Improvised – A Young(ish) Perspective

REVIEW: What the Hell? An Incredible Improv Show

Published on March 10, 2026March 10, 2026 by Will OsbonLeave a comment

A lineup like this is too good to fail, and even when it does, it’s hilarious.

The Edinburgh International Improv Festival wrapped up on the 8th of March, and it did so with a handful group improv shows (an appropriate send off for a festival so community led). These shows had stacked line ups, including one of which A Young(ish) Perspective attended – What the Hell? An Incredible Improv Show.

This show was made up of Amanda Breen, James Dwyer, Chris Gethard, Oscar Montoya, Aaron LaRoche, Monika Smith, Kimi Jackson and Lyndsey Frank. These comedians came up with a series of sometimes-connected sometimes-totally-tangential scenes prompted by audience stories that make one say “What the hell?”. A true range of talent on the stage that night led to an onslaught of bits, all flavoured with each comedian’s particularities. These were the most engaging moments of the night, as comedians figured out how to slalom around another comedian’s idea, add to it or knock it down. This was not combative; it was improv in collaboration. When each performer is equally as confident and talented as the next, it creates a sort of cascade of bits – which is certainly the best way to describe the show that night.

Two stories were conjoined together into one large tapestry of scenes, including dad advice, an ever-evolving tampon bit and an apparently offensive wedding attire salesman. After this, the group took one word and ran with it – “Hopscotch”. And while the scenes that followed were delightfully spiraling (at some point including a Goblin Avatar commune), Hopscotch didn’t wind up occurring. The initial attempt included a father-daughter disagreement about easter baskets, which one could see resulting someway in Hopscotch. But, as the final scenes evolved, the show wrapped up with callbacks instead.

This is the only minor thing that brought the show down. The large, talented and multifaceted group may have broken up a level of synchronicity, leading to tenuous scene resolutions at times. However, this onstage talent was also the biggest strength. Amanda Breen, Monika Smith and Oscar Montoya were the most controlled of the troupe, managing to create clear set ups in their scenes, allowing for natural development, and also capable of playing a clear role in the scene to make room for laughter. Aaron LaRoche, Lyndsey Frank and James Dwyer were extremely bit-form that evening; these comedians would truncate or interrupt scenes in order to contribute their own bit of silliness, my favourite of which was each comedian separately developing the gun pointing bit. Kimi Jackson was an ace-in-the-hole, often taking on unexpected characters who were funny in mere expression, like an overexcited bridesmaid or a miscellaneous Swedish man. As an industry veteran, Chris Gethard was a standout. His expertise in the medium makes him extremely comfortable rambling on about Avatar to humorous effect. By the end of the evening, it was clear that other comedians were ribbing Gethard a little bit, as they continuously attempted to return him to an uncomfortable character.

In the end, this was the show’s biggest advantage. Each comedian was skilled enough to create laughter, but it was also evident that the fun for the performers was in being able to catch each other out. Push a bit out or pull it back in. While the structural integrity is the only technical mark down, when you’re watching something as fun as this, it’s easy not to care about that. And if Improv can’t make someone care less, what can?

REVIEW: Talking People – Feb 16th

Published on February 21, 2026February 21, 2026 by Tabitha JamesLeave a comment

Enjoyable evening of co-creation in a refreshing and entertaining format, brilliantly executed by the Talking People team.

Walking into Underbelly Boulevard, expectations were unclear, but the director swiftly set the tone with a punchy and relatable introduction. A reminder that everyone in the room is human, that humour is subjective and that no offence is intended established an atmosphere of generosity and collaboration. What followed was a genuinely shared theatrical experience, shaped live by cast, director and audience. Talking People tells stories through directed improvisation, with lightly prepared characters and narratives built in the moment using audience prompts, a Bag of Pain, relationship cards and the director’s guiding hand.

This performance featured Aliyah Odoffin (All My Sons), Will Merrick (F1), Alexander Theo (Dreaming Whilst Black), Amelia Clarkson (Red Rose) and Elisha Applebaum (Fate: The Winx Saga). Initial nerves gradually gave way to confidence as the story took shape.

The narrative centred primarily on Tony, played by Merrick, and John, played by Theo, and their relationship. Through sustained audience questioning, the first half became an intense examination of the two men, inadvertently sidelining the three female characters. Structured as a panel discussion with the cast seated and interrogated by the audience, this format offered strong foundations for character development but left the women comparatively underexplored.

Odoffin engaged most readily with the dynamic, using audience interaction to deepen Rhia and integrate her more fully into the central relationship. Applebaum’s choice to present a character already settled and secure limited opportunities for dramatic tension, while Clarkson’s more guarded portrayal of Zoe, though believable, constrained the character’s capacity for growth. Whether this imbalance stemmed from audience focus, directorial steering or differing levels of improvisational ease remains open to question, and it would be intriguing to see how the balance shifts on another evening.

Merrick handled sustained scrutiny with assurance, though a late decision to define Tony as fully gay created narrative complications that required some backtracking to permit interconnected storylines with the female characters. Theo was the standout of the night, embodying John with emotional clarity and physical conviction. His performance extended beyond sharp answers to audience questions; the character felt lived in and empathetically drawn.

The second half, shorter and more traditionally staged, unfolded in a flat setting with minimal audience interaction until the end. Here, the material generated in the first hour was dramatised into a cohesive scenario. The shift in format clarified the story and allowed the emotional consequences of earlier revelations to land with greater weight.

While the production is billed as an exploration of seeking answers in the cold and chaotic world of the internet, this strand felt underdeveloped. A reference to AI-generated pornography appeared somewhat shoehorned and lacked depth. In truth, the evening’s strength lies less in commentary on digital culture and more in its examination of relationships, perception and the often unheard voices on the sidelines.

As an experience, the show succeeds. It is lively, engaging and consistently fresh, with each performance existing only in the moment it is created. The comedy tends towards sharp, fleeting observations rather than enduring set pieces, but that ephemerality is part of the appeal. The lasting impression is not of a standout story but of shared humanity, spontaneity and connection.

Catch Talking People on 9th March at Shoreditch House with a later show in late April to be announced. Follow them on Instagram here.

REVIEW: Austentatious

Published on December 17, 2025 by Tabitha JamesLeave a comment

Austentatious remains one of the sharpest improv shows on the British circuit, consistently funny, impressively slick and a reliably excellent night out.

Austentatious, the much-loved British institution of improvised comedy and theatrical silliness, is now in its 14th year and marking the 250th anniversary of Jane Austen’s birth.

We attended on a night featuring Stephen Mangan as the guest star and honestly could not have picked a better date. Mangan slipped seamlessly into the experienced cast and delivered some of the most memorable moments of the evening, including the immortal naming of Felicity Cockblock, a steady stream of ball-based jokes and an enthusiastic jig. He was an absolute highlight and if this is anything to go by, other special guests Mel Giedroyc and Paterson Joseph were surely just as strong.

Austentatious is exactly what it promises. An extravagant, knowingly ostentatious performance blending Austen-esque storytelling, classic British humour and genuinely top tier improvisation. Improv shows can often sag under the weight of indulgent sketches that add little and test an audience’s patience, but this cast are masters of keeping things tight. Scenes are neatly wrapped up before they overstay their welcome and the pace rarely falters.

Much of what makes Austentatious sing is the chemistry between the performers and the visible joy they take in building a full narrative from a single audience suggested title. The ending can feel slightly rushed, but given there is no opportunity to plan or debate the story arc, the fact they manage to land it at all is impressive. On our night, the absence of the central female lead for the second half could have derailed things entirely, yet a fellow cast member stepped in and integrated into the plot effortlessly despite missing the entire first act set up.

As my guest neatly put it, this is a perfect show to gift friends or family. The showmanship is exceptional, with improvised lighting, live music and a violinist on stage supporting the action beautifully. The humour is clever, accessible and just the right side of lewd, which reliably wins over the whole room.

Austentatious returns to the Vaudeville Theatre for several dates across the first half of 2026 and it remains an easy recommendation for anyone in need of a guaranteed good night out.

REVIEW: Handle With Care

Published on November 15, 2025November 15, 2025 by robyncummings94Leave a comment

A mysterious, unpredictable and silly social experiment that’s as reliant on its audience as it is determined to surprise them

If you arrive at Handle with Care expecting a traditional piece of theatre – lights down, full cast, and the audience politely and quietly observing from the safety of their seats – you may be thrown slightly (or entirely) off-balance. Ontroerend Goed call the piece a theatre performance, but it’s closer to an interactive social experiment – one-part guided experience, one-part group psychology exercise, and one-part ‘what on earth is going on and why am I suddenly on a stage reading from a script I didn’t know I’d agreed to?’

What makes Handle with Care such a challenge to describe, and even harder to review, is that the show is wholly shaped by the audience. There is a structure, and a sense of direction, but there is no fixed version of the show, and certainly no universal experience. The personalities within the group massively impact the direction of the show – which means that my version of the experience is not only unique, but entirely irreplicable. Any reviewer describing their experience can only offer one possible version, and in my case, I suspect that my experience was heavily impacted by the fact that I went alone.

My group consisted of about 20 people, the large majority of whom already knew each other. They arrived buzzing, comfortable and immediately familiar in a way that really influenced the direction of the show. Whilst Handle with Care doesn’t require you to attend with someone else – and the group was perfectly friendly and welcoming – your enjoyment is undeniably shaped by the group dynamic, and being surrounded by a per-existing social circle made it difficult to get involved in quite the same way. Whilst the experience didn’t resonate with me personally, I can easily imagine that going with friends would shift the whole thing into something more silly and joyful.

Because this is a show that’s best experienced with minimal prior knowledge, I won’t go into much detail about the structure or ‘plot’ (a word that applies here only in the loosest sense). The gist is this: you arrive at the theatre and there’s no actors, no technicians – just a box in the middle of the stage, and an excited audience. Control is then handed over to the attendees – to open the box and react to the contents.

An important thing to be aware of is that the show’s marketing suggests that you can choose your level of participation, whereas in reality it’s expected that everyone should get involved at least a little. Nobody sits comfortably on the sidelines. Our whole group found ourselves on stage multiple times – sometimes en masse, sometimes individually, sometimes reading from scripts, sometimes performing small solo tasks. At one point I even found myself having to swap an item of clothing with a stranger. If the thought of reading aloud in front of strangers, being silly on demand, or participating in playful group tasks fills you with dread, this might not be the show for you. I managed it, but I was very aware of being ‘the lone attendee’, which did slightly dampen the fun.

The most fascinating aspect of Handle with Care is its life beyond this performance. The show has taken place in cities across multiple countries, and we were reminded that our strange little hour was just one in a long chain of similar-yet-different experiences, each shaped by the specific quirks of the people involved. There’s an undeniable thematic thread of community, humanity and the idea of ‘connection’ running throughout the piece. I could see it clearly, even if the intended emotional punch didn’t quite land for me.

Even with my mild reservations, I would still recommend the experience to anyone curious. Handle with Care is surprising from start to finish, and despite not personally connecting with it as deeply as the show intended, I was genuinely intrigued by how the mix of personalities steered the show. Watching who stepped forward, who held back, who stirred the pot – all of that was compelling in a way that a scripted show could never be.Is it for everyone? Absolutely not. If the idea of being silly on a stage in front of strangers makes you cringe, you might find the hour more stressful than exciting. But if you’re someone who enjoys being on stage, likes to be surprised, and watches a show like Taskmaster and thinks they’d love to have a go, then Handle with Care might be exactly your kind of experience. And if you bring along a few friends, you might leave with a story you’ll be talking about for weeks.

IN CONVERSATION WITH: Ladies Who Improv

Published on October 1, 2025September 30, 2025 by ayoungishperspective1Leave a comment

LADIES WHO IMPROV is a female Manchester based troupe who focus on the funny. We sat down with the group to discuss their upcoming performance.

How did you go from meeting in an improv class to becoming a fully-fledged troupe?

We did a showcase at the end of the improv course and after we left the stage we realised just how much we enjoyed improvising with one another. We chatted afterwards and really got to know each other. With two of our players being Lithuanian and American we discussed our comedic inspirations and humours and learnt a lot about one another; all the while connecting as a group. Seeing this opportunity, I suggested we apply for the Women in Comedy Festival that was coming up at the time and the others were really keen although perhaps unsure if we would get in. We somehow did end up getting in, despite being a brand new troupe and LADIES WHO IMPROV haven’t looked back since!

Do you remember your very first show together—and how it felt compared to now?

Our first show was a bit of a blur. There was some nerves floating around. We not only sold out, but they also had to add more seats to the venue due to demand and so we felt the pressure to be great. Luckily, it was a great show and the audience had a lot of fun, but I think we perhaps were still getting to know each others styles and comfort levels within scenes and characters. Our shows now are a lot slicker and tighter in terms of cuts and character traits. Of course there are still some nerves but we don’t feel as much pressure. We just want to have fun and as we now know each other so well as performers, we really do enjoy performing together.

What’s the funniest audience suggestion you’ve ever run with?

That is a hard one, as we have had so many, including words such as ‘Help’ etc. I guess one stand out one for me, would be from our first ever show. An audience member decided mid game to shout a suggestion. Ever the professional, I jumped at the chance to hear this. The suggestion was to continue the game but to have an audience member join us on stage (as an extra LADIES WHO IMPROV member). I assumed this would be the enthusiastic suggester, but in fact they did not want to do it and decided it should be someone else instead. So we then had to find someone else to volunteer and chaos ensued. It was a lot of fun and luckily both audience members were great sports!

What has it meant to you to carve out space as women in a scene that can be very male-dominated?

I think it is really important to all of us in the troupe to continue to do this and to inspire and encourage other females to join in with improv and comedy as a whole. It’s surprising that in this day and age this is still a thing but we think it is very important to acknowledge this and build a safe space for women to play, interact and be silly. It is a very male-dominating industry, but that doesn’t mean it can’t ever change. I think there needs to be more celebration and focus on women within comedy. This is why we are so excited to be performing at the Women in Comedy Festival on 8^th October 2025.

What advice would you give to other women looking to step into improv or comedy for the first time?

Just go for it! I have done a variety of comedy courses and improv classes in different cities across the UK, and it can be really hard when you are a newbie in an already established group or scene, but showing up is truly half the work. After that first interaction, you will have at least met one person you click with. Then after the next time, you will find some others who maybe have the same humour and before you know it, you will have people you trust and enjoy performing with regularly. I would also say if you are Manchester based then introduce yourself to companies such as Thirsty Productions, The Totally Improvised Company or Improv North. They’re all friendly and eager to have new people join!

How do you want audiences to feel when they walk away from one of your shows?

Apart from exhaustion from laughter, we want our audience to feel entertained and happy! Our shows are silly, fun and at times incredibly absurd. They are a source of fun and enjoyment, both for the audience and for us as a troupe. It would be great if some of the audience wanted to know how to start doing improv themselves. Perhaps they are looking for a new hobby or always wanted to try it. We love chatting to our audience after the show at the bar, so if anyone needs any advice on how to get into the improv community in Manchester, we would be happy to help.

Catch Ladies Who Improve on 8th October at 8.30pm at the Fitzgerald in Manchester (as part of the Women in Comedy Festival). Tickets are available here.

REVIEW: Showstoppers! The improvised musical

Published on August 18, 2025August 18, 2025 by nebularis85Leave a comment

100% improvised- purely random. A world of endless possibilities and unmissable fun

Olivier award winning Showstoppers! The improvised musical takes improvisation to another level when they apply it to the medium of musical theatre. With a vocally superb cast and great camaraderie the production manages – incredibly!- to produce a new musical every night. The vocal range and inventiveness of the cast and crew seems limitless it makes one want to see it every night for the entire festival to see what unfolds each night and how creative our fringe cohort can be. Special mention to the casts MC for energising the audience before and shortlisting a great range of musicals to utilise in the story and the band as they manage to accompany performances beautifully without knowing what the cast will create on the spot. Last night the audience experienced an incredible journey through IKEA after dark as the cast were challenged to write a musical based on a hide and seek adventure in IKEA after it closes. The story included plot twists and interesting blossoming romances with hilarious IKEA references throughout. Who knows were tonight and the remaining nights this show will take its audience.

Showstoppers! The improvised musical is incredibly entertaining and one for all the family to enjoy so get along quick before you miss out!

Showstoppers! The improvised musical runs 30th July – 24th August.

Production photographs by Assa Davíðsdóttir.

REVIEW: Unscripted Shakespeare

Published on August 11, 2025August 10, 2025 by gracewallisLeave a comment

The company that founded the first UnScripted Shakespeare Festival in New York City takes the Edinburgh Fringe by rambunctious, rhyming, pentametered storm.

New York based improv company Thorn and Petal Stick has been quick to show what they’ve got up their lacey Elizabethan sleeves at this year’s Fringe. And the pleasantest non-surprise of any deliciously good improv show? It’s different every night.

An unassuming company of four – fronted by actors Hal Munger and Nick Zimmerman, scored by musical virtuoso Sebastian Hochman, and designed and lit by Sasha Sokolova – Thorn and Petal Stick founded the first UnScripted Shakespeare Festival in New York. They’ve arrived in Edinburgh to pull all the plugs on a seemingly infinite jug of dramatic and downright silly fun. It’s honestly a relief that you can just wait twenty-four hours and watch these no-frills geniuses tear the house down all over again.

The real cherry on top of a ridiculously talented team of improvisers is that they do the whole thing in iambic pentameter. Over the course of an hour, the audience is subjected not only to the clopping dee-dums of ten-syllable verse lines but also shared lines, rhyming couplets, and even musical diddies. It really is spectacular work that makes you wonder if you haven’t just stumbled on a hidden gem of an act in the buzzing hive of late-night Fringe.

Sokolova’s set – a simple canvas littered with as-yet-unimbued objects – keeps the actors happily on their toes in a garden of rich prop-portunities. Likewise, her improvised lighting designs keep the story pummeling along, integral to marking the beginnings and ends of each improvisational chapter. Hochman – legs leisurely crossed in his corner of musical instruments – hilariously assumes the role of the omniscient town crier, often openly mocking his friends’ iambic stumbles and dressing each scene in its own tonally unique score so effortlessly, you wonder what he’d be capable of if he scooched his music-making station centre-stage.

The show comes fresh off of Munger’s and Zimmerman’s training at the London Academy of Music and Dramatic Art, where they studied classical acting together. Apparently, the two met when Munger posted a notice on the school activities board for a nightly improvised Shakespeare group. At the first meeting, only one person showed up: it was Zimmerman. The rest is history.

With a whole run ahead of them this August, it’s exciting to imagine just how many improvised places they’ll be taking their contagiously funny Elizabethan vibrations – and how many new fans they’ll be picking up along the way.

Unscripted Shakespeare is a part of the 2025 Edinburgh Fringe through 25 August. Get your tickets here: https://www.edfringe.com/tickets/whats-on/thorn-and-petal-stick-unscripted-shakespeare.

REVIEW: It’s You Role

Published on May 15, 2025May 14, 2025 by AdielBrokeLeave a comment

“A charming and playful night of Dungeons & Dragons; fantasy storytelling, live improv and audience participation.“

It’s Your Role blends fantasy storytelling with live improv, bringing the world of Dungeons & Dragons to the stage as a live recording of the core team’s podcast. Each show features a standalone D&D adventure, complete with dice rolls, offbeat characters, and the twist that one audience member is invited to join the cast and play a main role. A Peckham Fringe show at Canada Water Theatre, the atmosphere both magical and cosy, with floating candles and a warm, tavern aesthetic, and ambient fantasy soundscapes throughout.

The format is simple but effective. A trio of performers drive the story, led by Dungeon Master Ben Welford, who effortlessly shifts between narration and colourful NPCs. Chloe Campbell delivers standout comedic moments, particularly in a recurring joke about impressing “First Mate Susan,” a name randomly drawn from audience suggestions in a delightfully silly naming mechanic.

The energy of the cast was both relaxed and inviting. From the start, the audience is fully engaged, even when the narrative wobbles as the chaos of improvisation takes over. Audience participation makes a strong initial impression. The name-drawing segment creates hilarious encounters, and the inclusion of a guest player adds spontaneity and charm. While the rules of D&D are explained briefly along the way, it is clear that this particular guest player’s familiarity with the game helped the story move more smoothly.

However, the interactive energy does ease off in the second half, as the show leans more into the inside jokes shared by the core cast. This shift sometimes causes the momentum of the story to slow.

The plot is enjoyably absurd, involving a magical teapot and a mummy guarding a legendary cookie recipe. But the heart of the show lies not in the narrative stakes, but in its warmth, humour, and sense of community.

Whether you are a seasoned player or completely new to D&D, It’s Your Role offers a charming and fun evening where embracing the unexpected is part of the adventure.

REVIEW: Faulty Tower the Dining Experience at President Hotel

Published on April 6, 2025April 5, 2025 by Ke MengLeave a comment

Hilariously funny

Faulty Tower the Dining Experience at President Hotel is an unforgettable night that will quite literally have you laughing your head off. Whether you’re a lifelong fan of the classic sitcom in the 70s (like myself – a millennium weirdo wasting her time watch silly old sitcoms), or completely new to it, like my friend was, you’re in for a riotous time.

The experience is built around three iconic characters: the snobbish and neurotic Basil (Lawrence Watling), the sharp-tongued and domineering Sybil (Nerine Skinner), and the ever-clueless yet endearing Manuel (Leigh Kelly). Together, they faithfully recreate the chaotic, dysfunctional atmosphere of the infamous hotel in Torquay. Following from a “normal” wine reception operated by ushers and hosts, Basil and Manuel opens the show full of orders and misinterpretations, instantly transforming the guests from a well-organised, decent international hotel in London to this little hostel full of dramas and unstable comics in southwest England.

Once the chaotic bread service kicks off, your dining experience officially begin. Of course, in this madhouse, the only thing you can predict is that nothing is predictable. The show cleverly weaves in familiar plots from the original series, including horse racing bets, a fire drill, the “hamster,” and of course, the Germans. No spoilers here further, as I do not want to ruin your intact package of surprises.

Nevertheless, the real genius of the evening lies not just in these nostalgic tributes, but in the cast’s incredible improvisational skills to engage and play with the guests. They can always spot on a certain guest, taking up on the smallest cue and spin it into comic gold with effortless charm. If you’re something of a drama queen yourself, your willingness to join in will absolutely heighten your experience. But even if you’re more reserved, you’ll be thoroughly entertained as well. There’s more than enough madness on offer to have you in stitches.

As for the food – while I won’t pretend to be a food critic – I can faithfully report what was served: a soup starter (with a bit of harmless theatrical chaos thrown in), grilled chicken leg with vegetables for the main, and a cheesecake for dessert. Dietary requirements can be catered for, and the team will check with you in ahead of time. You’re not expecting for Michelin star dining here, but that’s perfectly fine. After hall, the food is solid, but the evening is all about the showy theatrical experience.

REVIEW: Rosalie Minnitt’s Clementine

Published on March 9, 2025March 9, 2025 by ciarahighamLeave a comment

A whirlwind of interactive chaos, abstract comedy, and pop culture nods

The show launched straight into audience interaction, and for the first ten minutes, I found myself feeling a little on edge especially as I was attending alone. Clementine called on audience members throughout the show which left me feeling a nervous anticipation, unsure of what might happen next. However, as the story started to take shape, I settled into the show (helped by the relief of being seated at the end of a row, making me a less likely target!)

Rosalie Minnitt has an undeniable stage presence and impeccable wit, commanding the room with confidence and charm. She has the kind of energy that makes you feel like she would be the funniest person in any friendship group, always ready with a perfectly timed joke. Her ability to bounce off the audience and adapt to their reactions was a highlight of the show. The audience members brought on stage embraced the chaos, and their interactions with Clementine led to some of the best moments of the night.
The show was completely chaotic, moving rapidly from one thought to another. At times, this was utterly hysterical, but at other moments, it felt overwhelming, leaving me struggling to keep up. Some jokes landed perfectly, while others felt like they got lost in the whirlwind of rapid-fire storytelling.

A projector was used in the show, which at times was difficult to read due to being projected onto a curtain, meaning some jokes lost their impact. Pop culture references were scattered throughout the show, from Celebrity Big Brother’s “David is dead” to Love Actually’s “I look quite pretty”, and while some went over my head, others had me laughing out loud.

Despite some very funny moments, the concept of the show felt a little abstract for me. It thrived on unpredictability, which made for some brilliantly offbeat moments but also meant that the pacing sometimes felt erratic.

Overall, Clementine is a bold, eccentric character comedy filled with clever references, interactive chaos, and a leading performer who is undeniably talented. While it didn’t entirely click for me, it’s clear that many in the audience were fully on board, and for those who enjoy absurd, high energy comedy, this will be a hit.