For anyone who wishes to remember what Kenneth Williams was like live, look no further than David Benson.
Kenneth Williams, the famed raconteur with a notoriously prickly personality, would have celebrated his centenary this year. To mark the occasion, David Benson has revised a version of his hit one-man show My Life With Kenneth Williams, currently playing at Hampstead’s newly refurbished Circle and Star Theatre, formerly the great Pentameters Theatre.
Told in two acts, the show opens with Benson reciting The Walrus and the Carpenter by Lewis Carroll in character as Williams. This bizarre and engaging beginning to the show is disrupted when Benson breaks character and directly addresses the audience to talk. In some ways, this
transition demonstrates just how convincing Benson’s impersonation is, though it does prove slightly jarring. From this point, it becomes apparent that the first act functions less like a narrative play and more like an interactive lecture. For those expecting a full evening of Benson as Williams, this is not that.
Instead, the first act is composed of loose anecdotes from Benson’s childhood, tracing his relationship with comedy and the path that led to Williams reading a thirteen year old Benson’s story on Jackanory. One of the show’s most remarkable moments comes when the original recording of Benson’s story is played overhead and Williams’ expressive drawl fills the theatre. This instance feels completely rare and almost sacred, particularly as many if not all Jacknory tapes have been destroyed by the BBC. This moment also serves as a striking point of comparison for Benson’s own blindingly accurate impression.
Act two is much shorter but entirely Williams. Benson monologues different vignettes from a day in Williams’ life. Beginning at a poetry recital, he starts a witty spiel about humanity and civilisation after being asked an unrelated, imagined question. Then the audience is given an intimate look into Williams’ codependent relationship with his mother and his struggles with health, before ending at an Italian restaurant where Williams insufferably dominates the conversation, tirelessly berates friends, staff and fellow diners. What stood out most in this second half was that Benson does not attempt to glamourise Williams; instead, he presents an honest portrait of a vulnerable man with an intensely wicked tongue.
There is an air of nostalgia that flows throughout this performance, smoothing over the sometimes janky storytelling of the first act. Benson litters a plethora of names of 70s comedians and television personalities throughout, leaving audiences reminiscing or wanting to know more – those interested in comedy history may want to bring a notepad to jot down some of the names to look up later. The content is undeniably aimed at an older generation; Benson describes the show as one for the “Boomers”, and this is not untrue. Even as the youngest audience member who knew some of his references, there is still a sense of not being entirely in the loop.
There is, however, something spellbinding in Benson’s impressions. He inhabited the entire cast of Dad’s Army, a strict school headmaster, Dame Maggie Smith and Noel Coward with such ease. There is often a wish that these moments lasted longer. Benson’s ability to change his voice and face to not just embody but become these characters is truly brilliant.
That said, although his impersonations are strong, the show is narratively weak, suffering from a lack of overall narrative flow. The show’s title does not lend itself as an apt summary of the show. While Benson’s love for Williams is evident, there remains a question of why he admired him so much. As a thirteen-year-old, Benson wished Spike Milligan – not Williams – had read his story on Jackanory, so what changed? It is also surprising to discover that Benson had never met, spoken to or written to Williams. These questions could have been answered, but nonetheless this remains a masterclass in impersonation, and for anyone who wishes to remember what Kenneth Williams was like live, look no further than David Benson.