It is axiomatic to say that comedy is probably the most difficult area to review, and sketch comedy particularly so.
The obvious point has to be made that humour is essentially subjective. Whilst some members of an audience can be in fits of laughter at one particular pastiche or vignette, others may sit in bewildered or stony silence. Age can also be a determining factor in the enjoyment of a particular humorous skit. Cultural reference points and the recognition and appreciation of social norms and boundaries also change over time. Does one’s sense of humour develop, mature or simply modify with the passage of time, and how does a sketch show format seek to cover so many contrasts and variations?
The Knocked Conscious comedy team have a lot to deal with then, and many challenges and expectations to meet. Confidence is a crucial asset to possess in this context; an assurance not only in the strength and variety of the material and the ability to put it across effectively, but also a confidence that the audience will respond to the work and engage with the performance.
Many sketch groups have a very short lifespan, so for Knocked Conscious to return to a full and appreciative house at Waterloo East Theatre, after a successful run last year in London, shows that they have something about them, a longevity relatively rare in this particular field.
The Knocked Conscious show delivers 75 minutes of tightly packed sketches, pastiches and parodies of life in the 21st century. There is no centring around any specific theme or definitive strand of observation.
The four strong team, Henrie Allen, Gayaneh Lara, Calum Maclean, and Mungo Russell, who, in true sketch show style, write and perform all of the material in the show, are all personable, engaging actors, with excellent non-verbal communication skills, cleverly utilising gestures and expressions to wring every last drop of humour from the set-ups.
In such a show, high-energy ensemble playing is critical to its success. Here, there is much to praise. The group were clearly comfortable with each other and trusted themselves to work together to deliver the fast-paced skits. Transitions were smooth and the action flowed well throughout.
A particular word of praise also for the sound, which throughout the show cleverly underpinned a key point from the previous sketch, whilst the team set up the next one.
There were also attempts to try something different from the norm in the overall structure of the piece. A number of themes reappeared in different guises, as the joke was taken a step further each time; in particular, an amusing re-evaluation of a diminishing Barber Shop Quartet worked well, as did the occasional flashback to the backstage area, where we glimpsed the performers shedding their comedic characterisations.
There was also a smidgeon of (safe and harmless) audience participation, and these worked especially well, notably the Frank Sinatra duet, and the involvement of a front row member becoming a murder suspect dressed as Wally, from the “Where’s Wally” series of books.
The Knocked Conscious team also deserve credit for attempting to widen their coverage of topics and themes to appeal to as broad a base as possible. This was, to a certain extent. also reflected in the composition of the audience, who covered a relatively wide range of ages. No part of the 75 minutes felt as if it was targeted at a specific age or socio-economic group. The comedic net was cast widely and inclusively.
Yet this strength also contains the seeds of a fundamental weakness of the production. It is a given that, in a show such as this, subjectivity will be a challenge. Whilst some scenarios depicted jokes and situations that resonated widely, others felt a little flat and failed to connect with the audience. This is, of course, to be expected in such a genre, where such disconnection may occur as a result of the need for a shared contextual understanding that not all punters will have.
Knocked Conscious are aware of this, and try to cover as broad a base, with as many recognisable subjects and targets, as possible. The result of this all-inclusive, broad-spectrum, safe approach is that there is a tendency for an anodyne blandness to drift in, with an emphasis (possibly unconsciously) on operating at the widest possible level and appeal to everyone. The whole piece lacked the bite and edginess (one might almost have called it a pre-watershed show), which would have raised the power of the punchlines and pay-offs of certain sketches.
There is also an argument that less may be more here. We are treated to a fast-paced, high number of sketches, some of which felt a little rushed in their conclusions, as we raced onto the next scenario, the next setting. A few ideas would have benefited from a little longer exposition and clarity, the morgue skit being one example.
That being said, the Knocked Conscious team have good comic timing and are skilled actors. They are to be congratulated on the work put into developing and delivering a tight, inventive and inclusive 75-minute sketch show that never dragged or palled, and where there was always something new to enjoy.
So, a comedic curate’s egg, with a number of quiet smiles generated, if not laugh-out-loud moments. Whilst there are improvements to be made, the raw material to work on is, for this type of show, durable and strong.
Review by Johnny Oxford
The sound of your alarm on the last day of school; clapping the pilot before take off; getting blown out by your birthday candles; this is Knocked Conscious.
Knocked Conscious’ newest show exemplifies the troupe’s trademark blend of clever writing and sharp character work. Expect fast-paced sketches, and more than a few surprises.
Featuring Henrie Allen, Gayaneh Lara, Calum MacLean and Mungo Russell.
KNOCKED CONSCIOUS: A SKETCH COMEDY SHOW
Waterloo East Theatre
3 to 6 December 2025
