Writing comedy is not an easy feat, as this play’s protagonist, Adam, will testify. It is something that either works or doesn't. The Penguin Play largely achieves its comic aim yet retains some imperfections.

Adam (Ed Sheridan) is a man with problems: he’s behind with journalistic deadlines, stuck for creative inspiration for his dream comedy show and his marriage has hit a rocky patch, prompting him to stumble into an affair. Into this domestic turmoil waddles a penguin (Annie Hardy) who just won’t leave him alone. Naturally, Adam decides to use his new companion as a creative source, little realising the difficulties bound to ensue.

While some of the opening scenes lack sparkle, the majority of the slapstick comedy is amusing and well-timed. Although the necessary energy and chemistry between the actors is sometimes absent, in the case of the relationship between Adam and his fed-up wife Connie (Caroline Robertson), this void creates an effective awkwardness. Since most of the comedy derives from the action sequences and one-liners this does not inhibit the show’s main aims.

The performance that most hits the mark is Chris Royds as Anthony, the ogre-like producer of Adam’s prospective TV show; a brilliant blend of sneering mysognism and thick-skulled idiocy. His monstrous presence enlivens the second act considerably. The rest of the cast are certainly more interesting and well-rounded characters than the stereotypical sketch-show or slapstick fare. Connie, in particular, stands out as a credible mixture of tired patience and frustration at a relationship inexplicably going wrong.

Never let it be said that the plot is entirely original – scriptwriters, disastrous relationships and disruptive visitors are hardly new comedic ground. But thankfully, The Penguin Play does not conform to excruciating stereotypes usually found in such works: the ending in particular holds only shaky optimism, without giving up definite answers as to whether Adam and Connie’s marriage might survive. Credit should be given to David K. Barnes, one of Edinburgh University Theatre Company's own, for tackling and interpreting common ground in a way that provokes genuine laughter, and for crafting a plot that isn’t a series of signposts.