This wonderful. No wonder it was published!
Trying to find something to quibble with, though, since that seems to be the idea, I point to L4, which may (however unfairly) be accused of being tetrameter. The line sounds right to me, perhaps because "Two couples" asks to be pronounced with two initial stressed syllables so the line can be considered pentameter on a purely accentual basis.
Another thing to think about, though I feel all the decisions have been made correctly as the poem now stands, is whether or not some of the rhyming lines might be better if they switched places (i.e., L2 becomes L4 and L4 becomes L2). Is there any kind of thematic progression in the comically summarized plots? It might add interest if there were. For example, if we started with tragedy plots and moved to comedy plots by the couplet, or vice versa. If the reader gets a sense that some of the lines might be interchangeable, like a modular sonnet, it may reflect poorly on the poem. Better that each line should seem to belong exactly where it is and nowhere else.
My favorite is L12, which pulls off its understatement with brilliance.
I see no awkward enjambments whatsoever.
(This is a wonderful poem I'd give anything to have written).
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