This year’s Footlights Tour Show demonstrates the value of moderation for sketch comedy. This may sound like muted praise, particularly in a show so reliant on absurdist humour and exaggerated characterisation, but it is a great compliment for a genre of comedy that can be both barebones and bloated. Practically every sketch ends when it needs to, never overstaying its welcome. This can be largely credited to both the writing and the acting of the troupe members, an extremely flexible group capable of creating funny sketches both with and without dialogue. The variety never feels scattershot, however, and the energy never wanes. It is a strong collection of sketches with a strong selection of actors who know that some things are best enjoyed in moderation.

The sketch show itself has an extremely loose thematic centre, with all of its characters inhabiting the elastic reality of the town of Pudgeley, an amalgamation of Royston Valley and Toon Town. The show’s title, sadly, has no relevance. However, this facilitates the broad range of comedy on display here, a likely by-product of the unique talents of each performer. There is something for everyone here. The riffs on the public personas of Ed Miliband and Michael Gove tap into some impressive character and impression work, whilst the more minimalist sketches led primarily by Olivia Le Andersen were real winners, particularly her dour Danish economics lecturer who is precisely as exciting as they sound. Comedic songs, never typically my favourite genre, work extremely well, such as in the final showcase on the hot-topic issue of accidental urination. As a long-suffering geographer, a sketch on longshore drift feels extremely gratifying after the end of exams. Even the weaker sketches were not without merits. Luke Sumner’s Australian chiropractor sketch feels oddly rudderless, but his work with audience members is a sign of excellent improv skills and a confidence in the material. In contrast, Eleanor Colville feels underutilised, but she makes the most out of her supporting parts with much panache. There is certainly no real stinker in the lot, for both cast and sketches.

The visuals of the show are minimal but effective, a good attribute for any tour show to have. Musical and lighting cues are well-rehearsed, and scene changes are mostly slick. There is no over-reliance on costume and props to convey character, with quality character voices taking their place. If you have ever wondered what a pair of grapes sound like, this show provides a convincing answer. The stage never feels empty, even during individual performances, bolstered by the work of the actors. The show has legs outside of its current comfortable Cambridge confines.

There is a lot to say about Love Handles. It was an enjoyable, unpredictable show that felt like it celebrated the best of what a sketch show should be. It doesn’t rely on the Footlights name to be funny. It certainly isn’t flawless, but the quibbles are so minor that they seem inconsequential in the face of the winning performances and writing on display here. Love Handles is a showcase of Cambridge sketch comedy at its strongest, a show that straddles genres and keeps the audience engaged and, unlike its namesake, is anything but flabby.