Experiencing the ebullience and supercharged energy of the show live, it is hard to imagine how this has ever been contained on the small screen of suburban telly. Its impact is enhanced by striking visual contrast with the ornate Edwardian surroundings of the refurbished Isaac Theatre Royal and together with the huge popularity of the star, delivers a resounding success for this final show of Noel Fielding’s tour. 

Noel Fielding is a charmer. The local patter served up for starters – including flag references and pronunciation prods – is a gentle blend of tease and insight. We probably pass the test of weirdness he imposes because, in such company, we readily leave the mean and humdrum where they belong: somewhere else, far away…

Soon we are effortlessly tuned in to the world of a tea bag, one of the herbal gang, though sadly without an aroma to seal his destiny. In black and white type this would seem to be ‘so what’ territory. Following the prowling comedian on stage though, we encounter an hilarious and absorbing vignette.

However, the business which really marks this enterprise, apart from the charisma of its star comedian, is the interactive animation (Nigel Coan and Ivana Zom) provided by creations such as Moon and later, the plasticine world. Moon is a grainy white globe, often bland and blank, hanging over the show, but at other times it presents either a “wise and luminous” persona, (his own words) or revolves to the dark – the very dark – side. 

The plasticine world is introduced through a bed time story, animated within a screen and reached by a cheerful door leading to an array of perky figures. These include Minotaur and Reverse Minotaur as well as Bowie (David). All bring roars of delight from fans who anticipate their abilities. 

Other familiars are welcomed similarly: Wife and Triangle (these two enjoying a surreal affair) and Hawk Man, Understudy Antonio Banderas, Fantasy Man aka Tron Quixote … No wonder the evening feels jet propelled, riding on wave after wave of delicious absurdity spiced with sexy surrealism. 

Audience participation reaches its height in the second half, when the quest to find Noel begins. He has been kidnapped during the interval and we are all up for interrogation by Sergeant Raymond Boombox, New York Cop. The comedian has, in fact, been transported into the plastic dimension of the screen and it takes a sturdy volunteer to help rescue him. Here, as everywhere, the contribution of costume and props team (Nicky Burford and Lisa Good), triggers much mirth. 

It’s a wild ride we go on: one foot in reality, one in fantasy. That combination and the wicked talent of the cast – Noel Fielding, Tom Meeten and Michael Fielding – provides an evening to relish.

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