Sometimes reviewing is difficult – what to highlight, what to reflect on, what to draw attention to, what to say. This is not one of those shows. This is difficult for another reason. This show is just too damn good. I stop taking any notes because I am so caught up in the magic of the improv. 

Tonight’s This One Time is the long format improv commonly referred to as a ‘Harold’. A suggestion is taken from the audience – tonight’s ask-for is an aspect of an audience member’s favourite director – we get “the blood in Tarrantino movies”, and immediately a scene starts. In this case our MC Jen O’Sullivan starts a monologue. Another player walks across the stage to indicate that scene comes to an end and another scene, (seemingly) unrelated to that scene, starts. 

This continues for some time. Scenes may use the last offer of the prior scene as a jumping off point, or refer to the initial ask for, until there are enough threads of unrelated stories that the players then begin to weave into a large narrative that blends these threads to a conclusion. It’s easier just to watch what happens. 

Festival Director Jen O’Sullivan has invited the directors of all the other workshops/shows in the festival to be tonight’s cast. 

I’ve been involved in improv and Theatresports since its introduction to New Zealand via Lynn Pierce’s first workshop in Dunedin too many years ago; it’s national development as a schools’ programme and the introduction of corporate entertainment; I’ve judged myriad Festivals and even represented NZ at overseas festivals. Over later years (this is going somewhere, honest) I’ve worked mainly in text and haven’t been around pure improv in years. My heart is full this night, watching where improv is now.

The directors give a masterclass in all that is best in improv. From one suggestion we are transported to a family involved in the Salvation Army (this provides one of the many killer lines last night – but you had to be here); the love affair between a human and a vampire; monologues about pets; and myriad other scenes all played out on the spot. And all brought to a fantastic end. 

This festival blows me away with its skill and generosity. This is a word that means so much, particularly in improv which has as one of its tenets: “Make your partner look good.” This bunch of skilled improvisers listens and reacts off each other; gives risky offers that in less happy hands could have been dropped; they adapt to each other with the ease of old friends; aren’t afraid to drop each other in it; are happy to let a moment sit and be felt; are easy with little dialogue, letting some scenes play out to Isaac Thomas’ evocative guitar; fall into song and then out again; let honesty triumph over the quick laugh of a gag; reincorporate previous lines and offers as if it they are predetermined.

In short it is a breath-taking, giddying display of mastery.

The only sour note is that, if you weren’t there, you didn’t get to experience this top quality playing that would have been admired in any country. The show will have the same title and format but a new line up each night. Get your tickets now and dive into wonderful and whacky worlds created in front of your eyes. 

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