Pure improvisation is a difficult craft to master. By its very nature, it’s a skill which is constantly being refined and developed to no end.  Almost everyone, not just trained actors, has experienced that moment of terror where you are forced to trust your instincts and follow through on an idea which has had mere seconds to develop. Whether it is improvising an excuse to get out of a tricky social situation or the amateur theatre sports often engaged by high school or university students, the rush of adrenaline upon getting it right can be pretty incredible – however, it can also go terribly wrong, resulting in many an awkward silence.

With all this in mind, I congratulate the cast of Word/Play for taking a bold risk in facilitating an entirely improvised show. The gamble has definitely paid off with the result being a truly original and entertaining show. While some Fringe shows suffer from under-rehearsed performances and a lack of preparation, the format of Word/Play requires neither and thus relies on the strong improvisational and expressive skills of a talented group of actors.

The idea behind Word/Play is quite simple.A different local writer reads selected passages from their work during each show; the actors then use their creative license to interpret themes, ideas or narratives from each passage and improvise short scenes. The interpretations range from literal to vague or symbolic. Two notable examples from the evening I attended were high school peers meeting by chance years after graduating and throwing back-handed compliments at one another in a witty dialogue, and a group of sperm giving each other motivational talks about going into “battle” to reach the elusive egg.

While it was evident that it took the performers a little while to ‘warm up’ and sharpen their skills, the calibre of performances developed as the show progressed. Some actors also possessed better chemistry with certain other actors rather than the entire cast, with the occasional joke falling flat. However, these occurrences were a small penance to pay in order to witness the raw and unbridled creativity which perpetuates this performance of an innovative concept which ensures that each evening’s show is entirely unique.

Word/Play runs until 13 October in the Ballroom at Revolt Melbourne. Tickets are $23 full price and $18 concession.

Dr Professor Neal Portenza invites you to be a guest at his birthday party where you control what happens next in this novel style of interactive comedy, inspired by the classic Choose Your Own Adventure novels. Each audience member is endowed with a party hat, Walkman and a remote control which allows you to vote in preference of particular plot details such as which “celebrity” guests will also make an appearance at his party.

The strength of this show is in its pure comedic absurdity. From the first moment Dr Professor Neal Portenza arrives on stage in the eclectic ensemble of surgical scrubs, a red beret and make-up resembling a drag queen, the audience is given the sense that this is not your typical sketch comedy show. What the show lacks in structure or coherent narrative – or even a script (as Portenza admits himself) – it makes for in spontaneous creativity. A talented improviser, Portenza swiftly adapts the show to suit the audience’s preferences.  _­

With frequent bordering on obsessive references to Sale of the Century host Glenn Ridge, an array of ridiculous props and a cast of equally strange characters all played by Portenza, the audience are left in a perpetual state of flux about what will happen next. It this heightened anticipation which drives the show.

This show is not for the faint-hearted or introverted as it does involve a high level of audience interaction and participation in a rather small space. Portenza does not confine himself to the stage and wanders and dances about the crowd humorously assaulting and insulting audience members without mercy. But it is also this element which ensures no two performances are ever the same.

Comedian Joshua Ladgrove has crafted a charismatic character in bizarre man-child Dr Professor Neal Portenza which he commits to one hundred per cent. While Portenza’s unique brand of absurdist humour may not be to everyone’s taste, it provides many side-splittingly funny moments for those with an open mind.

Choose Your Own Portenza runs until 4 October at the Tuxedo Cat. Tickets are $20 full-price and $18 concession (group tickets are $15 per person for 4 people and Tuesday sessions are also $15).

Play Actually is a peculiar but vastly entertaining narrative which parodies the many forms of modern romance, ranging from online dating to virtual reality games. The performance is comprised of several bizarre romantic situations whose characters are interconnected, bearing a resemblance to the structure of popular romantic comedy Love Actually - however, this is where the similarities between the film and the play begin and end. The performers aim to break the clichéd romantic mould, declaring the genre to be a “non-rom-com”, a caricature of the idealised romantic fantasies with which Hollywood presents us.

Quite ironically, actors Katy Houska and Tim Monley met and fell in love while studying at the acclaimed clown college École Philippe Gaulier in France, drawn together by their mutual enjoyment of everything anti-romance. Thus, they set about creating a play which they could travel the world with.

Houska and Monley are both highly skilled and expressive performers. Houska deftly shifts from neurotic youth “Susie”, cyber avatar “Trinity” and transgender cyber-avatar “Trinity 2” with ease. Monley simultaneously engages the audience’s sympathy as a depressed children’s entertainer and repulses them as a sleazy “peacocking” player in a bar. Their collective fervent energy and enthusiasm is to be admired as the characters search for love in the cyber-sphere and consult humorous dating manuals with rules such as “don’t show your ‘crazy’ on a first date” to help them awkwardly navigate the wily world of love.

The informal tone of the performance is set from the opening scene, when Houska rambles about the play and its “hopening” night whilst Monley does a costume change and prepares the set, and the laid-back feeling continues as they congratulate each other on completing each scene and speak about plot changes while on stage preparing for the next scene. While this banter was well-executed and amusing to begin with, as it increases during the performance it becomes wearing and detracts from what was otherwise a witty script and inventive concept. However, considering I did attend the “hopening” night, a longer run may tighten up the performance.

Overall, Play Actually is a clever satirical examination of modern dating practices and expectations of love. There are definitely some decent laughs within this unconventional performance, especially for those who might recognise a small something of themselves or someone they know in these self-conscious, lampooned characters.

Play Actually runs until 13 October at The Old Council Chambers at Trades Hall. Tickets are $23 full-price and $18 concession (Tuesday sessions $18).