Glenn Moore does a nice line in super self-aware self-deprecation and has a strong opening gag about always looking like he’s wearing a shirt and tie even when only wearing shorts and t-shirt. He possesses the warmth and commanding voice that might be expected of someone who used to read the news and his confidence suggests an eagerness to move on from jokes about his appearance to more challenging fare, as he mercifully eschews predictable territory.

The ensuing examination of the lies, tall tales and balderdash used by comics is not new but he places his desire to visit the Red Planet at the centre of a set which continually exemplifies the propensity for the art form to lead to exaggeration. His set showcases his various comedic strengths: misdirection, wrong-footing, inventive language and skilful comebacks but the impression is that he is never showboating as other comics might, but instead pushing for comic excellence.

He dominates a compliant room with a strident delivery and a nice line in self deprecation. Particular highlights include a running gag explaining the drinking habits of surgeons, the evolution of Glenn’s pyjamas (Winnie The Pooh in childhood through to Atonement in adulthood) and the scorn a more able flatmate can attract. His cartoon seduction of (a different) flatmate is a distinct highlight and Moore’s awkward lover persona is a particular joy.

Moore revels in blindsiding the audience with a punchline or with an unusual turn of phrase that has the audience responding in unison to its effervescent execution.  Whilst certain elements fail to ignite and there is a sequence towards the climax where, mis-remembering and uncertain, he circles around in a brief comedic holding pattern, these are minor objections and serve to emphasise the complexity of the set put forth.