Footlights Spring Revue always promises the best of Cambridge comedy; sketches meticulously crafted by some of the most talented graduating actors and comedians. You’d expect nothing less from the society who boasts their golden list of alumni, including Olivia Coleman and Stephen Fry. Last night, their most dazzling moments were when good writing and talented performers collided, producing sketches which perfectly balanced the absurd and the familiar, or whose punchline was extremely well crafted. However, the flat moments came when confused writing let down very talented performers, or when the performance fell flat on sketches whose premise was reasonably clever.

But who said humour had to be clever? The most successful jokes surprisingly came from what was, in my opinion, rather basic humour. Take shouting “put your pants back on!” at your friend on the phone to her mum, or the punchline to a sketch including an unsolicited f-bomb, and you’ll be close to the moments where the Footlights landed their most reliable gags.

“Their most dazzling moments were when good writing and talented performers collided”

Moments of precise choreography, a unison clap or head turn, or the ridiculous homage to classical ballet done on wheely chairs, all gave the show a sense of polish. This is a credit to director Lewis Roberts who clearly ensured even the flatter moments were equally polished; very few opening night slip-ups here. In particular, Barnaby Evans showed impressive versatility, jumping from a conservative politician toddler, to various egoistic fantasy characters, to a precocious lawyer with hilarious powerpoint incompetence. Similarly, Jemima Langdon showed incredible awareness of her strengths as a performer, with her comedy song about historical women particularly sticking in my mind, and her physicality and projection throughout was often the focal point of energy within sketches. Another player to watch out for is Joy Adeogun, who had the audience in stitches in all her characters, from a sexual maniac superhero to God.

Yet, a series of sketches lacked energy, and some left the audience laughing through awkwardness. A sketch concerning an airport ‘emotional baggage’ reclaim seemed to have a humorous enough premise, but was let down by the performer’s uncertainty of characterisation. On the other hand, a skit painting the angel Gabriel as a frat bro successfully highlighted Izzie Harding-Perrott’s skillful physical humour, but relied on her talent as a performer, rather than particularly intelligent writing. I was also surprised to learn that some of the most confusing sketches had been chosen to return multiple times, such as a baffling reference to the 2016 viral video Pen-Pineapple-Apple-Pen, which as a recurring motif was, to put it simply, rather strange. The Footlights also did not shy away from some below-the-belt “committing war crimes” humour, and it is safe to say the sketch about Nazi farm animals was not received well nor should ever be appropriate.

This is not to say that their performances overall were not thoroughly entertaining. No More Funny Business guarantees you a giggle, and most importantly it was largely self-aware in that when sketches lost energy, they generally ended. The interval was comfortably one hour in - having sat through numerous tedious sketch shows in my time this was a relief, and meant it was not an exhausting watch, but retained lightness and humour throughout. The Cambridge Footlights have retained their name, and are continually upping their game - it is the nature of a sketch show that with so many ideas and styles of humour coming to fruition, there is something to give everyone a good laugh.

The Footlights Spring Revue is showing at the ADC Theatre until 25th February at 7.45pm.