30 years have elapsed since the Northern comedy-act of Len and Tommy appeared for the last time on stage together. Known as; Cheese and Crackers, Tommy walked out on the act after an embarrassing drunken incident involving Len. With circumstances forcing Len to ask his former comedic partner to pair up with him again to perform with him once more, Tommy reluctantly does and does little to disguise his lack of enthusiasm. It proves to be an emotional reunion to say the least.
After the previous week's inspired series opener which showcased Messrs Shearsmith and Pemberton at their most inventive they were going to have to go some way to top; Zanzibar in terms of it's creativity. With; Bernie Clifton's Dressing Room it proves to be something of an odd episode to follow up as while indeed excellent it still lacks the imaginative spark of that premiere outing. I find it something of an error of judgement that; Zanzibar didn't make it further down the line in terms of it's chronological air-date although one can only assume that both actors/writers wanted to open the series with with something of a stylish flourish and indeed they did. Assuming it was their decision.
Shifting this minor negative criticism to one side, the aptly titled; Bernie Clifton's Dressing Room proves to be another tour de force accomplishment as both stars pull off what is for the most part a double header of an episode. Set solely in the confines of what appears to be an old village hall where washed up comedian Len (Steve Pemberton) has awaited the arrival of his former friend and comedy partner Tommy (Reece Shearsmith). To say it's something of a a uncomfortable reunion would be be a bit of an understatement, with a dour Tommy clearly burning with resentment as well as cynicism. This is contrasted neatly by Pemberton's more gratingly upbeat and jovial Len, a man delusionally happy in his cheery optimism. The two actors bounce off one another effortlessly as "Cheese and Crackers", who are essentially chalk and cheese. You really feel the bitterness and apathy that Tommy has for Len, a point that is hammered home all the more so when the latter attempts to upstage the former during their rehearsals much to Tommy's considerable annoyance.
Although it would be easy to dismiss Tommy as being an embittered has-been, it's due to his ex-partner's irksome buoyancy and his propensity for grandstanding and recalling their past glory days (if they could even be called that) that it's hard not to sympathise with him. Tommy being the voice of reason that consistently challenges Len about the nature of their outdated material pointedly skewering his misplaced optimism while the other hopeful in his delusion that they can be a success again. It's the very essence of dark, comedic tragedy which they deliver so well. There is a palpable air of bitter-sweet nostalgia with this offering, what with it's thematic spin on two men both, one all be it rather reluctantly harking back to their past days as a double act during their hey day back in the 80's. With references to similarly forgotten acts like; Little and Large and Cannon and Ball, there does appear to be a genuine melancholy invested within the story from both it's stars. Two men who clearly have an affection for these now dated and bygone comedy teams who have seemingly slipped in to the ether. It's a poignancy that lends something to the impact of it's inevitable surprise conclusion that wonderfully turns everything we've just witnessed on it's head emotionally. It's not the most sublime of twists, which has been pulled off similarly before on numerous other occasions but still works remarkably well and is pulled off with some panache.
Both actors do throw themselves in to their roles although it is Shearsmith who is ultimately deserving of plaudits as the pessimistic Tommy who's scornful contempt masks contrary feelings that eventually come to the fore. Pemberton is obnoxiously chipper as the more loquacious of the pairing, although it's not a role that we're not all too unfamiliar from seeing from him. He does never the less manage to convey a subtle vulnerability beyond his sanguine façade, one that is adeptly mirrored with Tommy's who's is all the more apparent.
While not quite matching; Zanzibar for it's originality and energy; Bernie Clifton's Dressing Room is another fine example of it's writer and stars utilizing a minimalist backdrop to superb effect. As a tribute to a bygone era of comedy it's one that is both sentimental although without forgoing a sense of sadness which permeates proceedings. Anyone hoping for something of the more macabre and twisted that we have come to expect from the duo will be disappointed. However, with the following episode; Once Removed offering a promisingly welcome return to tonal form, I await the rest of the series with much anticipation.
After the previous week's inspired series opener which showcased Messrs Shearsmith and Pemberton at their most inventive they were going to have to go some way to top; Zanzibar in terms of it's creativity. With; Bernie Clifton's Dressing Room it proves to be something of an odd episode to follow up as while indeed excellent it still lacks the imaginative spark of that premiere outing. I find it something of an error of judgement that; Zanzibar didn't make it further down the line in terms of it's chronological air-date although one can only assume that both actors/writers wanted to open the series with with something of a stylish flourish and indeed they did. Assuming it was their decision.
Shifting this minor negative criticism to one side, the aptly titled; Bernie Clifton's Dressing Room proves to be another tour de force accomplishment as both stars pull off what is for the most part a double header of an episode. Set solely in the confines of what appears to be an old village hall where washed up comedian Len (Steve Pemberton) has awaited the arrival of his former friend and comedy partner Tommy (Reece Shearsmith). To say it's something of a a uncomfortable reunion would be be a bit of an understatement, with a dour Tommy clearly burning with resentment as well as cynicism. This is contrasted neatly by Pemberton's more gratingly upbeat and jovial Len, a man delusionally happy in his cheery optimism. The two actors bounce off one another effortlessly as "Cheese and Crackers", who are essentially chalk and cheese. You really feel the bitterness and apathy that Tommy has for Len, a point that is hammered home all the more so when the latter attempts to upstage the former during their rehearsals much to Tommy's considerable annoyance.
Although it would be easy to dismiss Tommy as being an embittered has-been, it's due to his ex-partner's irksome buoyancy and his propensity for grandstanding and recalling their past glory days (if they could even be called that) that it's hard not to sympathise with him. Tommy being the voice of reason that consistently challenges Len about the nature of their outdated material pointedly skewering his misplaced optimism while the other hopeful in his delusion that they can be a success again. It's the very essence of dark, comedic tragedy which they deliver so well. There is a palpable air of bitter-sweet nostalgia with this offering, what with it's thematic spin on two men both, one all be it rather reluctantly harking back to their past days as a double act during their hey day back in the 80's. With references to similarly forgotten acts like; Little and Large and Cannon and Ball, there does appear to be a genuine melancholy invested within the story from both it's stars. Two men who clearly have an affection for these now dated and bygone comedy teams who have seemingly slipped in to the ether. It's a poignancy that lends something to the impact of it's inevitable surprise conclusion that wonderfully turns everything we've just witnessed on it's head emotionally. It's not the most sublime of twists, which has been pulled off similarly before on numerous other occasions but still works remarkably well and is pulled off with some panache.
Both actors do throw themselves in to their roles although it is Shearsmith who is ultimately deserving of plaudits as the pessimistic Tommy who's scornful contempt masks contrary feelings that eventually come to the fore. Pemberton is obnoxiously chipper as the more loquacious of the pairing, although it's not a role that we're not all too unfamiliar from seeing from him. He does never the less manage to convey a subtle vulnerability beyond his sanguine façade, one that is adeptly mirrored with Tommy's who's is all the more apparent.
While not quite matching; Zanzibar for it's originality and energy; Bernie Clifton's Dressing Room is another fine example of it's writer and stars utilizing a minimalist backdrop to superb effect. As a tribute to a bygone era of comedy it's one that is both sentimental although without forgoing a sense of sadness which permeates proceedings. Anyone hoping for something of the more macabre and twisted that we have come to expect from the duo will be disappointed. However, with the following episode; Once Removed offering a promisingly welcome return to tonal form, I await the rest of the series with much anticipation.