Review: Eh Up, Me Old Flowers, The White Bear

In recent months, there has been a crop of shows based on 1970s comedians, including The Last Laugh, featuring Bob Monkhouse, Tommy Cooper and Eric Morecambe, and What a Gay Day!, which examines the life of queer comedian Larry Grayson. In Eh Up, Me Old Flowers! it’s the turn of Charlie Williams, the first Black comedian on primetime British television to be put under the spotlight, in a funny and nostalgic production that nonetheless highlights a historical time of nascent social change.

This smart two-hander stars Tony Marshall as Williams, supported by Nick Denning-Read as a multitude of other characters. Both give excellent performances, but Marshall is particularly impressive, bringing huge charisma and charm to the role and winning over the audience as he smoothly transitions between scenes via multiple simple costume changes. They’re a great team, embracing the playful, imaginative world of light entertainment in their silly interactions with each other and the room, before making space for moments of anguish and difficult discussions as the story unfolds. An effective set design sees an arched doorway facilitating everything from a trip down a coalpit to a cabaret stage, and the story is nicely supported by projected images providing contemporary, often personal references.

William’s history involves relentless everyday racism, being brought up motherless and becoming a child carer for his war veteran father, before starting work in a coal mine at age 14 and being orphaned in his teens. A career change to become a professional footballer – one of the first Black players in the UK – is followed by performing in working men’s clubs as a singer and then a comedian. From there, his career skyrockets, with Williams becoming a familiar face on television and even appearing at the London Palladium and before royalty.

The play is a fascinating reflection on a past where racism was normalised, but times were beginning to change. Performers such as Williams – and indeed Grayson – seemed to inhabit a liminal space where prejudices were still in the process of becoming defined in common language. He clearly stepped with one foot across the border of racism, giving previously unseen representation to not only Black but Northern entertainers, which ultimately allowed those who came after him to progress. Yet we’re shown how Williams himself was perhaps not emotionally or verbally equipped to challenge racism explicitly, rather couching it in palatable humour. Throughout, Williams is portrayed with a resilience and friendly demeanour that is clearly a result of the trials of his formative years, and this underpins his defence when accused of playing into racial caricatures. He’s literally been at the coalface of racism, where comedy has been a successful means of diversion, enabling him to be accepted. And he insists that for him “there is only one race – the human race.”

Chris England’s writing gives a comprehensive overview of a lifetime, structured to sensitively consider the paradox of Williams breaking boundaries while perpetuating them. It successfully weighs nostalgia with reflection from a challenging contemporary standpoint. There’s a beautiful, enlightened moment when the white cast member refuses to impersonate Lenny Henry, solidly affirming modern awareness of what is unacceptable. At times, the narrative feels like it’s repeating itself a little, and a lip sync scene is overly long, but largely, there’s a good balance of comedy and biography within a snapshot of history that actively sets up difficult questions for us to ponder. 

This show offers some real laugh-out-loud moments that remind us of Williams’ genuine talent and humanity. Come the end, the audience is sent home feeling good and with a huge grin on their faces.

Written & Directed by Chris England

Eh Up, Me Old Flowers! Runs at the White Bear Theatre until Saturday 20 September