The Last Laugh – Review – Grand Opera House, York

By Roger Crow, June 2025

Tommy Cooper stands on stage, in a dressing room, in his vest and Y-fronts. Not boxer shorts, because a) they’re not as funny as Y-fronts, and b) they’re a bit more 1990s than his golden era: pre-1984. Not that you should analyse comedy, as we’re reminded during The Last Laugh, writer/director Paul Hendy’s sublime show about three legendary comedians sharing said dressing room.

Lee Newby’s set is excellent. Faded showbiz posters, those mirrors with the lights on, and a wall of iconic comedians’ photos – with one missing. A faded spot where one should be hanging.

The lights crackle, there’s a tannoy announcement, and eventually in walks Bob Monkhouse. All three actors on stage are great, especially when Eric Morecambe turns up. The mannerisms, the look, the physical size, especially important in Tommy’s case. And all of them nail the gags. They land with the skill of jumbo jets on Tarmac, but inevitably there’s a disconnect between some of them. They capture enough of the spirit and feel of those showbiz greats, and don’t detract one iota from a great show.

But then there’s Simon Cartwright’s Bob, which is in the ‘uncanny valley’ level of realism. The look, the voice, the timing is immaculate. Rory Bremner used to do a terrific impersonation, especially when Monkhouse was alive, but it was ramped up to get bigger laughs with shorter material. Sustained over the course of a show, this is a performance for the ages. I’d read a couple of Bob’s brilliant, warts-and-all autobiographies back in the day, and knew a lot of his backstory. It came back in a rush. As did the sense of family memories.

“Perfectly timed”

Many of us who grew up in the 1970s and 1980s will remember the joy of watching Eric and Ernie, especially on Christmas Day when their TV specials were unmissable. Of course Tommy Cooper’s brilliant exercises in saying nothing, for ages, and getting huge laughs, inbetween his deliberately hopeless magic routines. And all of that is on stage. The love of the gags, the timing and the banter between the three. It’s proper family entertainment.

The key issue with a lot of stand-up comedy is the fact there’s always a lull at some point, no matter how good the material, so extra poignant scenes are also there as beautiful counterpoints to the gags. Achingly sad moments, especially when Bob reflects on his late comedy partner, Denis Goodwin, or his disabled son, Gary. And throughout there are comments on Monkhouse’s analytical approach to the art of rib-tickling compared to Tommy’s apparently less planned brand of gags, even though Cooper was a genius with huge funny bones who could reduce an audience to fits of giggles without saying a word. And there are short, sweet musical numbers which fit perfectly into the proceedings.

When the (sucker) punchline arrives in the final minutes, it’s a premise worthy of Inside Number Nine, and for me at least there’s no higher praise. Yes, it’s reminiscent of Steve Pemberton and Reece Shearsmith’s brilliant episode ‘Bernie Clifton’s Dressing Room’, because there’s only so many ideas under the sun, but no less brilliant.

I can’t remember when I last saw such a perfectly timed, beautifully written comedy drama which is part stand-up, part musical, and all heart.

After the interval there’s a Q and A with the writer and three stars, who obviously look very different in their regular clothes. I’m amazed they took the show to New York, where Eric, Bob and Tommy were relative unknowns. With no point of reference for a US audience, I imagine those brilliant gags landed like a 747… on the Hudson River.

I’m glad they answer my question about a prop that got them into character. Naturally with ‘Tommy’ it’s the fez, but for ‘Eric’, it’s the pipe.

“Sweet spot”

For viewers in York on night one, it was an absolute joy. Eric’s “All the right notes,” line naturally brought the house down, as did so many other great gags.

I always compare the best comedies to Airplane!, which has a greater GPM (gags-per-minute) quota than most films, and also clocks in under the magic 90-minute mark – the sweet spot for any comedy film. The Last Laugh easily gives Airplane! a run for its money, and while it’s a show for the whole family, obviously kids, and certain adults, won’t get some of the references, but great comedy is great comedy. I still remember howling with laughter at all the Laurel and Hardy offerings years after their death, and imagine this show should prove just as watchable for any one who loves having their ribs tickled.

So kudos to everyone involved, from the unsung geniuses, especially lighting designer Johanna Town, which plays a crucial part, sound designer Callum Wills, and most of all, the writer and actors.

The Last Laugh is about as perfect a show as any comedy fan could wish for, and the fact I could happily watch it again a day later speaks volumes about how good it is.

Take a bow Bob Golding (Eric), Damian Williams (Tommy) and once again, the extraordinary Simon Cartwright (Bob).

Thanks for the memories guys, and one of the best nights out of the year.

What a joy.
4.5 out of 5.0 stars4.5

‘The Last Laugh’ is at York Grand Opera House until 14th June
images: Pamela Raith