Originally published - 15/06/2025 by What's Worth Seeing

Originally published 30/04/2025 North West End UK

Wing It Impro and their ensemble team improvise ‘Taxi Tales’, conceived and directed by Mark Smith, inspired by Raymond Carver’s short stories, and Robert Altman’s movie ‘Short Cuts’.  We have all been in the back of a taxi on a night out and discussed all manner of things, or even forgotten where we are staying, and the driver drives around until you can remember (that is one of my memories from back in the day!). The team at Wing It Impro have this improvised show off to a fine art, as they examine the premise that anyone can climb into your cab, at any point of their life with their own tale to tell – ‘One Night On The Town’.

Simple staging of chairs with the improvisers facing towards the back of the stage waiting for their turn to either drive the cab or to be a passenger.  First up is Car 57, and we learn from the driver that he is having a bit of a problem with one of his eyes, so he can only take right turns…! This driver is very slow on the uptake, confusing his passengers with misunderstandings. But it is very funny, and this initial cab driver sets the standard for the others, and they do not disappoint. 

The taxi controller acts as a goader, calling the scenes with the suggestion of who the passenger is, why they are calling a cab, and which cab is going out, when the cab number changes a new improviser steps in which prevents the cycle from becoming stale. There are lots of references to local places which works well, as the local audience will understand the humour. There is also a story that develops between two cab drivers who do not realise that they have been working on opposite shifts for years and share the same child who is now thirty years old and getting married! 

In devising a storyline that surprisingly connects through until the end, they keep the audience invested in continuing to follow the narrative, even though it is haphazardly weaved into the individual cab rides, the surprising extra details hold their attention, in between the laughter, of course!


The show is imaginative and fun to watch.  The spontaneity means that it keeps the audience guessing, which can only be a good thing in improvised performance.



Reviewer: Caroline Worswick
Reviewed: 26th April 2025
North West End UK Rating: ★★★★

First published on the 18/04/2025 by Merseyside Live 

The Story Forge is one of the funniest, daftest and most unique family-friendly shows around. With the perfect mix of scripted and improvised jokes, it’s a play that’s different and fresh every time.

The show follows two mad professors (Lee Hithersay as Professor Doctor and Robert Rhys Bond as Doctor Professor) who forge three new myths using the unhinged minds of their audience and a load of inventive cardboard props. With bucketfuls of entertainment for kids and parents alike, it is non-stop silliness from start to end that will have you reeling.

The perfect comedic timing and joyous crowd work, combined with live music and absurd tales, it’s like nothing you have ever seen before.

The show at The Atkinson in Southport on April 17 started off with a short origin of the seaside town.

The professors asked a young girl in the audience where she lived, her surname, street address, and the three digits on the back of mummy’s credit card, which garnered a laugh from the adults.

With this information they came up with a mad poet who founded Southport from the melted Ice caps of the South Pole.

Act 2 really ramped things up with an improvised section created using random items in audience member’s bags.

The two professors ran up and down the auditorium steps seeking a mystical object to fit their new myth, and when they happened upon a soft leopard print tail from a young girl in the front row, the story began.

This led to a comedic battle with young boys from the audience as lions fighting a half-fish and half-goat servant of the Goddess Artemis.

The final act followed the story of a hero selected from the crowd of jumping and excited children ready to be a part of the next myth.

A young boy named Hans was chosen and he ran up onto the stage, where he was fashioned with a cardboard shield, sword, and Viking helmet.The boy conquered Surtr, God of the underworld, using a tape measure gifted from Odin, extending it and poking the fiery Titan in the eye. To which Doctor Professor said: “Do you do kitchens?”, receiving a laugh from parents.
The show ended with a rendition of Bonnie Tyler’s “Holding out for a Hero”, with lines such as: “I need a hero, he’s the star of the show and we’re not going to pay him at all.”

The mad professors, played by Lee from Rubbish Shakespeare Company and Robert from the Silly History Boys, have been working together for over 15 years.

Lee and Rob have collaborated on many occasions, before making their own separate theatre companies, starting out in an adult sketch comedy called Legion of Doom (with a brand-new Best of Sketch show coming up on May 17).

Lee said: “We developed this kind of style of performing where the children in the audience become characters within the show, its fun, its interactive, you never know what they’re going to do. And audiences seemed to respond to that, so we thought why not put it on a national tour.

“Our intention was to bring new and original storytelling to families and children and foster a love for things that are new and aren’t rehashed franchises or sequels.

“The kids will enjoy the silliness, the daftness, and the falling over, where the adults get some quite unexpected jokes in there that really make them howl.”

He added: “When we get the last child up on stage for the final act, it is their story, but we always try our best to engineer it in a way that leaves a positive message for the audience to take away.”

On the mythical theme of the show, Lee said: “I’ve always liked myths and legends since I was a child…and it just seemed like an obvious choice really. “Myths are great because you can do what you want with them; they’ve always been reinterpreted for modern audiences and it’s nice to do that with these tales. And with the show you have built-in characters to work with that the audience know and understand.”

Lee has done a lot of ‘clowning’ in London and other shows with the Rubbish Shakespeare Company over the years and said that the production lends itself more to a “clown show” as it is completely dictated by the audience. As he put it: “It’s choose your own adventure storytelling.” Lee said: “We want to unleash some of the artistic potentials of the young audience members who get up on stage with us because they are the heroes in the tale.
“And we’ve had some absolutely fantastic young performers who probably didn’t think that morning that they’d be getting up on stage, but they produce a brilliant performance, and it’s a joy to see every time. “But more than anything we just want the audience to take away the fun, spontaneity, and joy of live theatre and to carry on going to these kinds of theatrical productions, so we can keep them alive.”
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The Story Forge: Make Your Own Myth will be on tour across the UK until October 2025.

First published on 15/04/2022 by Yorkshire Times 

There’s an old theatrical adage ‘never work with children or animals’ but someone doesn’t seem to have reminded the Rubbish Shakespeare Company and Silly History Boys of this as they took to the stage to perform in a theatre full of young people and grown-ups. What ensued was just over an hour of madcap fun for all ages.

Professor Doctor Lee Hithersay and Doctor Robert Rhys Bond took to the stage as their own warm up act chatting with the audience, getting to know a little about them and showing just what a pair of silly men they were. The stage was littered with numerous cardboard props ready for a bout of myth making (swords, shields, helmets, spears etc.) as the third and final member of the company made his appearance. Dan the guitar man with a dour expression came and sat ready to play the music and make up the songs required of a true myth.

After discussing the origin of myths and legends with the audience the intrepid duo of Hithersay and Bond, with the help of audience suggestions, improvised the myth of how Cross Gates came to be named with bucket loads of clowning around and a lot of inventiveness before Dan brought the whole thing together with a final song.

Lee and Robert next moved onto mythological items and after listening to the young audience explain the name and origin of Thor’s hammer (I didn’t know it was called Mjolnir, but a young girl did!), a number of items were taken from the audience (hair band, shoe, pot of jam etc.) before as an audience we decided we wanted to hear the myth of the origin of the Croc sandal. Leading us to enter Hade’s lair and meet a recently deceased Geography teacher.

The final myth was to be about the special powers of mythological beings and was once again decided from ideas from the audience who wanted to know the tale of the Silent Giraffe who had a special power of shade (cue taking a sun hat from an audience member) and who had a weakness for sweets and an arch enemy of the venomous crab snake. Here the audience really got involved with five of our younger members taking the stage keeping Lee and Robert on their toes.

​After an all too brief hour the madcap fun and hilarity was over, and what had we learnt, other than the origin of Cross Gates, Crocs, and the Silent Giraffe? For one it is possible for two incredibly talented performers to not only perform with children but also to improvise at a level that entertains and engages young people. It was storytelling but also a perfect introduction to theatre for youngsters. As Artistic Director Lee Hithersay says ‘Sharing the stage with amazing children is incredible, they light up and come alive. It is one of the most fun and rewarding shows I have ever been part of, the kids steal the show every time, and we wouldn’t want it any other way’

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First published on 10/044/2025 by Theatre & Tonic

As I sat down in the Barber studio at Leeds Playhouse with my 9 year old nephew James, we had no idea what to expect, but it turns out, neither did the company.
The Rubbish Shakespeare Company’s performance of The Story Forge: Make Your Own Myth was a magical journey through time, rocketing us through real myths and legends like Thor: God of Thunder, Ares: God of War, and…Hester: Queen of Chants? 
If you’re not familiar with that last one, it’s because it was just for us and our audience. The British Museum Professors Lee Hithersay and Robert Rhys Bond are there to help us create 3 brand new myths. All generated from the minds, pockets and people of the audience. 
What followed was a quest of mythical proportions, with both cast (and of course beautiful music from Dan) using what we intrepid audience members and I have to say, it was brilliant. Hilarious throughout, not only for the kids who were entranced, but also the adults were laughing in a way that is rare for kids’ shows. It wasn’t an innuendo, it was real jokes for the adults that the kids wouldn’t get. Who knew a Las Ketchup reference would be hilarious in 2025?
Having to manage an army of real kids wanting to be involved in all of it, I think they did brilliantly in including everyone and it felt like an experience tailored just to us, which is the real magic of course. 
When we left I asked my nephew James what he thought, and he said “I want to see that again” which I can tell you is the highest compliment he could give. 
This truly is the perfect show to go to as a family, educational but also as far from boring as you can be. Go and see what myths you can be a part of, and who knows, maybe you will become the hero yourself? 
On a UK tour until 11 October 2025, find further information on The Rubbish Shakespeare Company website.
★★★★★

First published on 09/04/2025 on The Reviews Hub 

First published 05/04/2025 by North West End 

Creative, fun and delightfully unique. If you are looking for a family fun show to suit all ages and really get yourself immersed into a show then look no further, the Rubbish Shakespeare Company has you covered with their hilarious and eccentric performance ‘The Story Forge; Make your own Myth. As the title suggests, you the audience are involved in the creativity of what you see in front of you.

Every person in the theatre was engaged, laughing and left with a smile. Two very talented actors with fantastic improvisation skills, comedy and physical theatre will immerse you, and especially those children in the audience in an engrossingly lively story using information, props and input from the audience. The show could go in any direction and trust me it does, this certainly isn’t a show with a predictable outcome.

Backed beautifully by music played by Danny Bradley to set the mood but also provide an entertaining contrast to the two main characters of Professor Robert Rhys Bond and Doctor Lee Hithersay. Sound and lighting really set the scene with the actors themselves creating some sound effects, which were wonderful additions to the music played by Danny but also lifted the stories and made them more realistic.

The staging is perfectly busy and loaded with a variety of props which has you as the audience waiting to see the creative ways which all the items will be brought to life.

Within moments of leaving the theatre I had recommended this show and company to my friends, especially those with children. This is also good for children and adults with SEND as it’s a very inclusive show and due to their high energy and audience participation, means everyone can be involved and enjoy the experience.

People were also invited to take photographs and use the props on stage after the performance which again is amazing to really bring theatre and imagination to life. This is a wonderful way to get children into theatre.

A small but very talented cast, staging and overall, one of a kind theatrical experience.

Thank you for a wonderful morning.
​
Check out more of their shows and upcoming projects on:
www.rubbishshakespearecompany.com/  
Reviewer: Stephanie Wiswall
Reviewed: 5th April 2025
North West End UK Rating:
⭐⭐⭐⭐⭐

Liverpool boasts a vibrant and growing improv scene, with national, regional, and local companies performing year-round in various venues across the city and region.
Numerous classes and drop-in sessions are available, offering opportunities to work with improvisers at various level of experience, find inspiration, and refine your skills. There is even an annual improvisation festival hosted by the Unity theatre – more of that later in the article.

Okay, so let's say you've taken a few improv classes, and you're completely hooked. You're eager to take the stage and perform in front of a live audience. What's the next step?
First up, connect with the local improv scene. Start by following local and regional companies on social media. This will give you a good sense of what they're up to and where it is taking place.

Next, take the plunge and go and watch some live improv. Attend shows and chat with members of the cast and audience. If you've been following companies online, you'll have a good starting point for conversation.

Most improvisers love talking shop. Ask about their upcoming plans, if they're looking for new members, or if they know of other groups who are. If you're feeling nervous, bring a friend for support.

Don’t be disappointed if you come away with no solid leads. The major point is you made some connections and immersed yourself in the community. This is important, because folk will remember you and they are more likely to recommend or let you know if opportunities arise.

Finding the Right Improv Group:

• Consider your goals: Improv groups serve various purposes: social interaction, fun, skill development, and professional gigging. Each has its unique value, but they differ significantly in terms of time commitment and financial costs.
• Factor in logistics: Consider the time and expense involved in traveling to and from rehearsals. Regular rehearsals can incur transportation costs that may add up over time.
• Build strong relationships: Developing strong on-stage and off-stage relationships takes time. Persist through initial challenges but be mindful of your own well-being.
• Recognise when it's time to move on: If an improv group is no longer fulfilling your needs, despite your efforts to address your concerns, it's crucial to recognise when it's time to leave.
  • Polite departure: Explain your reasons for leaving politely and respectfully.
  • Maintain positive relationships: Avoid burning bridges, as you may encounter these individuals again within the improv community.
• Prioritise your own needs: Ultimately, your own well-being and fulfilment should be the primary considerations.

 
Improv offers a wide spectrum of formats, each with its own distinct flavour. While I have my own preferred styles for watching and performing, I recognise and value the vibrant tapestry of the improv landscape. Don't limit yourself to a single perspective. Cultivate a broad outlook and remain open to the valuable insights that can be gained from experiencing the full spectrum of the improv community.

As mentioned earlier, Liverpool hosts an annual improv festival at the Unity Theatre. I founded the Liverpool Improvisation Festival (LiF) in 2023 and currently co-direct it with Jen Hardy.

Building on Liverpool’s proud legacy of improvisational excellence – from Ken Campbell and Improbable Theatre to Hoof! and Showstoppers – LiF brings the best of the world’s improvisation to Liverpool and the best of Liverpool to the world.
The festival showcases a diverse range of work (shows and workshops) from the local, regional, national, and international improv communities. LiF fosters a spirit of innovation and risk-taking. It's a platform for performers, teachers, and creators of all levels to connect, learn, and grow.

LiF 2025 launches on February the 12th – we have an exciting programme which runs from the 24th of April – 27th of April.

As part of our ongoing commitment to working with the local and regional community we run quarterly Improv Mix up events which enables folk to gather and meet. The next event run in conjunction with the Creative Wire is on Saturday the 22nd of February at the Liverpool Arts Bar. This is a free event, but tickets must be booked in advance.
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For more information on the events mentioned check out - https://www.liverpoolimprovfestival.com/
 
 
 

Published on The Reviews Hub 04/04/2024

Mark Smith is an actor/director/producer, with a specialism in Improvisation and creator of the Liverpool Improvisation Festival which opens for its second season this month(19 – 21 April), in this blog, he looks at the importance of Improvisation within the UK theatrical landscape.

“Yes and… what about Improvisation in the UK?”
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I am writing this in a response to a question I was recently asked about improvisation in the UK. I was asked in a particularly dismissive tone – what about improvisation in the UK!? I understand the question as it can sometimes seem like there’s not much happening, especially compared to other forms of entertainment.

But perhaps the question really stems from a lack of knowledge with only a handful of significant reference points to draw upon – Austentatious, Whose Line is it Anyway and Showstoppers the Improvised Musical. Indeed, improvisation may not have the same level of mainstream recognition as other forms of entertainment. This could be due to limited exposure through traditional channels.

So, is this a case of increasing exposure for improvisation? Raise this and you can start to turn the tide and win over a whole new audience and address the sceptic. Possibly? That is one possible route, and it is great to see the likes of Austentatious selling out shows in the West End, MC Hammersmith, Showstoppers the Improvised Musical and Spontaneous Potter all of whom have or are currently undertaking national tours.

Improvisation is slowly becoming much more present in the programming of some traditional venues and long may this continue. As taxpayers, we seldom see our art form in these types of spaces. But why the shift now? I suspect that with tightening budgets and the rising production costs associated with making theatre improvisation is becoming an ideal solution. The work is readily available – I watched 15 improv shows in Edinburgh (2023) and all were excellent.

However, the reality is that improvisation in the UK is a thriving community with tens of thousands of passionate participants. These individuals dedicate significant time and effort to honing their craft through classes, performances, and workshops. Improvisation fosters a sense of liberation, builds trust and camaraderie, and provides a platform for personal growth, creativity, and making new friends. It’s an enjoyable and rewarding experience for anyone involved.

Improvisation receives very little funding from Arts Council England or equivalents in Scotland and Wales. There are of course exceptions to this such as Improbable Theatre company who are based in England. They either create or use improvisation techniques in the creation of their work. Attitudes to improvisation are slowly changing; however, I was once told by an ACE officer that ‘improvisation is simply watching a staged rehearsal’. This type of mindset still pervades, however, I would argue that the improvisation community is the perfect model to receive funding from ACE certainly in light of its revised priorities within The Lets Create strategy document. Very often improvisation is seen as the poor relation to theatre in the UK and ‘yes and’ I do have a chip on my shoulder about it.

The D.I.Y ethos is strong within the improvisation community and runs on dedicated individuals/teams who work with their community and in doing so create opportunities to share practice and work. Across the UK you will find those who love the form and volunteer their time and in most cases money to ensure that their community participates regularly. I have seen the power of this in my home city of Liverpool and beyond. The pandemic for all live art forms was devastating, however, the improvisation community took to zoom. I was able to take part in online workshops with participants and teachers from around the world, many of whom I would not ordinarily have had access to.

This is when I decided to become one of those individuals. But how and more importantly why? Well, firstly I spoke with my community and asked if a festival model would be the appropriate way to shine a light on improvisation. The answer was Yes; however, I was left with a ton of other questions. I had been a director/producer creating numerous touring work nationally and internationally with my then company Spike Theatre. So, I had some experience in managing and organising folk to create and generate new work. But why? My motivations were simple I wanted to give back to a city that has given me so much back in return. Spike utilised improvisation in the creation of new plays, we worked with the exceptionally talented teachers and improvisers John Thies and Todd Stashwick from the legendary New York improv team Burn Manhattan. They created Hoof! in 2004 and we toured this show for a decade. It seemed fitting that this would be the last show Spike would perform in 2014 at the  Unity Theatre. A sad time, but one I learnt a lot from.

There are multiple festivals which take place across the UK, these are beacons for the improvisation community. The  Edinburgh fringe / free fringe for example is awash with companies, but I am also aware that there are significant financial barriers to taking part in pay-to-play festivals. Knowing this, I collaborated with Gordon Millar, former Artistic Director of the  Unity Theatre, to create Liverpool Improvisation Festival. His first question, “why?” prompted me to reflect on my motivations. My answer was simple: a love for improvisation and a desire to give something back to my community in Liverpool. The chance to create opportunities for others and the benefit it brings in exposing folk to different types of work only strengthens and develops the scene locally. I was keen to remove the barriers that folk face in the pay-to-play model and thus there is no application cost, and all earned monies go directly back to the artist and companies. In addition, we document all work (film, photography and art) and share it freely for artists (future promotion), audiences (reminiscing and deeper engagement), and researchers (valuable insights).

We are always looking for ways to improve our festival experience for everyone involved. We actively seek feedback from audiences, artists and companies, workshop participants, and our venue partners. We value all insights and publish all feedback publicly, ensuring a transparent “you said, we did” policy. This feedback is vital in helping us meet the needs of everyone who comes to the festival. This year, we are further demonstrating our commitment to continuous improvement by working with an access consultant who will 
create an accessibility report.

The UK and Europe boast numerous fantastic improvisation festivals. LiF 2024 actively encourages artistic exploration by welcoming debut performances and fresh works, striving to offer a platform for innovative and diverse approaches to improvisation. We’ve expanded to include 13 shows (including 5 world premieres) and embrace a wide range of artistic expressions like clown, comedy, dance, drag, musical theatre, opera, storytelling, and theatre. We’re also offering four workshops led by talented instructors and are excited to introduce a film competition open to global participation.
We open LiF 2024 this month and we can’t wait to welcome the 65 improvisers, audiences and workshop participants to experience a vast array of great work in our fabulous host venues The  Unity Theatre and The Joe H Makin Drama Centre.

So, what about improvisation in the UK? In short, it’s a vibrant community flourishing and growing. While it may be younger than the scene in America, the UK improv community is emerging with unique strengths and a passionate base. With dedicated individuals like those across the UK carrying the torch, we are building a strong foundation for this art form to thrive and gain wider recognition in the future. As I discovered organising the Liverpool Improv Festival (2023), the countless hours of effort pale in comparison to the joy of seeing nearly 900 people enjoy the program I created. It was an incredibly rewarding experience that
​solidified my belief in the value of improvisation and the dedication of the community. It was one of the proudest moments of my life.