Reviews

Being Tommy Cooper (tour – Guildford, Yvonne Arnaud Theatre)

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6 May 2013

Tom Green’s Being Tommy Cooper
is not a straight biopic of the late comedian known for his chortle, red fez
and untimely demise. Rather it’s a theatrical imagining of Cooper’s rise to
fame, his relationship with his long-time manager and confessions of
alcoholism and domestic abuse, this play attempts to look at the man
under the fez. Unfortunately, unless you are a fan of Cooper, Green’s
play does not stand alone as a piece of drama.

The structure of the play means that it lacks pace
as it flits between multiple locations and time periods, destroying
the momentum and tension. The “behind the scenes” look at
Cooper’s off-stage personality is spliced between sections of
stand-up comedy and audience interaction which leaves the audience in
a limbo state between suspension of disbelief and interacting with a
comedian.

However the scenes where Damian Williams as
Cooper recreates the comedian’s routine has the audience in
stitches and he fills the stage with his larger than life presence.
Williams gives a sterling performance, not shying away from the
darkness in Cooper’s character and creating astounding tension as
the audience watch his descent into drink-fuelled rages. As his
long-suffering manager Miff Ferrie, Halcro Johnston provides a
sobering straight man for Williams to rage and rebel against and acts
as a cornerstone against which to judge Cooper’s eroding
likability.

Green has also written in Cooper’s long-term
mistress Mary Kay, played by Rebecca Thorn and a Las Vegas salesman
(Billy Glason) played by Morgan Deare. Although Thorn gives a
moving performance, these two characters are essentially superfluous
to the plot and Deare’s unconvincing characterisation often hinders
the action. Cecily Boys‘ blocking is at times messy and
inconsistent and could be tightened up very easily, although she does
have her actors use Susannah Henry’s cheekily designed set
interestingly.

But essentially, despite various theatrical flaws,
the audience seem to enjoy it; roaring with belly laughter at
Williams’ performance. Fans of Cooper’s comedy will not be
disappointed but patrons unfamiliar with his work may be left
frustrated with the play’s shortcomings.