Review by Steve Bennett

It’s easy to see why he’s at home in these large, glitzy venues, for he is the consummate showman; slick, fast-paced and always in command of the room.

The premise of his act is that he’s a useless magician. But not only does he make no excuses for his lack of ability, he makes it a virtue, sticking two fingers up to the audience for even daring to expect the tricks to work. Where Tommy Cooper’s inept bungling ruined his acts supposedly against his will, The Amazing Jonathan’s aggressive arrogance means he doesn’t care that they go wrong. The differences in style couldn’t say more about the difference between British and American national senses of humour.

Jonathan is always the boss: the ultimate practical joker relentlessly milking the poor sap selected to join him on stage as his unwilling stooge for countless humiliating gags. He’s a swaggering bully, happy to admit he’s an asshole looking out only for himself and his own hedonistic happiness through drink, drugs and women. Again, analogies with the American national psyche are impossible to ignore.

This stance can be slightly uncomfortable. When he physically and verbally abuses his airheaded, peroxided bimbo of an assistant, the violent sadism overshadows the jokes. But directed against the reluctant ‘volunteer’ or the world in general, the browbeating has an undeniable appeal.

He conquers the audience through the speed and accuracy of the unceasing banter. He’s got a smart-arse line for every occasion and trots them out without missing a beat. You are never more than a few seconds away from the next withering gag or stupid visual joke, and it’s hard to argue with that level of industriousness.

Yes, this is unapologetically mainstream entertainment – but it’s done so impeccably well it’s impossible to resist.

Reviewed by: Steve Bennett
May 2006

Review date: 1 Jan 2006
Reviewed by: Steve Bennett