Alex Horne: Lies
A blip in a largely flawless Fringe career
This article is from 2013.
For many years, Alex Horne has been one of those reliable Fringe comedy acts. With his natural stage presence allied to a fierce intelligence, he always produced shows that would make you think before the inevitable laugh came out; at its peak, the brain and funny bone would work in perfect harmony. Horne’s subject matter has been a varied bunch, whether it’s his campaign to create a new word or his aim to get into birdwatching and rekindle a relationship with his father or analysing the usefulness of Latin. So, can we please just put down his new show, Lies, to a blip in a largely flawless Fringe career?
This exploration of falsehoods starts off with a lip-synching segment which initially cleverly plays with the crowd’s perception but goes on way too long. Then, the bulk of the hour gets into full swing, making you long for a return to the lip-synching section, as Horne shows us the fruits of a no-doubt very lengthy editing labour.
The cutting and pasting of bits from the audio biographies of Michael Caine, Cherie Blair and Andre Agassi probably seemed like a lark at the time, but the result is a largely laugh-free exercise in how to make people sound rabid or illogical or drunk on power, all out of context. Truth is that Lies is a rare but abject failure.
Pleasance Courtyard, 556 6550, until 25 Aug, 8.30pm, £9.50–£10.50 (£8.50–£9.50).