For women in their sixties, Jenny Éclair has effectively become the stand-up voice of her generation. Espousing the pros and cons of being post-menopausal, she twinkles with mischief and revels in filth, sharing her various bodily fluid issues with visceral relish, recalling her younger sexual escapades with graphically mimed delight. She retains a strong element of the Grumpy Old Women persona that defined her previous decade, admonishing younger women who would seek to patronise her, with a regular, low-level hum of grumbling about the ageing process and ravages of time.

But whether affected or not, Éclair doesn’t seem overly bothered about her onstage memory lapses. And the character she conveys now is more multi-faceted, tending more towards that of liberated spirit, free from the demands of libido and unshackled to appreciate the ridiculousness of sex in her approaching dotage, unburdened by the gaze of men and indifferent to the mores of society. As she’s impishly candid, that can be a blessing and a curse. And, despite her avowed lack of co-ordination, she’s still vigorous and vital enough to make a shameless pitch for a Strictly Come Dancing spot seem more-or-less credible.

But she also lays on the battiness shtick a little too thickly and performatively sometimes and has no plan B when the crowd doesn’t share her admiration for Madonna for example. There’s a welcome shot of unexaggerated reality when she discusses the wrench of losing her mother during Covid, displaying vulnerability, wit and grace about dementia and the harsh restrictions of lockdown, a contrast with the marbles-losing caricature she herself occasionally gets stuck in. And she’s highly relatable and human on the pleasures of becoming a grandmother. Regardless, with 40 years’ experience on stage and playing to a predominantly female crowd of her demographic, it’s bracing to witness an otherwise still largely neglected audience having their joys and frustrations vocalised and championed.

Jenny Eclair: Sixty Plus! (FFS!) is on tour until Sunday 5 November; reviewed at Òran Mór, Glasgow.