The Pin

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The Pin are almost dangerously slick. Words like "immaculate" and phrases like "directed to perfection" are bandied about far too much these days but, in their case, it's the only way to describe them. 

Scene changes are conducted with almost mesmerising precision and while many a trio have attempted some sort of ambitious narrative structure, most have either failed or, at best, sort of succeeded. The Pin's debut hour runs backwards; each sketch ending where the previous began, starting with an unexplained shoot-out and working backwards. Ben Ashenden, Mark Fiddaman and Alex Owen "rewind" proceedings with the sort of physicality normally spotted in, yknow, physical theatre, while the sketches and skits themselves are equally flawless.

It's not that there's anything wrong with the writing—it's excellent in places—but some sketches hit and some miss. A nicely executed dig at the crudity of Shakespearian Fools and an unashamedy silly restaurant sequence are highlights, while a sketch involving buying a stereo reverts to the lazy straight-man-weird-man formula done to death by every other sketch troupe going. Similarly, the performances vary despite them all having their moments – Ashendon steals it with an impressive versatility, subtly and perfect comic timing, Fiddaman has some great moments but is a little more one-note, and Owen in comparison to the others feels far too reliant on volume as opposed to skill.  

Overall, though, this is an impressively executed, promising debut from the trio; it'll be interesting to see what they come up with next year.