Max and James are protestors. Or so they'd like to think. They've covered their walls in anarchist posters (photocopied) and they're planning the protest of the century, but nobody's turned up. Enter Frank, an experienced protestor who can ramp up their operation and make people actually notice them. There is, however, a small problem: Frank is utterly barmy.

This is the setup for Lowell Belfield's new comedy, and while it's not groundbreaking, it doesn't have to be. The plot is a framework from which to hang ridiculous scenarios and fantastic dialogue, pointing out how ridiculous Max and James' protesting really is. Since Lowell's previous work includes footlights and Now Now, the bar is set high, but he delivers.

This is a genuinely funny play; the audience's near-constant laughter attested to that. Dominic Biddle's Max is intense and, while not utterly crazy, certainly going that way; his little obsessions are charming and funny. Max and Ahir Shah's James make the comedy look effortless and perfectly natural, as the play spirals into ever more absurdity.

Frank, played by Amrou Al-Kadhi, is another fascinating presence, alternating between outright tyranny and childlike tantrums to brilliant effect. It was unclear whether Frank was an exploitative tyrant or simply insane until near the end, but Al-Kadhi gave a truly memorable performance nonetheless. Special mention must go to Sue (Susanne Curry), a proud and violent police officer who brings her own sandwiches when invited round to tea. She made quite the entrance with a relished bout of police brutality; I was only sad her role diminished from then on.

Max's girlfriend Lizzie (Lucy Butterfield) was less convincing: her role of the ditzy girlfriend gave little room for scope, but I seldom got the sense there was a character under there. In fact, this was one problem I had with the play: characters acted inconsistently, and it was sometimes difficult to see precisely what motivated each character moment to moment, making the action difficult to follow.

Max's big heartfelt scene was undercut by this: I felt sorry for him to an extent, but didn't feel there was much of a character to pity. But in all honesty, I didn't care. The characters may not always be convincing but they are constantly absurd, with wonderfully warped social graces and dreams that barely intersect with the real world. This play is charming, well-written, brilliantly acted and very, very funny.