In a captivating performance at the Circle & Star theatre in London, David Benson's one-man show, My Life with Kenneth Williams, serves as a poignant tribute to the legendary raconteur and Carry On star. As the centenary of Williams' birth approaches next month, this production, which has evolved from Benson's earlier hit Think No Evil of Us, offers a remarkable blend of nostalgia and insight, resurrecting the iconic figure for audiences old and new.
A Personal Journey into Comedy and Memory
The first act delves into Benson's own formative years, revealing how a young boy's life was forever changed by a chance encounter with Williams. In 1975, Benson's winning entry in a Jackanory story competition was read by Williams on national television, an event that Benson relives with a mix of pride and mortification. He recounts the fear of being associated with the campest man in the UK by school bullies, setting the stage for a deeper exploration of his own comedic awakening.
Benson showcases his impressive talent for mimicry, effortlessly channeling voices like Frankie Howerd, Sergeant Bilko, and the entire cast of Dad's Army. This act not only highlights his skills but also hints at the lifelong influence Williams had on him, though the full explanation of this bond remains intriguingly elusive, leaving audiences to ponder the connections between performer and subject.
Resurrecting Kenneth Williams: The Man Behind the Laughter
The second act shifts focus to Williams himself, presenting a series of vivid scenes from his life. Benson masterfully portrays a dazzling riff during an audience Q&A about the spiritual history of Western civilization, a bleak and co-dependent dialogue with his elderly mother, and a dinner with friends at an Italian restaurant. These moments capture a single day in Williams' life, revealing the full spectrum of his personality—from beloved entertainer to insufferable companion.
There is a risk in depicting someone as thin-skinned and self-absorbed as Williams, as it could easily render him a bore. Benson, however, navigates this with finesse, ensuring that the character remains compelling. The vocal and nasal gymnastics are a show in themselves, with facial contortions so accurate they are unmistakable decades after Williams' death. Yet, amidst the humour, there is a deep poignancy, as Benson exposes Williams' fear of intimacy and feelings of worthlessness, adding emotional weight to the performance.
An Arresting Snapshot of an Era
This production is more than just a mimicry act; it is a resurrection that offers a snapshot of an extraordinary man and the era he inhabited. Benson admits this is a boomer show, rich in nostalgia for those who grew up with Williams as a mainstay of British life. As the number of such audience members dwindles, the show serves as a vital reminder of Williams' impact on comedy and culture.
While some moments, such as Williams' chat about haemorrhoids and diarrhoea, might benefit from restraint, Benson's portrayal is extraordinary, balancing humour with heartfelt emotion. The show continues to tour, with upcoming performances including the Arden theatre in Faversham on 25 January, offering a chance for more audiences to experience this unique tribute.
In summary, My Life with Kenneth Williams is a masterful blend of comedy and pathos, celebrating the centenary of a British icon through the lens of a devoted performer. It captures the essence of what made Williams both funny and flawed, ensuring his legacy endures for generations to come.
