I've been to Comedians at the Lyric Hammersmith twice so far, and have two more perfomances to see. I first went to the third preview, on the 9th of October, which was a Friday. Let me just say there was a big difference between that performance and the next I went to, which was last Monday. People were drinking on Friday, you see. The Monday audience was...slightly boring. Dead, in places. Not literally, of course--that would have been creepy. Even though there was a slight chance we might all have been dead by the end of the night, as the fire alarm went off at the end of the third act, through which four-minute blaring Matthew Kelly was the complete professional and went on with his semi-monologue without blinking. But I digress.

I didn't notice much difference in the performances, but certainly the audience has a lot to say when it comes to this play. In short, the story is about six budding/hopeful comedians trying out their material in a local Northern worker's club. Before and after this gig we meet them in the classroom where they've been taught and even groomed by The Lancashire Lad (played by the aforementioned Matthew Kelly) in the evenings. They all have different acts, but one of them, Gethin Price (played by David Dawson, in a role originated by the brilliant Jonathan Pryce--and I'm sure Dawson's tired of being compared to him, but hey, that's the way the cookie crumbles), is even more different... When it comes to the audience, I actually assume some heckling would be welcome (and I don't just say that because of Keith Allen's utterings during The One Show a couple of weeks back--I've witnessed the difference between a heckled and a heckle-free performance...so to speak). On the Friday there was a rather intoxicated gentleman at the back of the auditorium who got some great replies from the actors on stage (especially Michael Dylan, who plays Mick Connor and is first up on stage during The Gig). There was no such patron on the Monday (at some point I was afraid I was the only one there and only imagined seeing other people around me so as to soften the shock). I feel I should apologise for being part of an audience lacking in the 'oomph' department. It must be said that I had been working flat out for six days at that time and wasn't very animated, myself. Nor bothered. Shame, really. On the inside I was laughing, it has to be said.

The play, written by Trevor Griffiths, was first performed in 1975, and has not been altered in any way (as far as I know) for this run 34 years later. The jokes are contemperary and you may shamefully find yourself laughing at jokes that are both racist, degrading to women and basically testing your tolerance. The worst part is when you discover you quite like the silliest jokes of the lot, where you could see the punchline coming from a mile away. At the same time, this being performed at the theatre and not supposed to be a genuine stand-up act, you may find that you try to humour the actors themselves by laughing at jokes that aren't really funny at all. Or perhaps that's just me?

In order to introduce the lot, there's Mick Connor, already mentioned, who's an Irishman and plays off his heritage. Then there's Sammy Samuels (Simon Kunz), who plays off the fact he's a Jew, and George McBrain (Billy Carter), who comes from Belfast and works on the docks. The two brothers Phil and Ged Murray (Reece Shearsmith and Mark Benton--and I have to admit I keep thinking I would like to see a second series of Catterick when I see them together) are trying out their double act in public for the first time, and teacher's pet Gethin Price has changed his act at the last minute; much to everyone's surprise.

Now, the first time around I wasn't too impressed by David Dawson's portrayal of Price (sorry, David), but then again I had no idea what to expect and merely assumed he was exaggerating everything. The part grew on me, however, and I have a feeling I may do a 270, if not a 360, by the end of my fourth and last visit. My hat's off to him for doing a whole routine without much, if any, feedback from the audience! (Technically, of course, silence is a sort of feedback as well. As long as you know there are people out there watching you and listening to what you're saying.)

I've read the reviews and seen that most give the production a three out of five, but I sense that despite my strong bias (Matthew Kelly, Reece Shearsmith, Mark Benton, Paul Rider and Keith Allen) I would like to give it four out of five. When you get into it and the reasons behind the characters' behaviour, you may feel the same way I do.

One last note; strangely enough (although not too strangely, for those of us who always have a tendency to focus on the "supporting artists" anyway), Paul Rider's caretaker/concert secretary and Kulvinder Ghir's Mr. Patel (and that's no euphemism) threaten to take over the show. All in all a strong cast!

Two silly notes: Matthew Kelly is really tall, and Reece Shearsmith and David Dawson are the only ones who look grumpy and like they really would like to be somewhere else while taking their bows. Personally, I would only look like that because I would be terrified of going on stage in the first place...

Labels: comedy, reece shearsmith, theatre