The Last Laugh is much more than exceptionally talented performers doing impressions of three comedy greats of the past. The portrayals here are incredibly touching and eerily true to life in the tiniest expressions and mannerisms. Penned by Paul Hendy, this is a production that reaches beyond the public personas of these three giants of British comedy to reveal the personalities, the insecurities and the battles of the men beneath. It’s definitely a rib tickler of a production but it’s much more than that, with moments of poignancy and a final tableau that breaks the audience’s collective hearts.

From the moment Damian Williams appears on stage in vest, pants, duck feet and, of course, Cooper’s infamous fez, we are drawn to this infectious, honest, compelling performance. The voice, mannerisms, the easy way with the audience are all spot on; the ‘just like that,’ the laugh, the endless abuse of Bob Monkhouse, is all eerily accurate of the late comedian. His quieter moments counterbalance this perfectly, his blank stares into the mirror, the glance out to the audience as he picks up his props, alone. The final, heartbreaking scenes are delivered with absolute poise and the silence from the audience, where there once was laughter, is palpable.

Simon Cartwright’s portrayal of Bob Monkhouse truly captures the essence of the famous comedian and presenter whom many of us will remember from shows like Opportunity Knocks or Family Fortunes. The voice is spot on; it sounds like Bob is really on stage, once again the mannerisms and stage presence of this comedy great is exceptionally accurate. I was really struck with Simon’s way of dealing with Bob’s difficulties; a comedy partner who committed suicide, a disabled child, a difficult marriage. Although his character is quieter and more reserved than his co-stars he still stands shoulder to shoulder with them, which is impressive.

From the moment Bob Golding enters as Eric Morecambe, it’s as if the late comedian has bounded back to life on the Millennium Centre stage; Bob bounces across the stage with all the exuberance that Eric was so famous for. As with the other performers, it’s eerie. The voice, the mannerisms, the way of simply ‘being’ with the other comedians speaks of years of admiration of Eric and honing his craft to create him on stage. Sheer joy is counterbalanced perfectly with his quieter discussions about Ernie being like his ‘comedy brother’ and the family he never sees to pursue his comedy dreams in his duo.

So yes, this is a ‘laugh a minute’ as other critics have said, but what truly gives it its staying power is ultimately the portrayal of the human beings behind these facades. It was interesting to hear that the play had gone to New York and, although the theatre goers there didn’t really know the comedians being portrayed, it was the familiar ‘lived in’ experience of simply being human that still made the production resonate with the stateside attendees.

If you love any, or all three of these personalities then this is a must-see. But even if you don’t know their catalogue of work, it’s still an important piece of theatre to attend. It’s a masterclass in storytelling; the last twist of the story, the final flash of the mirror lights and the final call to stage are devastating and brings a tear to the eye where there were, only moments before, a ‘last laugh.’