Skits n’ Giggles, Vol.5
Presented by Covert Theatre
Buckle up for another rapid-fire ride through the absurd, the clever, and the downright hilarious - Skits & Giggles: Volume Five is here, and the troupe that's fast becoming a local institution is back with an all-new lineup of completely original sketch comedy chaos.
Skits n’ Giggles, Vol.5 opens like the cast collectively lost a bet, sprinted onstage at full speed, and decided the only way to survive the night was to unleash as many sketches as humanly possible before gravity or common sense could catch up. It is fast, silly, tightly structured, and proudly chaotic, leaning into the joy of sketch comedy without pretending to be anything else. Eight performers rotate through dozens of characters, scenes, and tonal shifts, creating a night that feels like a live‑wire mashup of absurdity, satire, and pure theatrical play. It is the kind of show where you never quite know what the next sketch will be, only that it will arrive quickly, hit hard, and vanish before you have time to overthink it.
The cast is a well‑balanced ensemble. Karl Fleet, Elle Belle, Ashley Wurzburger, Nathan McIntosh, Mike Witt, Nicole M Jones, Sarah Jeffery, and Roger Smith move through the show with a rhythm that feels practised but not rigid. They swap roles, costumes, and energies with ease, creating a sense of constant motion. The writers, Samuel Holmes and Guillaume Arnoulet, clearly understand how to build sketches that suit a rotating cast, and the tech team keeps everything moving with sharp cues and quick transitions. It is a polished production, but one that still feels loose enough to allow for spontaneity.
The first half is a rapid‑fire barrage of short sketches. It is quick, punchy, and full of ideas. The pacing is relentless in the best way, keeping the audience in a state of anticipation. One moment you are watching a Google navigation system voiced by a certain orange president, the next you are thrown into a zombie job security seminar, followed by a comparison of Disney princess happily‑ever‑afters, Australian breakdancing moves, sleepwear habits, or an unexpected superhero reveal. The variety is enormous, and the show never lingers too long on any single premise. Even the smallest throwaway joke gets its moment before the troupe barrels into the next bit.
The second half slows down noticeably. The sketches become longer, more narrative, and more character‑driven. From a logistical standpoint, it makes sense. Longer scenes require fewer costume changes and less backstage chaos. But the shift in pacing means the audience spends more time sitting with each premise, which can be risky. If a particular sketch does not land for someone, that lull becomes the part of the night they remember. It is a pity, because the first half is so consistently strong, bursting with creativity and absurdity, even ending with a mic’d‑up vampire love song before the intermission.
Still, the slower pacing does not mean weaker writing. The news and detective segments are standouts, offering quickfire jokes about recent events with a sharp satirical edge alongside critical breakdowns of outfits from the White Lotus show. The troupe excels at topical humour, and these segments give them a chance to flex that muscle without overstaying their welcome. Potentially the most tightly written pieces of the night.
The props and costumes add a surprising amount of texture. Blood‑covered shirts for zombie scenes, princess dresses, superhero outfits, and small visual gags help differentiate each sketch. The cast could easily do without them, but helps reduce the mental labour for the audience. The set design is intentionally simple, allowing for fast transitions and giving the performers space to move. The occasional use of the audience as part of the scene adds an immersive element, breaking the barrier between stage and seating in a way that feels playful rather than intrusive.
The cast each brings something distinct. Nathan McIntosh uses his physicality to great effect, committing fully to serious roles that become funnier the more earnest he plays them. Nicole M Jones is the wild card, diving into absurd characters with a kind of fearless abandon that energises the room. Elle Belle is the every‑person, disappearing into roles with ease and grounding the more chaotic sketches. Roger Smith is the quiet backbone of the ensemble, often supporting rather than leading, but always present in a way that strengthens the group dynamic. Mike Witt shows impressive range, shifting from cantankerous community member to straight‑faced newscaster without missing a beat. Ashley Wurzburger brings youthful exuberance, especially in sketches involving misused AI, where her timing and enthusiasm elevate the material.
The writing is clever in how it balances repetition with freshness. Good jokes return in new contexts, creating running gags that feel earned rather than recycled. The sketches linger just long enough for the audience to understand the premise, enjoy the joke, and move on. The show never overplays its hand. Even the longer scenes in the second half maintain a sense of structure, building toward punchlines without dragging.
One of the strengths of Skits n’ Giggles, Vol.5 is its willingness to embrace absurdity without losing clarity. The troupe knows how to set up a premise quickly, deliver the joke cleanly, and exit before the sketch becomes stale. The humour ranges from silly to satirical, from physical comedy to wordplay, from character‑driven scenes to pure nonsense. There is genuinely something for everyone, and even if a particular sketch does not land, the next one arrives quickly enough to reset the energy.
The show also benefits from its attention to detail. The props master, Matt Eden, ensures each sketch has the right visual cues. The tech design by Samuel Holmes and Raishel Wasserman keeps transitions smooth and lighting sharp. Wade Jackson’s artistic direction gives the show a cohesive identity, even with its wide variety of tones. Keir Robertson’s tech direction ensures the pacing stays tight, especially in the first half where timing is everything.
Skits n’ Giggles, Vol.5 succeeds because it understands what sketch comedy should be. It is fast, varied, and unapologetically ridiculous. It does not try to be profound, but it does try to be too clever. It does not chase shock value, but it does chase laughter. It is a show built on rhythm, teamwork, and a willingness to lean into the absurd. The troupe has become a local institution for a reason. They know how to entertain, how to surprise, and how to keep the audience engaged from start to finish.
An energetic, funny, and thoroughly enjoyable night.
Performances run until 19 September 2026 at Auckland’s Covert Theatre. Purchase tickets here
Review written by Alex Moulton
