Frankenstein has carved itself a niche as the Fringe’s home of old-school variety entertainment. And the wonderfully overblown Barry Morgan’s performance was supplemented by a Bobby Davro cameo on this night. Leonine of beard and mane, resplendent in gold lamé hot pants borrowed from another Australian icon, Adelaide electronic-organ salesman Morgan dazzles with his slick musicianship, close-ups captured on cameras positioned around the instrument. Having never met a double entendre he didn’t immediately clasp to his manhood, Morgan and his wooden organ are a throwback kitsch mix of high camp and hirsute hyper-masculinity, like a cartoonish Barry Gibb.

Moving out among his audience, sadly drastically undersold, Morgan nevertheless enthusiastically presses the flesh with rubber gloves and hand sanitiser, inveigling everyone to get onboard with some orchestrated clapalongs and a little light-hearted interaction. There are extended periods where he genuinely appears lost in admiration for the undoubted beauty of his Hammond Aurora Classic, its smooth lines and hidden audio treasures. The comedy frequently plays second fiddle to the music, which ranges widely and capriciously across the 20th century. Morgan’s crowd-pleasing mastery in this regard, romping through some gorgeous medleys, and creator Stephen Teakle’s absolute disappearance into the character, are a ticklish joy to experience.

Barry Morgan’s Home Organ Party Experience!, Frankenstein, until 24 August, 7.30pm; main picture: Tony Mott.