Kool Story Bro, Grand Opera House York, May 2026

Medieval chickens, the curse of Tim Henman, chairs in compromising positions…just a few of the improvised sketches in last night’s Kool Story Bro

Kiell Smith-Bynoe – of shows like Ghosts, Taskmaster and Stath Lets Flats – hosts a troupe of comedy improvisers on this national tour. Taking anecdotes from the audience, the team spin these into skits and often go off on surreal tangents.

Each show promises a different celebrity guest, often featuring comedians from Taskmaster, sitcoms and panel shows. Ours was Farrel Hegarty from Coronation Street and TikTok who, for us, didn’t quite match previous billings of well-known comedians and performers like Amy Gledhill, Lily Allen and Adam Buxton. If you’re a Corrie fan though, it might be different.

For a show that relies on audience stories, the team had some challenging material to work with. Stories offered up at this performance often didn’t make sense, or didn’t have enough going for them to riff off.

The performers sometimes stood confused and had to ask lots of questions to eke out any comedy potential. At times, instructions from the improvisers and Hegarty were a little unclear, especially to those new to the concept or who hadn’t been before.

A single microphone was slow to be brought to audience members, which slowed the pace and led to shouting and the company struggling to hear or understand. They did eventually find the magic though – even with so little to play with – and were all skilled with accents, physical comedy and of course improv.

Rude? Of course! Plenty of smut and adult language, but that’s to be expected at a show like this – and it’s the sort of material that does get easy laughs. And there were laughs aplenty, with highlights including Tim Henman’s strong backhand killing people with one touch – from a true story of him saving a choking man’s life then shrugging it off.

The final sequence had clever call-backs to early stories, and wrapped things up as The Worst Story Ever Told – another dig at the poor selection of stories from the audience.

Whilst ‘yes let’s’ is key in improvisation (agreeing to offers) it felt that if the performers weren’t happy with initial stories, they could’ve asked for more suggestions and then picked from the best. However, they tended to run with the early offers or quickly dismiss others – with mixed results.

That being said, it was a fun evening, and there’s no doubting the skills, timing and performance ability of Kiell and his motley bunch. And of course each show is guaranteed to be different, so you never know what to expect or which way it will pan out.

Unpredictable, unscripted and worth a shot if you like improv.

Kool Story Bro continues a UK tour, details can be found at www.koolstorybro.co.uk

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

The Last Laugh, Grand Opera House York, June 2025

Review originally written for The Reviews Hub

Fresh from a sell-out West End run, The Last Laugh arrives at York’s Grand Opera House. But is it a laugh a minute, or no laughing matter?

We’re met with Lee Newby’s set – a derelict dressing room where pictures of Laurel and Hardy, Tony Hancock and Sid James gather dust. It’s the ideal setting to let the comedy – and relationships – really shine. And shine they do. 

The Last Laugh brings together the comic stylings of Eric Morecambe (Bob Golding), Tommy Cooper (Damian Williams) and a tangerine-tanned Bob Monkhouse (Simon Cartwright). All three performers excel at every nod and nuance, and you’d be forgiven at times for thinking you were watching the stars of yesteryear. Expect every comic aside, every glasses wiggle and every ‘just like that’.

Photo credit Pamela Raith

The dynamic between the trio is natural, and they riff off each other with ease. Golding’s Morecambe is delightfully daft and playful, whereas Cartwright’s Monkhouse is more by the book. Quite literally, as he clings to his book of tried and tested – or hammered and chiselled – jokes. Williams’ Cooper nails the funny look; the ability to make an audience laugh by doing very little…whether it’s his trademark shake of the hands or even navigating a garden gate.

There’s no plot to speak of, instead we’re treated to engaging chatter and dressing room banter peppered with jokes and shtick. But it’s not all giggles and guffaws, and the production blurs the line between tribute act and drama. Paul Hendy’s writing explores health issues, drink problems and the harsh realities of living in the spotlight. The gents ponder why it is they do what they do, and the almost obsessive quest for a laugh at any expense. 

Photo credit Pamela Raith

Some scenes are bittersweet, and Tommy Cooper’s final exit is truly poignant. This reviewer’s parents witnessed his untimely passing broadcast live from Her Majesty’s Theatre, so I grew up hearing about it between watching the fezzed funnyman on VHS. We’re reminded of the fragility of life, and the toll the pressure of pleasing audiences night after night can take. These moments of the sad clown are carefully and tastefully implemented. 

Photo credit Pamela Raith

The masks don’t slip for long though; the gags fire thick and fast throughout and this appreciative audience lap it up. The second half is a Q&A session with the cast and, at this performance at least, the writer and director too. This is a fascinating insight into how each actor becomes their respective comic, and titbits about how the show was received on Broadway, funny anecdotes, favourite jokes and more.

The Last Laugh is an evening of pure nostalgic delight and a love letter to the golden age of British comedy. How can I give it five stars? Just like that! 

The Last Laugh runs at Grand Opera House York until Saturday 14th June 2025. Find out more and book your tickets at https://www.atgtickets.com/shows/the-last-laugh/grand-opera-house-york/

Photo credit Pamela Raith

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.