“He has a face for radio” - a cringe-inducing jibe. It could be (and perhaps has been) said that Arthur Smith has just this sort of face. Not having seen what he looks like in photos or on television, where he was a regular contributor to the BBC series, Grumpy Old Men in 2003/04, as well as in other programmes and series, I had my own mental image before I saw the real thing on Friday evening at the Oxford Playhouse.

Arthur Smith’s House of Fun was a three hour night of variety entertainment, with acts ranging from an illustrator with a digital pen, magic, music and sketches, to stand up comedy routines. Arthur Smith, much taller than I had imagined, compèred throughout the evening with a voice that invites intimacy and complicity, and a presence that does not seem contrived. I believe that he does sleep in his clothing. But none of the visual scrutiny detracted from my enjoyment on finally ‘meeting’ Arthur Smith.

Performers gauge their audiences as an evening progresses. Each of the six acts this evening did the same, sometimes verbally wondering aloud about an ‘Oxford crowd’. A fine example was to be heard in the final act by comedian Hal Cruttenden. Playfully looking at his watch throughout his set, he asked with despair, what does an Oxford audience want? When answers came forth, Cruttenden acknowledged that the audience was funnier than he was. His apparent vulnerability invited enjoyable and good natured banter. Other acts were similarly politely and warm-heartedly received. This was due in no small part to the welcoming tone set by our Arthur.

Smith is a very intelligent and talented person. He speaks fluent French and has exhibited an imaginative approach to a career spanning several decades, ranging from an uncanny impersonation of Leonard Cohen (honouring us with two songs), to writing and presenting radio and television programmes, poetry and plays. Behind the curmudgeonly exterior lies a very generous and spirited soul who clearly enjoys meeting new people (the audience) and exposing them to new talent.

When I took my seat at Arthur Smith's The House of Fun on Friday evening, I was full of excited anticipation for what I expected to be a hilarious night of comedy. What followed can only be described as a mild-mannered, good-natured night of amateur acts who aren't exactly funny per se, but who leave you wishing them all the best for in their future careers anyway.

The poster-boy and compère for the night, Arthur Smith, was clearly the draw for the, surprisingly sparse, audience. Not familiar with Smith myself, I found his Cockney persona and quick one-liners to be cleverly witty and he himself to be endearingly genuine. He was a generous compère throughout despite the varying quality of the acts.

The first act, Jo Sandleson, was, unfortunately, terrible. Her poor delivery, nervousness and jokes-that-you-aren't-quite-sure-are-jokes had me cringing with sympathy for her. Fortunately, the polite audience of radio 4 listeners were kind, and they tittered encouragingly in what I can only assume to be all the right places.

Pete Heat, a comedic magician, bounded on second with promising energy. His two tricks – one involving a loaf of bread in place of a deck of cards – although lacking punchiness, were a good mix of impressive and entertaining.

After two acts in which my main feelings were that of pity and well-wishing, the sketch-comedy duo, Shirley and Shirley, provided a breath of fresh air. Although still keeping with the decidedly amateurish theme of the night, I can definitely see why this two-woman show of physical comedy and ingenious gags (Pippa and Kate have Jamaican accents) is such a hit at the Fringe.

By the start of the second half, even Arthur Smith seemed to be clutching at straws and treated the audience to not just one, but two, renditions of Leonard Cohen songs for no particular reason. More music ensued in the form of gypsy punk-rock band, Buffo's Wake, whose talented band members could have really done without their screaming front-man, and who confirmed my nagging feeling that this cobbled together variety show might have been better suited to the Glee Club or the Wheatsheaf.

By the time stand-up comedian David Whitney had finished his set, I found myself willing headliner Hal Cruttenden to come on and put an end to this flailing half. Whitney's humour was uninspiring and predictable, heading straight for base punch-lines and then seemingly blaming the audience when he didn't get the reaction he wanted.

Unfortunately, Hal Cruttenden also seemed affected by this neuroticism over the audience, repeatedly asking what an ‘Oxford-audience' might want instead of getting on with his brilliant set. His remarks on class-issues and his acute social observations were the best material of the evening and it was a shame, although understandable after the shaky night, that he didn't appear to have more conviction in it.

Pleasant and agreeable, if slightly disappointing, sums up The House of Fun. I can only hope that these acts will improve after this exposure and I can say, 'oh I saw them first at the Playhouse with Arthur Smith don't you know'.