Bookended by two lively musical numbers, the Law Revue presents an entertaining and high energy night of comedy. With excellent projection, characters and a play on the fear of dreaded audience interaction, the show is composed of two acts of engaging and contrasting sketches. The revue is polished and lively, presenting a wide variety of scenes, from ensemble driven musical parodies to a solo raver paying tribute to his deceased granddad.
The stark white set supports the performers excellently, with moveable blocks and doors allowing for swift scene changes. The cast and crew execute these transitions seamlessly, delivering the audience quickly and efficiently from one sketch to another. These are supported by an effective use of music, with each new track following on from the themes of the previous sketch. The overall sound design is excellent, enhancing but not overpowering the action, and successfully adds another layer to the comedy through the use of voiceovers and sound effects.
The cast all demonstrate a firm grasp of a huge array of accents, strengthening sketches through these comedic exaggerations. Madi Savage shines particularly within this domain, jumping from upper-class English to an energetic Scottish, back to the nasal tonality of the Australian politician.
It is difficult to highlight standout performers, as the cast form a cohesive ensemble with each actor performing with commitment and vigour. However, Annabel Lanyon gave a particularly standout performance, completely transforming completely from a street smart old man to a stereotypical millennial girl, with a kind of energy and conviction that attracted audience focus. Both Aidan Tregillis and Alex Thomson demonstrate a similar ability and command of the stage, with Tregillis’ deadpan delivery eliciting some the biggest laughs of the night.
The sketches that were particularly well received were those aimed at an audience of mostly uni students. Relatable content appealed most heavily, and it was those sketches that had less audience targeted concepts that were less popular. These were often the less developed scenes, and were difficult to grasp due to their brevity. Some of the more abstract sketches, particularly one taking place at a petting zoo, were less successful, eliciting confused discussions at interval rather than the laughs that followed many of the more domestic scenes.
Similarly, there were a few running gags which fell flat, as they gave the impression that they had been tacked on at the end of a sketch as an afterthought. An actor began a reoccurring joke that he would fall down after finishing his scene, however this was inconsistent, being only established halfway through the show, and was accompanied by exaggerated sound effects which detracted from any potential comedy. The show presented excellent ideas, but some of these attempts at physical comedy could be improved.
Ultimately, the show is entertaining and lively, partnering clever ideas with energised delivery. The cast effectively performs the material, holding up the high standard that the Law Revue has become known for.
Melbourne University Law Revue’s Sketchual Healing runs from August 31st – September 9th in the Guild Theatre.