Creatures come in many shapes, sizes, and make all sorts of sounds. Does it squelch? Does it roar? Does it make a kind of flip flop flap sound? You, the audience, decide. For their first, and so far only, rendition of Creature From The Unknown at the Town and Gown Theatre in Cambridge, Creature Comedy brings you a Gothic tale of unscripted terror. Have no fear, they’ll be back on July 15th-18th at the Corpus Playroom and for a Halloween special.
Improv comedy has many things, but a predetermined idea of where the night will take us is not one of those things. As such, I’ll be reviewing based on improv technique, characterisation, and interpretation of the prompts given by the audience.
If you come and see future versions of Creature From The Unknown, I can’t promise what hilarious horrors you’ll witness, but I can promise you an amazing set of improvisational actors. Our story tonight was made up by Lilly Bayfield, Tim Noel, Joel Lipson, Charlie Maxwell, Helena Forrow, and Barney Slater. The show is accompanied by Jonatan Rostén on the piano, setting the scene off the cuff with some fine piano playing, and Ella Catherall on tech. Some fabulous sound effects and spooky lighting from Catherall. Every single member of this group is a threat to any audience member determined to have a bad time, with a masterclass in physical comedy, particularly from Slater, and (almost) impenetrable characterisation from the terrible trio Noel, Lipson, and Forrow. Maxwell and Bayfield, the more understated characters of the cast, kept a low profile in order to catch the audience off guard and execute some of the funniest zingers in the whole show. Every choice is consistent with their chosen character This is clearly a group built on trust and comradeship, with lots of banter between the cast and a confident ability to “ride the flop” when something goes awry. Being adaptable and unshakeable is the sign of a highly skilled improviser, and this group has these characteristics in droves.
So, what prompts were this show built on? I hear you ask. It was based on a relationship (a troubled teen and cool aunt), a setting within a Victorian town (a public baths), and a thing we fear most (microplastics). To create a cohesive plot from these prompts, is definitely a feat. On top of that, to include a slow motion fight scene between a legless servant and a microplastic infested henchman with no prior choreography is very impressive. The prompts were well interpreted, the setting sufficiently mildewy and the modern concept of microplastics cleverly Victorian-ised to fit the gothic setting. The problematic teen and cool aunt relationship was a little underdeveloped but I ask you this: if the show was hilarious regardless of whether the prompt was fully embodied, then how important is the prompt really? The purpose of comedy is to make you laugh, and this show and cast certainly fulfils that oath. So, who cares if it wasn’t flawless? Though perhaps a different question for the audience would yield an even better result? Food for thought.
As is the way with improv, the show that I have seen will never be seen again. That’s the beauty of it. Nothing is predetermined before you walk in the door, or if some things are you can’t tell, and that is the mark of a fantastic improv group. Creature Comedy is a cracking group of comedic actors and I look forward to their return in the summer.
