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.