Comedy is a matter of personal preferences, and as such, the success or failure of a sketch show is always going to be up to personal preferences in comedy. So when looking at Blind Mirth’s last sketch show, Mirth Control, I found a weird intersection between two disparate comedic tastes of mine. And while this was unexpected, it certainly wasn’t unwelcome.
Because of the off the cuff nature of improv, sketch shows written by improv groups tend to lean towards silliness and absurdity in their comedic style, which is something I love. I like it when scenes can make fundamentally no sense in a realistic context but can still be funny because of their outlandishness. However, I also like sketch shows that are loud and in your face, that are grounded in a little bit of reality, but whose silliness is overstepped by its loudness. It’s like comparing Monty Python and the Whitest Kids U Know. Mirth Control sat between the two approaches
The sketches themselves had a wide range of subject matter, from primary school sports days in times of political turmoil, to Dragon’s Den in the stone age, to the process of exercising a demon. Many of these sketches kept the loose, improvisational feel of an average Blind mirth evening, just with a little bit more structure to them. Others, on the other hand, moved away from the silliness, and towards a bit louder, more in your face comedy. I’m not one to be offended by a few Nazi jokes, but there were definitely a lot of them, to the point that it bordered on excess.
Despite straying from the lighthearted silliness that Blind Mirth is known for, Mirth Control was still a hilarious sketch show. I spent half the time doubled over from laughter. Props go out to the whole team, especially to Harrison Roberts, who stole every moment he was on stage. All in all, Mirth Control might not have been Blind Mirth’s strongest show, but it was definitely a good time.