The ability of Mark Fiddaman, Alex Owen and Ben Ashenden to make a Cambridge audience laugh is undisputed. Whether you’ve seen them on VarsiTV, in a College smoker, or in the Footlights smoker, no doubt they have been a success with the audience.

The way each vignette was approached seemed to follow a certain pattern. For each, one member would be central, with one or two of the others being involved, but by no means the comedic centre of what was being produced. The way that each had been connected was simple, but effective, involving the use of sound and light to travel the audience through time, and tying it all together at the end of the hour with the scene that was presented at the beginning. It was noticeable however, that when this scene occurred again, the way it was approached was different, the acting almost more serious, fitting with the fact that by this stage of the performance (the audience having seen it before and knowing how it was connected into the show as a whole) it held a different significance.

Mark Fiddaman proved to be the most versatile, as every part he inhabited was completely different and executed with such clarity that he could switch between each without a moment’s hesitation. It was a joy to see that he relied on no audience member’s appreciation of a specific style of humour in order to generate laughter, a skill that is no doubt transferable to an audience beyond that in Cambridge. Ben Ashenden was a constantly controlled presence on the stage, his actions synchronous with all that went around him. Such attention to detail allowed for him either to be the central source of humour in a scene in which the humour was supposedly derived for him not being featured, or for him to be alone on the stage and command two personages as once (the transition between which was largely signified through a change in soundtrack). Alex Owen was often very stylistic in how he performed, and gained a familiarity with the audience as a result of this, but may’ve lost out through not always fully developing each character he played. His style, however, was obviously highly appreciated as he received some of the most unanimous laughs of the evening.

Tonight’s performance of ‘The Pin’ reflected the fact that this trio’s aim is beyond the ADC, as, despite the occasional moment that may have been recognisable from a previous smoker, this tight, minimalist and coordinated piece was clearly intended (and is suitable for) a wider audience. It was, therefore, Mark Fiddaman who ultimately shone through, in his ability to conquer the widest range of personas and techniques. ‘The Pin’ is surely one of the best things in comedy you will have a chance to see here this year, but just as surely not the best this trio will produce.