Review of ‘The Last Laugh’: “Under an old gag order”

London’s West End takes audiences on a nostalgic journey through this fond tribute to three of the most important figures in British comedy. Guillermo Nazara shares his views on the show, to let us know if this fictional reunion ended up cracking or cracking him up.

Comedy is subjective. That’s the only certainty there is about it. What some people consider amusing, others think of it as offensive, horrifying or, worst case scenario, boring. Sometimes we don’t need to be so black or white about it (by all means, don’t you dare in this era…), and it’s not that we can’t appreciate the value of the material, but that its charm, much like the person behind it, has simply become a relic of the past.

Last night, viewers were welcomed into a history class at the opening of The Last Laugh. Reuniting three of the most iconic figures in British humour, the play took viewers on a trip down memory lane – as the unforgettable Eric Morecambe, Tommy Cooper, and Bob Monkhouse gathered onstage, and in spirit, through this nostalgic tribute to the legacy of possibly the most beloved gagsters of their generation.

Written and directed by Paul Hendy, the piece follows an intimate gather-up among the three performers, as they look back on their experiences while getting ready for their upcoming gig. From then on, it’s all a matter of assessing your brain as for how many jokes you can remember – and how many of them have actually stood the test of time.

Before you ask – no, I’m not being a snowflake. I can guarantee there’s nothing remotely rude or insulting in this show. But that may be, in fact, the issue. I have no problem with some nice, clean satire – with you, however, is another story… I can also understand how the allure of this production relies on bringing back as many famous moments as possible. But if there’s a genre that, in particular, is constant motion and evolution, that’s comedy – and it shows no mercy when it needs to leave somebody behind.

As a result, too many puns and punchlines are overly predictable – even if you haven’t heard them before. There is flow in the dialogue, nonetheless – and Paul Hendy does an adequate job at combining some of the trio’s most celebrated lines through a moderately enticing narrative. Yet, as the spectator, I can’t help but feel a sense of frustration in almost every part – finding myself entertained only to some extent, and often disengaged from a script that, all in all, sounds a bit too repetitive, formulaic, and aimless.

This, however, does not compromise the effectiveness of the renditions – all of which are executed with great chemistry, timing, and skillfulness. None of them delivers a spot-on impersonation of the real characters – you will spot a noticeable difference in their voices. But their essence is perfectly captured anyhow. Consequently, the portrayals are able to evoke, with vivid accuracy, the heart and soul of the personages, while also allowing some room to explore – making them the strongest and, by far, most enjoyable asset in the whole production.

A copper-bottomed plan for a very specific type of audience, but still requiring more camp and edge to broaden its appeal, The Last Laugh will provide its younger guests with a good bunch of chuckles, while dissolving its elder ones into tears through a fine reenactment -hounouring the work of three absolute myths whose curtains will never be fully down. With a well-defined niche that can surely guarantee a successful run during its one-month stay, the play doesn’t need any makeovers if this is as far as their ambition goes. Yet, to secure a longer life, it should avoid so much monkeying around in order to bring a bigger house down – and then, Bob’s their uncle.

All pictures credit to Pamela Raith.

The Last Laugh plays at London’s Noël Coward Theatre until 22 March. Tickets are available on the following link.

By Guillermo Nazara