Milton Jones: Lion Whisperer

Playing York Opera House this weekend, as part of a tour extended by popular demand, is Milton Jones. Best known for his appearances on Mock the Week, the comedian is usually as outlandish in his speech as in his sartorial taste. He has been lauded variously as ‘the best one-liner merchant in British comedy’ and a ‘one-liner machine’. His current tour is entitled ‘Lion Whisperer’.

The show begins with Jones filling one of two warm-up slots himself, in the guise of his own grandfather. This interesting tactic was a little misjudged, I felt, since warm-up acts usually prepare the audience for the more sedate main act with dynamic energy. But Jones’ ‘Grandfather’ persona was very similar to his usual persona, which turned this first act into a kind of premature preview of the material to come. The beats were hugely long, characteristic of Jones, but the formulaic nature of the jokes really came to light when he began reading jokes from a little book; you begin to wonder where the skill is, really. I didn’t enjoy the first act at all, but I was hopeful that the other warm-up act would... well, warm me up.

Following on his heels and ultimately concluding the first half was soft-spoken James Acaster, whose halting anecdotes were often more endearing than amusing. I couldn’t help but feel that he’d done himself a disservice though: he closed the first half with a wonderful prolonged bit of audience interaction, which really highlighted his excellent improvisational skills. It made me wish that he had infused the rest of his whimsical material with more of the same; if he could bring the same hilarity the last ten minutes of the material had provoked to the whole of his set, he would certainly be an act to watch. For the first time that evening, it felt like the ball was well and truly rolling; then, of course, it was time for the interval. Jones returned in the second half to deliver a reel of jokes which I can only describe as relentless. Although I did laugh occasionally, the overall impression was of a set which lacked any kind of recognizable humanity. As far as I’m concerned, this comes nowhere near the calibre of Jimmy Carr, for example, who seems without trying to inject his own vivacity and engagement into his one-liners. Jones’ delivery, which is humorous in its almost mechanical expressionless-ness , has none of the personality - and I soon became very aware of the absurdity, rather than the humour of the jokes. After an hour, I only came away with a headache.

In fairness though, the comic did keep his set varied with limited audience interaction, various props and some music. I’d love to see more audience interaction in Jones’ act in the future; just like Acaster before him, when he loosened the reins, his wit and improvisational dexterity shone through. But as I say, such moments were kept brief - almost as if the comedian didn’t want to deviate too far from his set material. There’s nothing wrong with that per se, but even the biggest fan of one-liners would have to admit that they do get a little wearing after a while. Audience interaction brings you back to reality a bit, which is not only refreshing, but contributes to your enjoyment of the following jokes.

Milton Jones is certainly a very popular comic, and his material seemed well-received. I myself did get a few laughs out of it, from time to time. I must say, however, that I can’t understand what all the fuss is about: maybe it’s just me, but a set composed entirely of one-liners, delivered in a deadpan, impersonal way, is more likely to make me bemused than amused. Undoubtedly a very talented comic, despite my disappointment I will continue to follow the career of Milton Jones with startled perplexion.

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