Melbourne-based company Soothplayers returns to the Melbourne International Comedy Festival for their 10th year, marking a decade of their signature improvised Shakespearean comedy. Over that time, they have created more than 200 original works and been a launching ground for notable former Players, including Scout Boxall and Vidya Rajan.
While the opening night performance for the 2026 season wasn’t without its shining moments, it struggled to fully find its rhythm as an entertaining whole.
The production opened with the performers stepping on stage to introduce and set up the ‘show.’ This initial segment felt slightly uncoordinated, with overlaps in dialogue as performers occasionally spoke over one another.
Before the proper show could begin, the players need a title from the audience. On this particular night, the title chosen was “The Great De-liver-y.” An odd title, but one that the players, to their credit, took on and totally committed to.
An opening monologue attempted to rationalise the title, suggesting that the liver was symbolic of a person’s melancholia, and the hero of the story would not have the capacity for sadness due to losing their liver at war. This was a strong thrust to the narrative that the players held onto for the performance.
Unfortunately, however, the band of improvisers struggled to maintain a firm grasp of their plot beyond the core premise. Throughout the show, many plot points and characters would be introduced before being abandoned, leading to a totally nonsensical narrative.
More than the challenge of building a cohesive story, it was the apparent lack of chemistry between the improvisers that stood out. Too often, scenes drifted into silence, with performers seemingly waiting for someone else to step in and carry the moment.
At times, inconsistencies in character and narrative further undercut the flow, drawing attention away from the unfolding story. It is honestly easy to see how these issues can come up, given the very premise of the show. Anyone can imagine how hard it must be to create an original play on the spot in one hour.
This felt less like a limitation of improv itself and more a question of preparation. Even within a spontaneous form, techniques and guiding structures can provide a sense of cohesion, helping performers sustain momentum and shape the narrative as it unfolds.
Both improvisational theatre and “Shakespeare… but different” are well-trodden corners of the Australian theatre scene. With greater cohesion and sharper ensemble connection, Completely Improvised Shakespeare has the potential to find a more confident voice.
Soothplayers: Completely Improvised Shakespeare runs to 12 April at the Impro Melbourne Theatre as part of the 2026 Melbourne International Comedy Festival. 21-23 Stanley Street, West Melbourne Vic 3003.
Tickets: https://www.comedyfestival.com.au/browse-shows/completely-improvised-shakespeare/
Website: https://www.soothplayers.com/
Socials: https://www.instagram.com/soothplayers/
Image supplied.
