ROBERT Newman comes on to the stage like an old school professor; bow tie, blazer and waist coat, plaid trousers.

Newman brings science to the general public, however in a very different way to Professor Brian Cox, who he suggests is referring to a xylophone, as opposed to evolution, when he talks about the increasing size of the human skull throughout history.

The first half is dominated by Newman's story of Natasha, a researcher at UCL, who wishes for him to be involved in a test on sourcing the cause of guilt in the brain. Reluctant about the test, at first he begins a relationship with her, which climaxes at the point of stealing a terracotta frog, once owned by Charles Darwin, from her desk that he used to play a prank on her. This inevitably culminated with the destruction of the frog. Struggling with guilt, he volunteers for her experiment, revealing his theft of the frog through the light patterns of the electroencephalograph he is wearing.

As Newman begins to pick up the momentum of his act, the interval begins. Once we return to our seats 20 minutes later, it feels as if he has lost the impact he was gaining and a few of the sketches fell short of the mark, lacking in polished punchlines.

In the second act, some of the digressions are too long but also feel rushed through with references that span from Charles Baudelaire to Richard Dawkins. However, I like what Newman is attempting to do, distancing himself from the usual routine of many comedians’ observational humour. I just think he needs a little more work on the formula.