Those hoping for a quiet end to their day aren’t going to find it here, because The Death Hilarious is what might happen if The Mighty Boosh infiltrated a Hunter S. Thompson fever-dream. There are eccentric characters, outrageous sketches and deliberately flimsy props in this anarchic tale of corruption, community and student accommodation.

It’s probably not worth concentrating too much on the narrative, though. While there is a slight political tinge to the subject matter, it serves more as a backdrop to The Death Hilarious’ bizarre brand of surreal comedy. Amongst other things, the audience are treated to a lecture on urban foxes and the ballad of a one-eyed sex worker. It’s an attack on the senses and, before the audience can take in what they’ve just seen, the show sprints on to the next sketch.

Everything is thrown at the wall by The Death Hilarious but, unfortunately, not everything sticks. Throwaway lines garner a good reaction, but built-up set pieces often end anticlimactically. The comparisons to Thompson and the Boosh are also apt as everything in the hour feels derivative of other, more accomplished, acts, rather than a persona that feels unique to the artist.

The show is also a victim of small audiences, which does have an adverse effect. For a show that relies so heavily on audience interaction, having a big crowd in is so crucial. Unfortunately, not having that really dampens the high energy that The Death Hilarious brings to his performance; and, like some of those sketches, Razer ends on an anti-climax.