Alex Regan on the pros and cons of Arthur Smith's evening of eclectic entertainment

Arthur Smith’s House of Fun promised to provide a cavalcade of wonders full of magic, comedy, music, illustration and interpretive dance. Although it provided all these elements, such an eclectic undertaking didn’t lend itself to an audience that were expecting a live recording of BBC Radio 4’s Start the Week.

Much in the vein of Mr Smith’s Balham Bash series on Radio 4, House of Fun had a combination of five comedy acts from traditional stand-up to sketch comedy, with a musical interlude put in for good measure.

This formula has worked well for him at the Edinburgh Fringe and in London venues. But as the Grumpy Old Men star louchely stumbled on to the stage, the distinct lack of a front four rows immediately threw the comedian off-kilter.

Realising the audience were of a certain age, show compere Mr Smith said: “Most of you know me from Radio 4 and if you don’t listen to Radio 4, you will. Everybody does in the end.”

After warming up a bit, he introduced the first act.

Former Times cartoonist Jo Sandelson, venturing into stand-up, goes by the stage name Jeff the Cartoonist.

Although a successful illustrator, it was obvious he was ill at ease on the stage, although not helped by the unreceptive audience.

Attempts at impressions of Ed Miliband and the Queen were poorly received, and pointed references to the shootings at the Charlie Hebdo offices in France left the room in silence.

He only started doing stand-up in November, so it is understandable this is still a work-in-progress.

Smith then introduced 6ft 7in surrealist magician Pete Heat, whose self-deprecating style, slapstick style and audience participation was a breath of fresh air.

Female sketch double act Shirley & Shirley had younger members of the audience in stitches with their take on “rah” culture, binge drinking and gambling.

BAFTA award-winning comedian David Whitney had to tackle some heckling from the well-lubricated crowd after the interval but produced a solid set.

Musical act Buffo’s Wake (allegedly named after the death of a clown) were an ill-advised choice for such a conservative crowd. The gypsy punk six-piece played with incredible energy and showmanship, but it seemed that the audience preferred Arthur Smith’s impression of Leonard Cohen.

The final and most established act Hal Cruttenden was the best received of the night. His brilliant observations on parents feigning to be religious to get their children into good state schools chimed well with the audience.

Arthur Smith’s House of Fun was ambitious, but did not suit the location or the demographic. But exceptional performances by established comedians Hal Cruttenden and David Whitney saved the night.