In the wacky layout of the Corpus Playroom, the cast of six put so much spunk into their performance that the hour they had felt like 30 minutes – probably about the time I actually spent grinning, snorting, laughing or clapping. With a script that’s very rarely less than robust, often sparkling, and occasionally let-me-write-that-down-for-later brilliant, what do you expect? The premise: every joke is the set up of another. For Switch this means each 3-minute sketch begins with the cast in the position in which they ended the previous one. It sounds like a gimmick, but it works well to glue together sketches that would otherwise risk being bitty.

Even better, the show stops every so often to examine itself and the absurdity of its own premise, so we see the cast debating how to start a sketch with the awkward positioning of Zak Ghazi-Torbati holding Riss Obolensky in the air, the previous sketch having finished with “I want to give you a RAISE!” Similarly meta is the analysis of what makes good comedy (“cultural references so that the audience feels clever” is the line that sticks with me now), while the most bamboozling part of the whole thing comes when – now let me get this right – Obolensky criticises the script, but her criticism is exposed as being written word-for-word into the script in the first place. Confused? You’ll be cackling when you see it.

The chop-and-change nature of the sketch show makes overall stage balance less important than it would be in a single continuous narrative – no single cast member is on stage for more than 10 minutes tops – but the chemistry is always tight enough to cope with the snappy back-and-forth dialogue. The lighting (crucial for putting the punch in the sketch-ending punch lines) is usually crisp, and there’s a pleasing scarcity of props that frees up the cast to get as physical as they want.

The standout performer for me is Sam Knights, whose brand of goofy but honed humour guarantees screams of laughter in any sketch, while Ghazi-Torbati and Obolensky also excel. But the really exceptional thing about Switch is the script, most of which was written in a writing week in Wales over the summer by Declan Amphlett, Knights, Ghazi-Torbati, Obolensky and Joe Shalom: there are a handful of moments (watch out for Knights’s “Methinks the squirrel doth protest too much!” in particular) that alone make your six pound ticket worth the money.

*Insert cliché about remedy to the end of Freshers’ Week/ the start of lectures/freshers’ flu here*.