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“Let’s play marriage!” suggests Kate Eastwood Norris, one of three whooping, overgrown children who have raced into the Robert Cole Studios, charged up a flight of stairs to a sculpture-packed balcony, thundered across a platform above the audience’s heads, and slid down a firehouse pole.” OK, you go!” shouts Scot McKenzie. “Kno-yu-gogh!” shrieks Norris. Then they both go(gh). As sound effects/music guy Scott Burgess plays a smidgen of Mendelssohn on his guitar, the two exchange loving looks, kiss tenderly, and walk past each other in chilly silence. “OK, let’s play Klingon!” chortles one, and they’re off again. Knoyugogh, the inventive improvisational evening this talented trio, calling itself the Little Globe Theater, has concocted from snatches of literary scripts (“Let’s play Shakespeare” inspires Antony’s death scene from Antony and Cleopatra), is about as invigorating an actor’s exercise as has been seen hereabouts in ages. Mostly funny, but occasionally poetic (a romance between Sea and Earth contains the evocative phrase “poisoning you with each caress”) and invariably infused with a sense of play, the skits run the gamut from celebrity impersonation (McKenzie nails Christopher Walken perfectly) to slapstick. There’s a geriatric poker game where nursing-home residents play for pills (“I’ll see your Percocet and raise you a Zantac”), and a “Let’s play fear” sketch that’s a Pinteresque commentary on current events. There’s also an extended skit about two Brit explorers who are in Week 25 of a one-week expedition to study the !Kung people of the Kalahari. In unrepentantly colonial fashion, they’ve misunderstood the natives’ habit of hurling dung in their direction, have started a Christian renaming project, and are determined, in the words of their aphorism-crazed leader, to leave “no peach unpitted, no cave unspelunked” in their efforts to better the people they’re supposed to be studying. It could be said that Norris and McKenzie are showing off their Shenandoah Shakespeare Express training for much of the evening. Since they settled in D.C., the two have been among the area’s most intriguingly versatile performers, and this evening displays their talents to brightly amusing effect. Burgess, who’s won a couple of Helen Hayes Awards for sound design, and who was a one-man, multi-instrument behind-the-scenes marvel in the Folger Theater’s Othello last season, turns out to be just as much fun when he’s out front, gleefully producing jungle screeches, intergalactic explosions, and all manner of musical accompaniment, occasionally by using the gallery’s sculptures as percussive instruments. The Robert Cole Studios are a little tricky to find, in an alley behind 15th Street NW, and are tiny, with room on two levels for only about 40 seats. There won’t be many empty ones, if local audiences have any sense. —Bob Mondello