Ladies, blokes and non-binary folks, the future of improv is here.

It Came From Beyond The Script is a forty-ish minute long-form improvised show that themes itself around the horror B-movies of the 1950s. With a devilishly delightful cast and constant innovation, it delivers on its promise of thrills, laughs and a unique theatrical journey.

And ho boy, is this a unique improv experience.

There are two key components to the immersion that director Malcolm Morrison plunges us into; the screen and the projector. The screen is a massive white cloth that hangs centre-stage, behind which is a bright light that casts shadows against it for the audience to see. When I last reviewed ICFBTS, I was amazed and astounded by the shadow screen that was used to act out scenes of extreme violence without resorting to cheap gore or nonsensical mime. Once again, it delivers. Silhouettes are allowed to writhe and pulse, leaving much of the details up to the audience’s imaginations. Performers bring their physicality A-game and capture the vibe of the horror genre without having to be cheesy or overreactionary. It’s just such a great tool that the production needs in order to sell itself. A landmark monument around which the rest of the show is built around.

The projector, on the other hand, is the foundation on which this show is built on. Thanks to an open-sourced software developed by the director, it’s possible to project any available images onto the top of the screen. This is used for numerous reasons, all of which are fantastic. A background image of patient beds establish that the scene takes place in a hospital. The title of the movie (that hadn’t been decided until the beginning of the show) pops up, along with the name of the audience member that suggested it. An animated blood splatter paints the screen red when a character is killed. And that’s just the visual aspect. The software can bring in the sound creaking doors, meowing cats and heavy winds. The setting of the scene is established passively and convincingly, and morphs with every offer the players make to each other. The fact that Morrison has offered it up for free leaves any improvisor with little excuse not to at least experiment with it. ICFBTS has set a new standard for production value. This is the future of improv.

It’s wild that I’ve barely touched upon the phenomenally talented performers on display tonight. Each one has come in with a love for the genre but never lets it get in the way of their strengths.

Dianne Pulham proves once again that she’s got some of the best acting chops in Wellington with a character that displays both heartwrenching emotions and impeccable comedic physicality. Megan Connolly is the true hero, both as the protagonist of the story and as a support player who sets up the funniest scenarios for their players and doesn’t take nearly enough credit when they knock it out of the park.

Jed Davies goes on a classic run of witty rapport with his co-stars as the antagonist of the plot. He belts out one-liner after one-liner, some context-driven, some educational, all hilarious. My favourite pairing is himself with Sam Irwin, playing an intern who is tragically taken out of the plot way too soon. His strong commitment to his character is so convincing and had me begging for him to return, but alas, such is the nature of the horror genre.

CB Brooks is an absolute delight with the screen, transforming from a sweet old lady to a terrifying, squirming beast in seconds. Their physicality is biting, scary and fluid, producing searing imagery in the shadows they create. Tristram Domican continues his track of chaotic neutral madness that somehow both propels him to absurd heights and steers him into grounded, emotional character scenes.

Rounding out the on-stage cast is Lia Kelly who razzles and dazzles with her keyboard skills. She is just so good at complementing the actors’ timing and punctuates every gasp with a striking chord that brings the chills. Beyond the stage in the lighting booth is the luminary, D’ Woods who improvises just as much as the actors with their perfectly suited colour palettes that wash over the stage and set the mood. Malcolm Morrison, of course, is switching out images and sounds on the fly, completing the immersive experience he strives to create.

There hasn’t yet been quite a show like It Came From Beyond The Script, although in future, I’ll be disappointed if there aren’t. Morrison curates a diabolical vibe that must be experienced first hand to be understood. The combination of the immersive backgrounds, the reactive music and sounds, the spooky shadows and the acting talent all contribute to something magical, something that redefines the conventions of improv. I urge anyone with a penchant for improv, horror, old movies or any type of theatre to bear witness to these spooks.

Unless you’re a chicken, of course.

_{It Came From Beyond The Script is running from 19th March 2024 to 23rd March 2024. Tickets on sale from the BATS website.}

Disclosure: As a somewhat active member of the Wellington performing arts community, I am quite familiar with some of the performers in this show.
Having said that, I am not a liar, and there is zero bias in my reviews, shut up.

Also, tickets were provided to me for free by the production. Literally changes nothing, though.