THEATRE REVIEW: ‘A heartfelt love letter’ with ‘tremendous potential’, Cooper The Musical at the Grand’s Arts Wing

Stefan Pejic is ‘very convincing’ as Tommy Cooper in his own new musical at Swansea Grand Theatre’s Arts Wing, but reviewer Jonathan Marshall finds a show that is thin on plot and not yet the finished article. It runs until Saturday.

You know those corny ‘dad jokes’ you find in your Christmas cracker? Chances are they’re a variation of something the late Tommy Cooper once said.

A master of delivering puns and one-liners, the Caerphilly-born comedian was also known for his physical comedy, magic tricks that went ‘wrong’ and of course his synonymous red fez.

Oozing a larger-than-life persona, Cooper captured the hearts of the nation, becoming a firm fixture on television throughout the 60s and 70s.

He lived by the mantra ‘the show must go on’ which sadly culminated in one of pop culture’s most shocking moments: his death on stage at Her Majesty’s Theatre in London during a live broadcast.

Writer and performer Stefan Pejic pays tribute to a comedy great but also seeks to look at what was under the fez. As with many comedians, Cooper used humour to mask pain, but when the laughs weren’t enough, he turned to the bottle.

Despite being a married man with children, a 17-year affair with his assistant Mary also paints a picture of a more complex individual than his public persona suggested. Lapping up the laughter and attention, Cooper clearly struggled with fame and the pressures surrounding it yet equally thrived off the attention it afforded him.

Pejic should be commended for the evident attention to detail, commitment and love he has invested in this. One does always wonder with such works, though, if it will veer closer towards being a passion project that will satisfy its creator more than its audience. Will they share Pejic’s enthusiasm?

Tonight, there are clearly some Cooper fans in the house, who laugh at the one-liners and delight in seeing a convincing depiction of someone they fondly remember.

For those uninitiated, however, the fact remains Cooper died 42 years ago. Yes, he remains a known name, but just how many people particularly among younger generations know his work? Other than Cooper aficionados, who is this play for?

We should be able to engage in a story complete with character journey, regardless of the fact our protagonist is a real person. Without knowing Cooper, certain audience members would be forgiven for being somewhat confused.

The milestone events are covered: Cooper’s marriage, his affair, his move from theatre to television and his descent into alcoholism, however plot is thin on the ground here.

One also questions the decision to make it a musical. While the songs are delivered well, they aren’t all that memorable and don’t drive the narrative forwards as much as they perhaps should. With all the gags and potential for further physical comedy, this could arguably work better as a straight play.

Pejic is very convincing in the role and impresses as act two takes us through the darker aspects of Cooper’s life. Playing drunk believably is a challenge but Pejic excels. Through changes in voice and body language, he pulls us down with him as we witness Cooper go from charismatic to catatonic.

Perhaps more mining into why Cooper resorted to drink would enhance proceedings. Yes, we know he was bullied and ostracised at school, and this had a profound life-long effect on him.

We know he was intimidated by his professional peers and plagued with self-doubt. These elements are the stuff of drama and should subsequently be awarded more time spent on them.

Pejic’s Cooper also always seems to be ‘on’ and even his private, off-stage moments have the air of a performance, when perhaps it would be nice for us to see him stripped down with the mask fully removed.

Maybe that was Cooper’s problem. He could never switch off, remove the mask and be his true self. Perhaps performance was all he knew and the one thing that helped him navigate his way through life. Still, this could be given more attention, which would undoubtedly inject more drama into the piece.

Cooper The Musical is without question a heartfelt love letter to the star. It makes for a rather unique, surreal sprinkled musical that sets it apart from the more mainstream productions many are used to seeing. It remains, however, a project with tremendous potential rather than the polished, finished article.

While generous applause fills the upstairs studio space of the Grand, it feels as though we are clapping more for the performances than the production itself. Still, Cooper fans will revel in it and here’s hoping with some further development there is a future life for the show.

Cooper The Musical is written by and stars Stefan Pejic and is directed by Peter Richards. It runs at the Arts Wing at Swansea Grand Theatre until Saturday 19 September. Tickets are available from the Grand Theatre website or the box office on 01792 475715.