The Orphanarium of Erthing Worthing started ominously; beginning in a flood of smoke and Indiana Jones music, as Marcus (James Paris) cut through it with a torch and an overblown monologue that encapsulated everything that was to come: ridiculous, a little repetitious and utterly hilarious. The device was repeated at the end, and the difference was immeasurable – after some early jitters the cast had found their feet.

The Orphanarium consists of a deranged collection of geriatric orphans, nominally supervised by a nanny, Dorinda, who answers to the eponymous Erthing Worthing. His orphans have to live off trees and oxygen instead of care and attention, and they might not even have that if the sinister Jocelyn Cuddles of Closing Ltd gets his way. Marcus is Jocelyn’s work experience boy, who is first invited to stay the night, and then longer in what at first appears to be a mental asylum with incredible levels of sexual tension. If that sounds weird, it’s because it is.

The production was slick, with the most intricately choreographed on stage kissing I’ve seen, although there was perhaps more nudity than intended as a strategically placed baguette did not quite cover everything. The plot is a knowingly obvious pretext for some fabulous buffoonery, and a talented comic ensemble had been lovingly assembled to execute it by a production team with a fine eye for humorous detail. The narrative is never in question but the play’s action still surprises at every turn – veering from absurdity to absurdity, from visual gag to puns of various qualities. Sometimes it did not work, but it moved at such a pace that there was no chance to dwell on it.

Sporadic applause and cheering punctuated the evening, although the biggest laugh of all came when Little Willy (Andrew Brock) inadvertently stumbled upon a line so that his dear blind father came home “hard from a day’s work”. Even the cast couldn’t help but crack up – the piece was full of genuinely brilliant one liners, and most of them seemed intentional.

Three performances particularly stood out in a good cast; Charlotte Hamblin was a convincingly aged Monty, an elderly ex-actress who thinks she’s still in her prime. Mark Wartenburg ensures he steals each scene he’s in. Jennie King as Gladys, a madcap gremlin figure, is completely brilliant. The eclecticism on display points to a genuine innovation, a cut above usual Cambridge comedy.That is not to say it is completely perfect. There are times when the piece seemed to rely upon bizarre intonation, odd lists and intentionally cringe inducing physical performances.

As Erthing Worthing, Will Chappell gave a performance completely committed to a bizarre freneticism. My concerns were largely overcome by the quality and number of great jokes and attention to detail in the production. The entire ramshackle set had been perfectly chosen and aside from the occasional Anchorman reference and a slightly botched ending the writing was of a high quality.It is not for everyone: some of the audience were left cold even as others were crying with laughter.

If you like your absurdity applied with a lorry rather than a trowel, then The Orphanarium of Erthing Worthing is over brimming with jokes, flair and absolute barminess.