

Olivier Award Best Actress nominee for her performance as Amelie in ‘Amelie the Musical’ Audrey Brisson, whose other recent theatre credits include The Enormous Crocodile at Open Air Theatre, Regent’s Park, The Land of Might-Have-Been as part of Buxton International Festival, Jekyll and Hyde at Reading Rep and Into the Woods at Theatre Royal, Bath, will play ‘Édith Piaf’.

Jon Trenchard (Mack & Mabel at Watermill Theatre, Henry V at Chicago Shakespeare Theatre, Twelfth Night at Regent’s Park Open Air Theatre) will play ‘Bruno’ and will also be the onstage MD; Sam Pay (Redlands at Chichester Festival Theatre, Odd & The Frost, Giants, The Bolds, Three Billy Goats Gruff and Pinocchio at Unicorn Theatre, The Wind in the Willows at Colchester Mercury) will be both ‘Leplée’ and ‘Vaimbert’; In the roles of ‘Marlene’ and ‘Madeleine’ is Signe Larsson (The Wizard of Oz at Watermill Theatre, Beautiful: The Carole King Musical and Sense and Sensibility at Pitlochry Festival Theatre and Footloose and Sleeping Beauty at New Wolsey Theatre); Hazel Monaghan (Fisherman’s Friends the Musical with ROYO, Moby Dick with Simple 8/Royal & Derngate, Mr Burns: A Post-Electric Play at Derby Theatre) will play ‘Louis’; Oliver Nazareth Aston (A Brief Encounter at Watermill Theatre, A Christmas Carol at Derby Theatre, Treasure Island at Barn Theatre) will be both ‘Raymond’ and ‘Theo’; Playing both ‘Marcel’ and ‘Yves’ is Djavan van de Fliert (Frozen at Drury Lane, Les Misérables at Sondheim Theatre, My Fair Lady at Leicester Curve); Marc Serratosa (The Three Musketeers at Barn Theatre, Barista the Musical at The Capitol Horsham, The Fair Maiden of the West with Royal Shakespeare Company) will play ‘Charles’ and ‘Georges’; ‘Toine’ will be played by Tzarina-Nassor and Kit Kenneth will be the Onstage Swing.

Director Kimberley Sykes said, “I am thrilled to be working with such a talented and inspiring cast and creative team to bring ‘Piaf’ to new life. Through the anguish and the glory, Piaf was uncompromising in her search for connection and meaning. Her songs, her relationships, her audience – they were her truth. It is with this incredible group of theatre makers that we bring that same spirit and passion, to move audiences with Piaf’s tale of absolute artistry and heroic commitment to love.”

Joining director Kimberley Sykes on the creative team will be Set and Costume Designers James Perkins and Victoria Smart both from Good Teeth, musical supervisor Sam Kenyon, lighting design from Prema Mehta, sound design will be provided by Andy Graham and Michela Meazza will be movement director.

Royal & Derngate Northampton – Wednesday 26th February 2025

Reviewed by Amarjeet Singh

5*****

Imaginative, impressive and infectiously funny, Show Stopper the Musical is a completely improvised musical theatre show. Created from audience suggestions for musical genres, setting, themes and title, the cast and live band are tasked with composing music, songs and a storyline on the spot. Extremely talented and wonderfully watchable, the camaraderie and the levels of trust and skill needed to pull off a two-hour unscripted and unrehearsed show is mind-blowing and boy oh boy did they pull it off.

From the moment a phone rings on the stage, we are gripped. Tonight’s show is about a cult and is called ‘See You Last Tuesday (CULT)’, all suggested from the audience. Our performers are Adam Meggido, who plays a cult member, a scientist, a concerned father, and a cow. Ali James plays a cult member, a scorned wife, and a cow. Joshua C. Jackson plays a new cult member, a cow, and some enthusiastic scientific equipment. Justin Brett plays the cult leaded Rebus, and a cow. Dylan Emery narrates the show and interacts regularly with the audience ensures co-creation along the way. At one point, we were all whistling Wisconsin potatoes. In the interval, the audience are encouraged to tweet further suggestions for the second half. Everyone, including the band, worked tirelessly to create a hilarious and heartfelt performance about the murky underworld of cultism and hirsute pursuit, but by far the standout was Ruth Bratt. Her portrayal of the homeless bridge dweller turned cult believer and Karen was utter perfection! Bratt’s quick wit and snappy quips garden laugh after laugh.

The songs are brilliant. How they can be composed in a heartbeat is baffling. We had tunes in the style of a Hamilton rap, a Book of Mormon ditty, a Rocky Horror Show stomp and cows strutting their stuff Bob Fosse style. Most impressive is the melodies and musicality. The vocal harmonies are beautiful, and the songs stay with you after the show.

The finale was gasp worthy, telenovella style, coming together with a satisfying conclusion and a very happy and hilarious ending.

Its mind boggling to think that every performance of Show Stoppers the Improvised Musical produces a brand-new, never seen before and never to be seen again musical comedy. These incredible performers are guaranteed to wow as they dazzle you with drama, dance and delightful ditties. It all starts with a suggestion, imagination and talent from The Show Stoppers will take it from there…

Royal Court Theatre, London – until 8 March 2025

Reviewed by Claire Roderick

5*****

The power and devastating impact of Khawla Ibraheem’s writing and performance is demonstrated in the silence and collective intake of breath in the theatre as the show ends.

Ibraheem plays Mariam, a Palestinian woman living with her son in Gaza. Her husband is studying abroad, and Mariam refuses to move back to her family home, so her mother moves into Mariam’s seventh floor flat. (Mariam explains that whole families are living together in tiny flats as they wish to live and die together.) The play predates the current occupation and Mariam’s mother’s comments about surviving the war before this one, and the war before that, remind us of the seemingly endless conflict and uncertainty that the people of Gaza have seen.

The play begins as a playful monologue, describing the playfulness of Mariam’s son Nour and the necessary routines that build around power outages. Ibraheem is engaging and forceful – creating a character with an unexpected backstory that creates a sense of endearment and explains the simmering resentment that she occasionally reveals.

The knock on the roof is the name given to the small incendiary devices dropped by the IDF, alerting the occupants of a building that another, more powerful, bomb will be dropped in 5 minutes. Mariam tests how far she can run from her building in 5 minutes and is shocked to find out that it will not be far enough to be safe. So begins an increasingly obsessive practice routine. Mariam prepares a go bag, but will it be too heavy? Realising that she will probably have to carry her son, she stuffs a pillowcase as a dummy weight to carry on her nightly practice runs. As the impending danger creeps ever closer to her home, Mariam’s priorities change – why can’t she take things she actually wants like her expensive face cream? Meanwhile, her husband’s regular phone calls become an irritant as she needs to focus completely on her escape plan.

Ibraheem’s physicality is astounding as she acts out the nightly run, with Mariam’s obsession and desperation palpable. Oliver Butler’s astute direction ensures that the audience is rapt as Mariam’s story unfolds. In the beginning, Ibraheem asks the audience’s opinions, which reminds us that this is theatre, but also invests us in her plight. Frank J Oliva’s stark walls are the perfect backdrop for Hana S Kim’s eerie projections, and Rami Nakhleh’s music and sound design alongside Oona Curley’s wonderful lighting create a hauntingly urgent and dangerous atmosphere.

While the headlines can sometimes wash over us as a never-ending numbing wave of horrors, Khawla Ibraheem’s play reminds us of the human cost of the conflict – the strength and ingenuity of humanity and the psychological trauma of being trapped and living under the constant threat of death. A shockingly potent and moving play that needs to be seen.

Mayflower Theatre Southampton – until 1st March 2025

Reviewed by Emma Barnes

5*****

A Brush with Danger: “Picture You Dead” Delivers Suspenseful Thrills

Peter James’ “Picture You Dead” has transitioned from the page to the stage, bringing the murky underworld of art, deceit and of course murder to life. The stage adaptation for me successfully captured the essence of James’ popular Roy Grace series whilst adding touches of well timed dark humour. 

The play weaves together two stories: the tale of Harry and Freya Kipling, who stumble upon a drab portrait at a car boot sale, only to discover a hidden masterpiece beneath its surface,  and Detective Superintendent Roy Grace’s investigation into a cold case. I really enjoyed the interweaving of storylines leading to a thrilling investigation that had me on the edge of my seat. 

As someone familiar with the novel, I was particularly impressed by how the production captured the book’s atmosphere and intricate plot twists. The tension builds methodically, mirroring the experience of reading the novel, and the climactic moments are executed with precision, including a very effective clap of thunder, leaving the audience in stunned silence. 

George Rainsford reprises his hold as he delivers DSI Roy Grace, embodying the detective’s sharp intellect and unwavering determination.  Other cast members include Peter Ash and Fiona Wade also delivered convincing performances, I particularly enjoyed the portrayal of Freya with a perfect blend of vulnerability and resilience, making her plight deeply relatable.

Another mention must go to Ben Cutler who delivers a compelling performance as Harry Kipling, capturing the character’s transition from an unsuspecting art enthusiast to a man ensnared in a web of greed and danger.

For theatre-goers seeking a compelling thriller, “Picture You Dead” delivers on all fronts. This well-crafted production successfully translates the tension and suspense of Peter James’ writing to the stage. Leaving the theatre, I felt that familiar thrill, the kind that comes from a well-told story expertly brought to life. Peter James’ Grace series has earned its reputation as the most successful modern-day crime stage franchise since Agatha Christie, and this production exemplifies why.  This is a deadly snapshot of entertainment, a well-crafted play that will leave you pondering the darkness lurking beneath the surface of seemingly idyllic lives.

Jack Studio Theatre – until 8 March 2025

Reviewed by Claire Roderick

4****

Stewart Pringle’s charming comedy is a beautifully observed story of village life. Written by Stewart Pringle, and winner of the 2017 Papatango New Writing Prize, the play centres around two retired people whose lives intersect every Thursday evening in a Temperance Hall in Yorkshire.

The characters are instantly recognisable to anyone who grew up in a village. Widower Harry sits on the committee, helps out at the CAB, visits the garden centre and has a quietly structured life, while Denise is finding freedom in her retirement. As Harry (Timothy Harker) takes a moment after chairing his committee meeting, Denise (Jilly Bond) comes in to set up her Zumba class. Their friendship slowly develops from their first awkward meeting, when Harry mistakes her for the cleaner, and they are soon sharing sandwiches together – and playing “guess my sandwich” with Denise’s sense of adventure and abandon coming to the fore.

Parker Graham’s fantastic set feels like it’s been scooped up from a village with its magnolia walls and familiar furniture. (Although from my own experience, witchcraft may have been involved to get the table up and down so smoothly without bloody knuckles) Matthew Parker’s smart direction and Laurel Marks’s lighting create a gentle rhythm as each weekly encounter is marked.

Jilly Bond and Timothy Harker have extraordinary chemistry as the relationship changes and they navigate misunderstandings and conflicts. Harker’s portrayal of Harry’s precise and fussy mannerisms is delightful, and the impish glee that is evident as he lets himself try new things is lovely. The Zumba session is a joy to watch. Jilly Bond is wonderfully nuanced as Denise – brash and loud on the surface but slowly opening up to Harry about her lack of confidence. The moments when they are simply being silly together are a sweet picture of friendship, making their shock and discomfort when they find out more about each other more emotional.

Pringle’s witty writing captures the social nuances of village life, with each character running in different social circles with shared knowledge but different perspectives of people and local places. The sense of community, and the characters’ motivation for contributing are evoked carefully alongside the petty prejudices and lack of anonymity.

Trestle is a delightfully gentle and cosy comedy, a wonderful way to fill a chilly winter evening.

Leeds Playhouse – until 1 March 2025

Reviewed by Gretel Price

5*****

The House Party spins Strindberg’s classic play Miss Julie into an intense but enthusiastic portrayal of young adult life for today’s generation. Beautifully written by the wonderful Laura Loman and directed by the fantastic Holly Race Roughan, it stars three incredible performers: Synnove Karlsen (as Julie), Sesley Hope (as Christine) and Tom Lewis (as Jon) in which all actors played their characters immaculately as believable teenagers. The House Party managed to capture a realistic portrayal of modern life, despite originally being an older play from 1888, showcasing not only the perks of pop culture but delving into deeper themes such as the psychological trauma, class, sexuality and social expectations of young adult life.

The cast thrived in capturing the chaotic energy of youth, with the central trio delivering compelling and believable performances. Synnove Karlsen presented an outstanding portrayal of the complicated but charming protagonist ‘Julie’, who was both pitied and disliked through the play. From her typically teenage style of ‘tights and t-shirts’ (designed by Maybelle Laye) to her youthful demeanour, Synnove was an obvious pick for the role, capturing the essence of a troubled teenage girl. Likewise, both Sesley Hope (Christine) and Tom Lewis (Jon) accurately exhibited a lovable teenage romance, which unfortunately unfolds before our eyes into a toxic betrayal. Sesley, successfully builds up Christine’s loyal nature and obvious compassion for others (especially Julie), allowing her to be easily sympathised in moments of distress. All while Lewis does the opposite and reveals Jon’s true character – an internally conflicted adolescent– demonstrated visibly in his body language towards either Christine or Julie and ultimately ruining his relationship with both characters from his ignorance and duplicity. Although as an audience, we can understand their actions as young adults trying to survive in a modern world.

Frantic Assembly’s direction to create visually impressive movement sequences brought the idea of a vibrant and chaotic party to life. The sudden innovative movements of the ensemble (from the works of movement director Scott Graham) forced the audience to feel both overwhelmed and excited with the thrilling dynamism and life brought to the stage. We were also forced to feel confined within the house – like the characters on stage – trapped with their individual struggles. Within these scenes, the audience were captivated throughout, in awe of the motion before our eyes, accompanied by energetic and upbeat music and the vibrant lights – courtesy of the excellent sound designer Giles Thomas and exceptional lighting designer Joseph Hornsby.

However, the true standout of the evening was the way these same techniques were used to create the harrowing imagery of Julie’s attempted suicide alongside young Christine’s final dance during the song ‘when the party’s over’ by Billie Eilish, creating a solemn and poignant conclusion to a series of ill-fated events. The use of staging by remarkable set designer Loren Elstein successfully conveyed intense emotion when we saw the dreams played out on screen, almost as if we could see inside the character’s heads.

Despite being aimed towards teenagers the play also makes itself accessible to a wider audience by incorporating different and darker themes into the narrative such as Christine and Julie’s strained relationship with their mothers. As a young adult myself, I found the play to be relatable depiction of teenage relationships, representing prevalent themes within modern life on an exaggerated scale. I would highly recommend The House Party as it was an enjoyable, unique and modernised execution of Miss Julie, which I believe to be more engaging and fitting for today.

Theatre Royal, Nottingham – until 1st March 2025

Reviewed by Chris Jarvis

4****

This play is a hilarious insight into the relationship between the 3 main actors in the Blockbuster cinematic phenomenon – Jaws!

It was the brainchild of Ian Shaw – son of the late Robert Shaw one of the leading actors in Jaws the movie released in the summer of 1975 directed by the young inexperienced Steven Spielberg. While most people remember the terror created by this film, most have little knowledge of what went on behind the scenes.

It was filmed out in the Atlantic Ocean where weather conditions couldn’t be controlled and other ships frequently passed in the background, both resulting in delays in shooting as modern methods of ‘airbrushing’ weren’t available in the 70’s. The 25ft mechanical sharks designed in a freshwater tank, performed less well in salt water and kept breaking down resulting in further delays.

Jaws immortalised its actors and creator, but almost ended Steven Spielberg’s career before it had really begun! It was months over schedule and the cost spiralled from 4 to 14 million dollars.

The Shark is Broken as well as being the title of this play, became a daily reason for filming to be delayed while the 3 leading actors waited on a small fishing boat out in the Atlantic for filming to start. The brilliant set designed by Duncan Henderson of the boat in cross section, allows the audience to experience the interplay between these 3 very different characters on stage, as though we were there.

Robert Shaw played the shark hunter Captain Quint, hired by the town to restore tourist confidence in their beach following the rogue shark attacks. He is played by his son Ian and the likeness between him and his father is uncanny, even down to his voice.

Roy Scheider who played Chief Brody, the local Chief of Police on Amity Island under pressure from the mayor and residents to get rid of the shark. He is played by Dan Fredenburgh.

Richard Dreyfuss who played Matt Hooper, the marine biologist. He is played by Ashley Margolis.

The Shark is Broken shares with the audience the relationship between the actual actors and not the characters they were playing in Jaws – though it’s sometimes difficult to separate the actor from their character. The experienced British actor Robert Shaw who was a heavy drinker and often drunk, gave the less experienced and, in Shaw’s mind, arrogant Richard Dreyfuss a really hard time. He continually goaded him to “mind his mannerisms” when filming, impacting his confidence. The more philosophical ‘live and let live’, Roy Scheider acted as go-between trying to keep the peace, even standing between them to break up fights.

Their differences in opinion were amplified by hour after hour on the boat with nothing to occupy them other than daily newspapers to keep up with current world events – many of which served to highlight their differences leading to further arguments with much humour for the audience and very clever links to current events.

While reading the newspaper coverage of US President Nixon and the Watergate Affair Roy Scheider commented that “there will never be a more immoral president than Nixon” – the audience of 2025 erupted in laughter!

They played every card game imaginable creating further competition between them. A simple game of Shove Ha’penny suggested by Robert Shaw and unheard of by the 2 Americans, amplified the tension and disdain when Richard Dreyfuss won on the last shove.

Ian Shaw, Dan Fredenburgh and Ashley Margolis were all brilliant in their roles and all bore resemblance to the original actors in Jaws, making them more believable. Many of the incidents in this play are based on real accounts of events and relationships at the time of production of Jaws and are portrayed in an enjoyable and often ‘laugh out loud’ comedy that kept the audience entertained.

A laugh out loud moment for the audience towards the end when they were discussing what the movie was actually about came with Robert Shaw‘s epic derogatory response “Do you really think they’re going to be talking about this in 50 years?” Sadly, Robert Shaw didn’t live to see the longevity of the film, but it stands as testament to the pain endured in the making of it and the foundation now of a must see play in reminiscence, which is at times both painful and laugh out loud.

Stephanie Okoye joins cast of The Psychiatrist world premiere

Stephanie Okoye joins the cast of The Psychiatrist, a play by psychiatrist and physician Julian Bird based on his experience in practice. The play receives its world premiere at The White Bear Theatre in Kennington from Tuesday 8 – Saturday 26 April 2025.

After working as a psychiatrist and physician for 40 years, Julian Bird started acting in his sixties. The Psychiatrist is based on real events and portrays a psychiatrist’s struggle with poor resources, whilst trying to achieve a better life for his patients. Troubling events and losses in the psychiatrist’s personal life lead him to seek help from a psychotherapist while he continues his work. In alternating scenes, he is shown as a patient and as a therapist. 

In The Psychiatrist, Bird plays Dr Andrew Faulkner – an ageing consultant psychiatrist who provides general psychiatry for his district. Stephaine Okoye plays both other roles – Alex Dickens, a distressed and disturbed woman in her twenties, and Dr Zarah Templeton, a middle-aged consultant psychiatrist who specialises in psycho-dynamic therapy.

Following his career in psychiatry, Julian Bird trained as an actor at The Royal Central School of Speech and Drama. His TV credits include East Enders and The Tudors for the BBC. He received critical acclaim for his role as Sigmund Freud in Freud’s Last Session at the King’s Head in 2022.

After training and working as a lawyer, Stephanie Okoye made the decision to pursue acting, drawn to the power of storytelling and human connection. Now making her stage debut, she hopes to bring depth and authenticity to the complex female characters she portrays. She said: “I am incredibly grateful to have the opportunity to be a part of this production which tackles such an important and relevant issue in today’s society. Julian is an extremely generous actor and I’m honoured to be a part of bringing his experiences to life.”

Julian Bird said: “Stephanie is hugely talented: she can switch roles in an instant and make both roles real and meaningful: it is a great pleasure to work with her.”

The Psychiatrist is directed by Kenneth Michaels, returning to the White Bear after directing The Dedication in October 2024, and produced by Alistair Brown. 

Noel Coward Theatre, St Martin’s Lane – until 22 March 2025

Reviewed by Phil Brown

5*****

The Last Laugh is described succinctly on the theatre’s web-site as straight from a sell-out run at Edinburgh Fringe Festival, a brand new laugh-a-minute play which reimagines the lives of three of Britain’s all-time greatest comedians – Tommy Cooper, Eric Morecambe and Bob Monkhouse.  “Guaranteed to be London’s best comedy night out…”  For once, the marketing department actually manages to undersell a dazzling show which, in a just world, should be a monster sell out hit. 

Beautifully written and directed by the award-winning Paul Hendy, it stars three extravagantly gifted performers – Damian Williams (as Cooper), Bob Golding (as Morecambe), and Simon Cartwright (as Monkhouse) – revelling in an affectionate homage to their comedy heroes, and capturing their respective characters to perfection.  The likenesses, particularly vocally, are simply uncanny, testament not only to the performers’ skill but to the whole production team (manager – Dan Kay).

Whilst, Cooper, Morecambe and Monkhouse were comedy gods and household names in their last century prime, this so much more than an action replay of their best gags.  It is inevitably nostalgia, but with depth and nuance, as well as triumph and tragedy in a brilliant, incisive and poignant reflection on their careers, quirks,  and heroes as well as the very tense and competitive business of comedy.  Without a topical reference in sight, it also proves that good comedy doesn’t age.  This show marries peak inspiration and peak execution with incredible teamwork to produce 80 minutes (no interval) of sheer magic. 

In contrast to a smart stage set at showtime, the action is set pre-show and takes place in a shabby dressing room presumably haunted, as signalled by flickering lights (set designer – Lee Newby), and curtain up reveals a large Tommy Cooper in his vest and pants wearing massive chicken feet.  That’s enough to kick start the fun which rarely lets up except for the occasional moments of personal sadness.  We are treated to a few minutes of Tommy solo before he is joined by Monkhouse for banter à deux.  When Morecambe arrives, (“oh sorry, I thought this was the comedian’s dressing room”), the sparks really fly.  

Whilst the gags are without exception hilarious, it is the razor-sharp and cleverly crafted script that weaves them together so smoothly along with the brilliantly timed interaction between the three, that make the play flow so naturally yet with real snap.  It truly is like eavesdropping on three “top dogs” shooting the breeze before required to do their thing on stage. 

The reflection on their own comedy influences and what makes them want to be comedians is instructive.  It provides an opportunity to reprise some such material (Tommy – “I didn’t realise you two couldn’t do impersonations”), reflect on what makes great comedy and discuss how tense being a comedian can be. 

Their divergent styles are highlighted.  Cooper comes across as more of a deadpan improviser who incorporates what works from show to show.  He constantly ribs Monkhouse about his over-analytical approach.  Monkhouse thinks true comedy gold is about the writing and authorship of jokes (and he has the joke books to prove it), but as Morecambe quoting W C Fields noted “the funniest joke has many fathers”.  Morecambe himself is more of a comic actor and relies on Eddie Braben’s writing. They seem to agree that you have to be ambitious, driven, egotistical, self-obsessed, and narcissistic to overcome the stress and fear of getting up on stage.

And, unlike many current comedians, these three greats were never about making a political or social point for audience approval.  They focused entirely on the serious business of getting a laugh.  The longer and louder the better.  

And in several decades of theatre going, I can’t remember laughing longer and louder and enjoying a show as much as The Last Laugh.  Rarely, have I seen an entertainment so perfectly conceived and beautifully realised on stage as this wonderful three hander at the charming grade 2 listed Noel Coward Theatre.  There is no question that writer and director Paul Hendy observes Max Miller’s three rules of successful comedy as pronounced by Monkhouse during the play  – energy (tick), clear & simple (tick), and “let the audience in” (tick).   

If laughter is indeed the best medicine, this show needs to be in everyone’s get-well plan.