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Review: Clinton Baptiste: Roller Ghoster!, Leicester Square Theatre

For some reason Peter Kay’s Phoenix Nights completely passed me by, so reading that this show is based on a character from that programme meant nothing to me.  As a result, I had no expectations other than it was a comedy! Of course every good comedy deserves a warm up act, in this instance that came from the excellent Mike Cox.  A relaxed performance with twenty minutes of non-stop laughter, the jokes mainly focused on children and schools, whilst dealing admirably (and amusingly) with those few individuals foolish enough to turn up late and struggle into a seat, or…

Summary

Rating

Good

An irreverant and deliberately old-fashioned character stand-up show. Very funny and excellent value for money.

For some reason Peter Kay’s Phoenix Nights completely passed me by, so reading that this show is based on a character from that programme meant nothing to me.  As a result, I had no expectations other than it was a comedy! Of course every good comedy deserves a warm up act, in this instance that came from the excellent Mike Cox.  A relaxed performance with twenty minutes of non-stop laughter, the jokes mainly focused on children and schools, whilst dealing admirably (and amusingly) with those few individuals foolish enough to turn up late and struggle into a seat, or (even more foolishly) answer back. It’s then a short break to visit the convenient Leicester Square Theatre bars and on to the main attraction.

Clinton Baptiste, clairvoyant, medium and psychic (Alex Lowe) enters, resplendent in flowing white robes with extended arms looking like wings which seem to get longer as he prances about the stage.  Once the ghostly white robe are removed, an equally glamourous glittery, and very 1970s, suit is revealed. There’s obviously a cult following for Clinton, with podcasts, radio shows and past tours, so while I might have missed quite a few references, the majority of the audience seemed to recognize them instantly. No matter, plenty of other jokes to enjoy. 

We hear about the character’s fans, spirit guide, life in general. There are puns, double entendres, innuendo and slightly camp general silliness. His greeting ‘Namaste. . . Shalamah. . .Shakattack’ should give you a flavour. Pretending to ‘know’ people’s names by asking them and then immediately saying the name back to them (only louder) and telling them they are correct never fails to get a laugh. Everyone is ridiculed, celebrities and audience alike. If you’e not a fan of audience participation then whatever you do avoid the first few rows. Those people that didn’t and were singled out entered into the spirit though (pun intended), probably knowing beforehand what to expect. 

It’s a plain stage with not much in the way of props, although one, the manifestation of Taruak, Clinton’s ‘Eskimo spirit guide’, is a rather strange puppet/doll affair and a bit too silly. There’s also a running joke with a stagehand/ assistant which starts to get a bit stale. Just a couple of niggles in what is otherwise a very professionally delivered old fashioned and funny comedy routine.  Much like his outfit, it’s in the style of the club comedians of the 1970s and 1980s, with similar subject matter and jokes, even ending with the obligatory terrible song.

Well performed, comical with plenty of giggles and laugh out loud moments, any fans of this type of humour should definitely try to get tickets  – although the Leicester Square shows are already sold out.  Of course, it goes without saying that it is a must for all Clinton Baptiste followers.


Character created by: Peter Kay and Neil Fitzmaurice
Written and performed by: Alex Lowe

Clinton Baptiste: Roller Ghoster! is touring nationally throughout 2024. Full tour dates and tickets available here.

About Irene Lloyd

Currently a desk zombie in the public sector, Irene has had no formal training or experience in anything theatrical. She does, however, seem to spend an awful lot of her spare time and spare cash going to the theatre. So, all views expressed will be from the perspective of the person on the Clapham omnibus - which is what most audiences are made up of after all.