The Persona Reinforced

Following on from my recent post on Steve Coogan's celebrity persona – I was struck by this comment he made writing in an article for the Guardian: 

"I've been fortunate enough to work with the likes of Peter Baynham, Armando Iannucci, Chris Morris, Simon Pegg, Julia Davis, Caroline Aherne, Ruth Jones, and the Mighty Boosh – some of the funniest and most innovative people in British comedy. And Rob Brydon too."

The article actually concerned the remarks of the Top Gear presenters regarding Mexicans (completely unrelated to my research). But the reason I chose to quote was because even when writing a critical and opinionated article on a separate matter, Steve Coogan still cannot resist displaying the same humorous, childish, mocking character (one that picks on Rob Brydon) that he so demonstrated in The Trip. What we are seeing here is this same persona eagerly pushing its way out, making itself known as a commonplace attribute of the actor/writer/celebrity that is Steve Coogan. The relevance here then lies in the appearance of this "loose version of himself", and his acknowledging of this played and playful persona as an irrevocable element of his self. And crucially the relationship between the two: the overall professional, down to earth character allowing and indulging the cheeky, self-centred 'sub-character'.

Steve Coogan as Steve Coogan

The persona that is Steve Coogan, that he has created and exudes as a celebrity figure, includes and demonstrates a sense of self-mockery.

In the recent BBC2 comedy The Trip Steve Coogan and Rob Brydon played 'loose versions' of themselves, improvising their dialogue, to a simple plot structure of a trip reviewing restaurants in North England. Coogan, or rather Coogan's character of Coogan, was in a continual state of petty competition with Brydon's (an excellent example can be seen below). They duelled mostly over voice impersonations, but also athletic ability, vocal range, even comedic prowess. Coogan remained harshly and childishly critical of Brydon's performances, always seeking to prove himself as the more talented, the more knowledgeable, and the funnier. In these attempts he ultimately fails. Brydon trumps unwillingly - content with his career, family, and achievements. Coogan struggles on - frustrated with his self-implied shortcomings: in one scene, he whines to his agent about wanting to star in 'good films'; in another he attempts to mimic Brydon's popular 'small man in a box' in front of the mirror; in others we see evidence of his problematic family and love life. All of which culminates in the final scenes of the series, where Brydon returns to his wife and child in a warm home, whilst Coogan finds himself alone in a stylish and cold London flat. 

Steve Coogan (left) and Rob Brydon in The Trip

In his performance, Steve Coogan is ridiculing his own desire to be revered. He is drawing attention to this complex that he has (or at least that his celebrity self has) and then self-critiquing it with mockery. Hence this version of Steve Coogan who toils for fame and high regard only to be revealed as a fool and a failure. However, it's not a definite depression, but more of a tragic comedy, Coogan and Brydon do enjoy each other's company, and the show is very funny.

The significance for me, lies in Coogan's conscious decision to face, challenge, and excoriate an issue of his own public (and to many degrees, private) personality, and his use of humour in exposing it. This is why the actor Steve Coogan's portrayal of the character of Steve Coogan, is relevant to my research.


'This is how Michael Caine speaks', The Trip BBC2