The Duckworth Lewis Method live at The Olympia Theatre

Still holding court in the bar now named after her, she might have been forgiven for thinking that the Hollywood comedy legends had returned for a late encore when she saw Messrs Duckworth and Lewis bounding onstage. The little and large “cricket pop” duo - Neil Hannon (who looked like he’d just returned from a spell in the Raj) and the top-hatted Thomas Walsh – just can’t seem to help being funny.
But when it comes to the music they are deadly serious and with two albums under their belt, my word, they have a ‘catalogue’ to draw on. Highlights tonight include the funky epic ‘The Age Of Revolution’, the Kinks-like ‘Gentleman & Players’ and the lovely ‘Mason On The Boundary’ – all from their debut. From their current album Sticky Wickets, the mid-tempo ‘Out In The Middle’ and piano-led McCartney-esque ballad ‘The Umpire’ immediately stand out as gorgeous songs with lush melodies, rooted somewhere in the mists of pop’s golden era.
Elsewhere, the orchestral soft rock of ‘The Nightwatchman’ contrasts with the ludicrous ‘Jiggery Pokery’ - a slice of whimsy mixed in with Gilbert & Sullivan light opera. They are joined onstage by a “cricket team”, The Laughing Cavaliers, for a fun-filled call and response on ‘It’s Just Not Cricket’. There’s comedic banter aplenty too, most of it impossible to translate here but a Thomas Walsh gag involving the late Ronnie Drew’s ‘My Dublin’ slot on 98FM and plans for Leo Burdock – The Musical is a recurring theme. Meanwhile Hannon deliberately plays up his posh public school credentials, referring to fond memories of visiting “tuck” shops to much derision from Walsh.
A reference to Hannon’s earlier lunch, which had included bream, prompts a quick rendition of the Abba song reconstituted as ‘I Had a Bream’ followed by a chorus of ‘Don’t Bream It’s Over’ – the latter made all the more hilarious given that Crowded House’s Nick Seymour is in the audience! It takes a certain kind of talent to write a good “bad” song and after much persuasion a reluctant Hannon agrees to perform his Father Ted “Eurovision” ditty ‘My Lovely Horse’ (on the promise of a contribution to an equine charity.)
The band are terrific throughout, with Tosh Flood’s guitar particularly inventive. By the time they reach the uplifting encore, ‘Meeting Mr. Miandad’, everyone is on their feet.
A splendid evening!