In the world of live entertainment, bands tour classic albums and theatres restage beloved plays. But stand-up comedy, an art form built on surprise and the new, has rarely looked back. That norm is now being challenged, as two celebrated comedians have dusted off their hit 2015 shows for special anniversary revivals in London.
A Rare Trend in Live Comedy
At the iconic Soho Theatre, Jack Rooke and Joseph Morpurgo are performing rare revivals of their respective shows to mark a decade since their debut. Both productions are presented by the innovative production company Berk's Nest, which has hinted that more revivals could follow if these prove successful. This move prompts a fascinating question for the industry: could heritage comedy become a new trend?
While both shows fall under the broad umbrella of 'theatrical comedy', making them perhaps more suited to revival than pure stand-up, their approaches are distinct. For Morpurgo, the revival of his 2015 Edinburgh Comedy Award-nominated show, Soothing Sounds for Baby, serves as a reintroduction. It reminds audiences of his solo work ahead of a brand new show, his first since 2017.
Joseph Morpurgo's High-Concept Return
Morpurgo's show is a masterclass in high-concept, character-driven comedy. It constructs a bizarre interview on BBC Radio 4's Desert Island Discs, using edited clips of presenter Kirsty Young's voice. Morpurgo responds, weaving a tale of a youthful romance and bringing to life a series of kitsch records through a range of eccentric characters.
The revival, running until 20 December, demonstrates the show's enduring cleverness. However, it also highlights a potential pitfall of comedy revivals: the diminished power of surprise. In a landscape now richer with theatrical comedy, some elements that felt groundbreaking in 2015 can seem more familiar today.
Jack Rooke's Personal and Contextual Revival
In contrast, Jack Rooke's revival of Good Grief feels freshly poignant. The show, which first launched the themes and talent behind his hit Channel 4 sitcom Big Boys, is presented with new context. Rooke bookends the performance with reflections on the past decade, his career, and his current relationship to the material about his father's death.
This personal framing makes Good Grief 2.0, running until 10 January, a uniquely affecting experience. Rooke explains that after concluding Big Boys, he wanted to reconnect with the young, grieving man he was when he first created the show. The performance remains convivial, featuring video cameos from his gran and the sharing of Soreen malt loaf with the audience.
The Value of a Backward Glance
These revivals offer more than just nostalgia. They provide a valuable perspective on how comedy has evolved over the last ten years. Rooke, in particular, uses his platform to voice concerns about the current challenges facing working-class artists trying to break through at festivals like Edinburgh.
While it's unlikely that comedy will fully embrace a 'heritage' model like music or theatre, these successful revivals at Soho Theatre prove there is an audience for thoughtful retrospectives. They offer a compelling respite from the industry's relentless demand for the new, allowing both performers and audiences to appreciate how far they've come.
