Comedy is all about innovation, but what if the future lies in the past? Brace yourself for a surprising twist in the world of laughter!
The comedy scene is buzzing with a potential new trend: reviving old jokes and performances. While bands, movies, and plays often revisit classics, comedy has traditionally relied on fresh material. But is that about to change? Two shows at the Soho theatre, celebrating their 10th anniversaries, suggest so. These performances, restaged by Berk's Nest, offer a unique opportunity to witness decade-old comedy sets, potentially attracting new audiences.
The concept of 'theatrical comedy' might be more amenable to this revival approach than traditional standup. Joseph Morpurgo's 'Soothing Sounds for Baby,' nominated for the Edinburgh Comedy Award in 2015, was brought back to the stage, showcasing his solo brilliance beyond his work in 'Austentatious.' The show, a clever and absurd concept, features Morpurgo being interviewed on BBC Radio 4's Desert Island Discs, with sound clips of Kirsty Young and Morpurgo himself recounting a past romance and introducing beloved songs. Each song is a kitschy throwback, brought to life through character comedy, with Morpurgo playing various roles.
However, the question arises: does revisiting old material diminish the surprise and novelty that are essential to comedy? While the show remains enjoyable, the element of surprise may not be as potent as it once was. The comedy landscape has evolved, and what was once a unique experience might now feel less extraordinary. This raises the intriguing possibility that the context in which we experience comedy can significantly impact our enjoyment.
In contrast, Jack Rooke's 'Good Grief,' which launched his career and inspired Channel 4's 'Big Boys,' offers a different perspective. By framing the show with reflections on his journey and success, and including nods to the passage of time, Rooke adds a layer of context that enhances the experience. His openness and connection with the audience, developed over a decade of fame, make 'Good Grief 2.0' a powerful and moving watch, as he narrates his father's death and shares personal videos.
Rooke's revival also serves a deeper purpose. After a decade of grief-related projects, he seeks to reconnect with his original inspiration and his younger, grieving self. This personal journey adds an emotional layer to the performance. And it prompts a thought-provoking question: can revisiting the past provide a refreshing break from comedy's relentless pursuit of novelty?
While 'heritage comedy' may not be the next big thing, these revivals offer valuable insights into the evolution of comedy and the importance of context. So, should comedy embrace its past, or is the future solely in uncharted territory? What do you think? Share your thoughts on this intriguing development in the world of laughter!
