Performing a sketch show in Cambridge at the end of last term, and then taking it out on tour to London and then to Edinburgh, and then back to Cambridge again, is obviously something of a double-edged sword. Fortunately, however, very rarely do these actors seem bored of their old material, material which is relatively ancient when compared to that of most other Cambridge productions, which rehearse for three weeks or so and run for 5 nights.

Last term I saw roughly three quarters of these sketches. A lot of deadwood has been cut from the show, though one great sketch has been cut, one about a widow hearing the lascivious ranting of her dead pilot husband's dying words on a black box recorder. In a way, feeling deprived of this sketch is testament to how good the show is.  A surviving weirdly moreish sketch that about business efficiency expert Chad Schlesinger. Chad comes into offices and optimises the hell out of everything in sight, but not very well. Alexander Owen plays Chad with verve somewhere between the jargon-saturated Johnson from Peep Show and whoever that slimeball is who advertises ‘Cash My Gold’. Owen is great at playing these shit-eating characters: the sheer obnoxiousness and odiousness of most of his characters endears one to him, and encourages the audiences to anticipate his next sleazy creation. Elsewhere, compared to the previous incarnation last June, Ben Ashenden's acting wins the 'Most Improved' award. It's rather one-note, but is a very good note. Maybe his mannerisms are sometimes a bit close for comfort to Tim Key, but Tim Key has kind of cornered the market in anxiousness nowadays so this can be forgiven pretty easily. This group do a good line in infomercial mockery and bizarre powerpoints, and Ashenden's bird-enthusiast character, in all its twitching oddness, is almost like the flipside of Owen's Schlesinger. I'm sure he adds a lot in scriptwriting room, but Lucien Young's acting is often a bit flat: his timing is fine, but his accents are often pretty poor and his voice a bit inexpressive for some of the parts he plays.

Good for You has been on the road a long time, but occasionally lines fall flat because of the actors being sick of them. I thought I detected, for example, a look of real desperation and ennui as Owen delivered the punchline of the football team sketch. Elsewhere, a sketch about a hip young gunslinger of a math teacher lacks the crackling energy it had in its original run. This time, however, I detected the sketch's parody of the touching but pretty cheesy denouement of The History Boys, particularly in the 'heart-on-sleeve the teacher's dead but the memory and the math lives on' monologues, which was a nice and accurate touch. Ultimately, though, the road has been kind to this show: it has become slick and finely oiled, a comedic juggernaut, and if you want to see this generation of footlights really firing on all cylinders, this show is fine choice.