SPIKE, written by Nick Newman and Ian Hislop is a black comedy following late comedian Spike Milligan in the 1950s. It focuses on his efforts to get his innovative and celebrated comedy program The Goons Show to air the way he wants it to despite obstacles from within the BBC. I had the pleasure of attending its opening night on the 8th of November.

 

Firstly, I must let it be known that I will endorse absolutely any play that is scored by kazoo. I am, however, a little more particular with depictions of war and its effect on society. Thankfully, writers Nick Newman and Ian Hislop approach these heavy subjects with nuance and wit, mimicking Milligan’s sense of comedy excellently. 

 

The BBC hold a militaristic and unsympathetic presence within the play, quite similar to Milligan’s experiences with superiors in the war. So much so that scenes focused on his experience writing for The Goon Show often morph into striking physical theatre of his time in service, highlighting similarities between the BBC and the army. Yet, despite the obvious role the war played in society and the corporation itself, their producers would not allow any jokes to be told about it. 

 

But Milligan did not plan on following orders, as was indicative of his rebellious nature. In an aftershow Q&A, Hislop informed the audience that he believed MIlligan’s time at war had resulted in a ‘distrust of authority’, partly fuelling his feud with the BBC. However, both writers agreed that without the corporation, The Goon Show wouldn’t have been the same. Perhaps because the strict rules served as a constant reminder to Milligan of the lingering presence of war in society.

 

Hislop and Newman flesh out the irony of how the very corporation that was intent on having everyone forget and ignore the war clearly displays its effect on society in how it polices its company. In doing so, they are explaining to us the importance of acknowledging trauma rather than leaving it to be the elephant in the room. A philosophy which Milligan clearly saw, understood, and put into practice within his show.

 

But there were inevitable downsides to the BBC’s harsh treatment of Milligan. SPIKE does a wonderfully sensitive job of acknowledging the mental health issues that came with their unrelenting schedule, mired with his experience at war. Rather than following the myth of the ‘tortured artist’, the play accepts that mental health often gets in the way of creativity and instead celebrates the way Spike overcame these issues as well as the coworkers and family members that offered their support.

 

SPIKE also goes some way into exploring the comedic process that made the Goons so popular. Their comedy works because the listener can tell that The Goons are having fun, as remarked numerous times by characters within the play, and it encourages us to have fun as well. An effect that SPIKE succeeds in mimicking, the infectious energy from their cast giving an alluring edge to the production.

 

My mum, who I went to see SPIKE with, feels that it is important that I explain how little interest I have in this style of comedy or this period of time; ‘The Goon Show means little to my generation’. But, that only proves that SPIKE manages to accomplish what it sets out to do- to have any viewer understand what made The Goons and Spike Milligan important to the people who they are important to. And while I originally didn’t even know what they were, I now believe that they are worth remembering.