JAMES MCDIARMID: THE CURIOLOGIST

☆☆☆

James McDiarmid knows how to put the “bizarre” in bizarre magic. In his Fringe show The Curiologist, he introduces his audiences to a series of curiosities that he has collected in his life, telling their stories illustrated with magic. By design it’s more of a storytelling show than a magic show, but while there are few tricks, they are performed perfectly and are precisely in theme.

When there are so few magic tricks, every trick counts, and errors have that much more effect on the overall impact of the show. Luckily, McDiarmid performs his impeccably. An early card trick is a highlight, featuring an unusual and exciting reveal that is interesting both for its originality and how well it’s integrated into the story that McDiarmid illustrates. McDiarmid also creates little magical moments in between the main stories, most notably with the help of the spookiest magician’s assistant in the business, Emily the vintage doll. These keep the audience engaged through the moments of transition, always on the lookout for the next unexpected trick.

McDiarmid naturally invites a few participants to join him onstage, but a show with relatively few tricks means relatively few participants. Introverts might have an easier time hiding in the back to enjoy the magic without getting pulled onstage than at most magic shows. That being said, McDiarmid has a kindly stage presence and makes sure his participants feel welcome.

The stories McDiarmid tells might be spookily themed, but his natural charm and humor cut through to lighten the energy of the show. The Curiologist is more akin to a camp counselor sharing ghost stories around the fire before the children in his care go to sleep than a horror movie. This is to McDiarmid’s benefit; his act has a wide appeal.

The Curiologist is the perfect nightcap of a show for those who appreciate a creepy theme but still want to sleep well after. The care that McDiarmid has put in to every detail is noticeable and worth appreciating. Every last item has its curio label, even McDiarmid himself. Magic fans and spooky story fans alike will find attending The Curiologist worth the risk of being labeled and added to McDiarmid’s collection.

ANDY BOYD: THE PROFESSIONAL SHOWOFF

☆☆☆☆

Audiences might expect a certain amount of cockiness in the attitude of a performer who would call his Fringe show The Professional Showoff. Andy Boyd isn’t like that. He might know how to do a lot of cool and unusual magic and circus tricks, but his demeanor throughout is friendly and welcoming, expressing appreciation for his audience members. The Professional Showoff is part magic, part homemade machine demonstration, and part juggling, and in all of those categories Boyd is exceptional.

There might be plenty of performance categories included, but the magic in particular is a recurring theme. Boyd frequently uses magic to highlight and punctuate the other elements of his show. A clear highlight is his final trick, which is so worth seeing that it would be worthwhile sitting through the whole rest of the show just for that trick—and Boyd makes sure that the preceding forty-five-ish minutes are plenty entertaining too.

Boyd’s fans may recognize that he has kept the same title for his Fringe show as last year, but he’s brought some new tricks and props. Particularly exciting is a very impressive robot-looking camera. Boyd demonstrates this on the audience and then uses the result for a unusual take on a magic routine. The creativity in his use of magic and its integration with the other skills that he demonstrates keeps Boyd’s work exciting even for magic fans. They might recognize some element of the trick, but Boyd will make sure they view it in a new light.

Much of the audience gets involved in Boyd’s show, in a variety of roles ranging from those that can be performed from their seats to some that are invited onstage. Particularly exciting is the opportunity to operate one of Boyd’s machines at will; audience members are advised to sit in the front row to have the best shot at getting to do this. Boyd might seem increasingly alarmingly talented as the show progresses, but he is evidently self-aware enough to know that not everyone has his skills, and makes sure to give his audience participants accessible tasks.

Boyd is a whole circus in one person, and in The Professional Showoff audiences get to witness some of his exceptional talents. Its lunchtime slot might make it feel like an early morning event by Fringe standards, but it’s worth a watch, whether as a lunch break or a way to start the Fringe day.

BEN HART: LABYRINTH

☆☆☆☆

At the Edinburgh Festival Fringe, magician Ben Hart’s real competition is simply – Ben Hart’s previous shows. Or at least you will believe upon attendance of his latest work, Labyrinth. One of the greatest appeals of the Fringe is the sheer quantity of shows a patron can go to in one day, one city. You could (we at WMR often do) fit in at least half a dozen magic shows in one day, running to venue to venue, gorging yourself on talent. But Hart’s truest showmanship talent is making the competition fully fall away in your mind while you are in his presence.

As always, Hart’s show follows a narrative theme. In Labyrinth, fairly self explanatorily, we are invited to reflect on the concept of following strings through a labyrinth, and the metaphorical implication of that concept as if in our thought processes and how decisions we make are strung together to the next step and overall impact on our lives, leading us through our own personal labyrinths. While a solidly relatable theme, Hart does not lean into it as heavily as may be expected. The opening stage is decorated with a clock face of strings, and the variations on this theme are mentioned to open various tricks, but the cohesion to the plot is not quite to Hart’s norm. It seems to be there more for conveniance than to demonstrate a story Hart wishes to tell through magic.

If we are a bit light on plot, the same cannot be said for enthusiasm of effects. Hart weaves into Labyrinth many tricks magic fans will be delighted to see, from found cards, mentalism, and physical effects. While a move here or there may not be quite quick enough yet for the trained eye, his talent is nevertheless unmistakable. A particulary impactful portion of the show is a shadow puppet interlude, during which Hart demonstrates that his skills and humor are ever growing. And while an ultimate reveal may follow a structure that magic fans will find familiar, the physical facet of this reveal is both unprecedented and highly impressive.

Hart is and has always been a spectacular showman. His persona on stage is larger than life, and the ambiance of his shows is perfected to support them in every aspect. From matching his personal vibe to the grandiose and mysterious venue, employing approrpiately dramatic lighting and sound effects, and designing a beautiful stage, Hart is obviously aware that atmosphere has a powerful impact on how a performance is received. But even more impressive is how adaptable said onstage persona is. At one moment enigmatic and intimidating, Hart can switch on a dime to be a jovial and welcoming everyman, easily bantering with audience participants and easing any concerns they may have about participating, even while lightly ribbing their self consciousness.

The Labyrinth is an excellent example of how Ben Hart has dominated the Fringe magic scene for so many years. It is a wholly accessible primer of well performed magical effects, formed together in a thought provoking narrative concept. A wise Fringe attendee would indeed let the string of this review lead them to Ben Hart this year.

SIEGFRIED AND JOY: LAS VEGAS IN EDINBURGH

☆☆☆

Acclaimed magic double act Siegfried and Joy have made their long-awaited return to the Fringe this year, with their Las Vegas in Edinburgh show. Their local fans may remember their sold out Fringe debut three years ago. This year they are once again sold out, but in a much larger venue. Eager attendees in the lengthy queue to get inside could be heard comparing the Siegfried and Joy queue to a Ryanair boarding queue, there were so many people it was difficult to imagine them all fitting in the venue. But everyone managed to pile in, and Siegfried and Joy kept them all thoroughly entertained for the hour.

Siegfried and Joy have a distinctly silly style and tone that has garnered them their following. Much of the show comprises of magic-themed jokes and occasionally acrobatic dances, all covered in more glitter than it is possible to expect. This is what the audience is here for, perhaps even more than the magic, and Siegfried and Joy do not disappoint. The joke effect that they are most famous for online accurately sets the tone, and is given pride of place in their live performance.

For magic fans, the actual magic may feel slightly underwhelming. In amongst the jokes Siegfried and Joy do sprinkle in real tricks that are performed well, but, especially at an arts festival that attracts such creativity, some of their reveals can feel a bit redundant and even at times basic. It’s worth noting that the reviewed event was just an hour taken out of their proper theatre-length show; perhaps their full show is more well-rounded and polished and would come across differently. Nevertheless, there are magical highlights, most notably a card trick that uses an added element of wetness to make the reveal all the more impressive.

Siegfried and Joy’s use of audience participation is unusual and suitable for their style. While they invite audience members to join them onstage, they “speak for” the participant, which, aside from being hilarious, is a clever way to maintain their quick pace and ensure that the participant can be heard all the way through to the back of the audience. It’s participants as props more than as genuine participants, but it suits the tone of the show.

Las Vegas in Edinburgh may not be the most technically impressive magic show at this year’s Fringe, but it doesn’t have to be. Siegfried and Joy are delights to watch onstage, and their legions of fans are thrilled to witness them in action. They make a very real contribution to magic as an art form in their role as two of its most renowned ambassadors. The Edinburgh Fringe may not have given them the time to perform their full, polished show, but the people of Edinburgh will be grateful for the hour they get to spend with these wonderful performers.

TOM BRACE: THE TOM BRACE MAGIC HOUR

☆☆☆☆☆

Fringe regular Tom Brace has been performing for Edinburgh audiences for a whole ten years. This year, in his new show The Tom Brace Magic Hour, all he wants to do is invite his audience over to play some games. They’re magical games, and the relationship is still very much magician-participant— Brace is always in control—but the atmosphere feels slightly more laid back. Brace presents the show like a television program, complete with a commercial break, for an exciting spin on his daily game night.

Brace explains early on that he is resorting to inviting his audience to his game night due to his family getting tired of him using his mentalist abilities to always win. What might not be the best experience in a family game night makes for an entertaining magic show. Brace excels at presenting his effects in theme, and The Magic Hour is no different, each routine feels perfectly in place with its game-style framing. Every prop and reveal feels game related. Of the many highlights, a standout piece is his version of Scrabble, which gets several audience members involved in a way that is random but allows for the most enthusiastic to nab their time in the spotlight, and contains a couple strong, increasingly complex reveals.

Brace uses audience participation in the typical magician fashion, and gets a good proportion of the audience involved. He is not out to embarrass anyone, and the audience gets to know this fairly quickly, so he gets plenty who are enthusiastic to be onstage with him. While the theme is game night, it’s a magical game night, so Brace takes any difficult or potentially embarrassing tasks for himself and ensures that his participants can join in in comfort.

It wouldn’t be a family game night without some measure of chaos, and at the reviewed show Brace’s audience participants don’t disappoint. Brace is excellent at navigating the chaos to allow unexpectedly funny moments to shine without letting rogue audience members derail the magic. Of particular note was the relationship he built with one especially enthusiastic young participant, who had an innate performer’s instinct and desire to entertain the audience he found himself in front of. Brace made sure to corral those instincts without discouraging him, and even gave this young audience member a trusted, important role later in the show. Brace’s ability to balance encouraging a young person’s creativity with ensuring that it did not disrupt his own show is admirable, and had all the makings of a positive core memory for the child in question.

The Tom Brace Magic Hour is part television show, part family game night, and all good fun. Brace celebrates his longevity at the Fringe with a party as much as a spectacle. The show is family friendly and Brace is great with kids, but as the audience left at the end, attendees of all ages and enthusiasm levels for magic could be heard exclaiming their wonder and delight with his performance. Brace has a demonstrably universal appeal, and his magic game night is one not to miss.

JAMES PHELAN: SHOWMAN

☆☆☆☆

When assessing Fringe shows, it’s not always fair to judge the quality of the venue, with such a variety of possibilities and with performers not always having perfect control over which they are allocated to. However, it is impossible to deny the powerful effect of setting, for good or ill, on any performance experience. Entering James Phelan’s tent for Showman, the most obvious first impression is that not only does he have a beautiful venue, but his set design is gorgeously put together to make the absolute most of it. Phelan lets his audience in early to enjoy the ambiance and pre-show live music, a relaxing contrast to the usual Fringe rush to get seated as quickly as possible. Once he takes to the stage, that calming trend continues.

Phelan demonstrates his mentalist abilities in a variety of ways, but his specialty here is hypnotism, and this is where he spends the majority of the show—perhaps more than usual at the reviewed show. The entire audience might get involved at first, in a series of activities that prove both interesting and relaxing, before Phelan chooses those who stand out to join him for a deeper hypnotic experience. Phelan manages to demonstrate an astonishing range of hypnotic and mentalist effects, in a way that gets many un-hypnotized members of the audience involved from their seats.

If Phelan is known for any one thing as much as hypnotism, it’s his excellence in dealing with the audience, as a collective but most especially as individuals. Phelan manages to make friends with a solid proportion of them at the reviewed show. His carefully casual attitude makes those who join him onstage feel welcome, without ever doubting that he is the one in control. He is such a welcoming host that at the reviewed show one of his participants took off her shoes to allow her to more easily accomplish her tasks, even leaning on Phelan to do so—far from a common occurrence at a magic show, or even a hypnotism show. While this behavior is not encouraged, the fact that it happened exemplifies the audience’s immediate trust in and affection for Phelan as soon as they meet him.

The theme of Showman might be the contrast between fragility and permanence, but, even with his mentalist powers, Phelan may not have been able to predict just how well the reviewed show would emphasize this. Whether his participants were unexpectedly leaning on him to remove their shoes or generally struggling with their role in the show, Phelan experienced a remarkable range of ways that audience participants can inadvertently attempt to derail a magic show, through no fault of his own. The audience was left with no doubt that he uses genuine participants without relying on stooges. What began as a magic show temporarily transitioned into a masterclass in participant management, as Phelan masterfully ensured that he got what he needed from his audience with the calm demeanor of a gracefully gliding swan that was undoubtedly paddling beneath the surface with increasing urgency. This became, as well, an active demonstration of Phelan’s ability to transform the fragile relationship between audience participants and his show into a permanent reminder of the power and at times sheer force of will that makes a true Showman. The strength of Phelan’s theme was clearly developed through the ordinary course of his show as well, he certainly didn’t “need” the audience’s help, but the events of the reviewed show ended up handing him an unexpected way to underline his point.

Phelan will guarantee that his audience gets the full experience of Showman, of that they can be certain. At the reviewed show he risked the notorious wrath of his venue management by running well over his allocated time to ensure that he could complete his show in spite of participant-related delays. This commitment to his audience’s experience is undoubtedly at least one of the reasons why Phelan is regularly selling out this Fringe. Prospective audiences had better act fast if they want to catch him in his beautiful tent.

ANDREW MCKINLAY: CLASSIFIED

☆☆

In a colorful central venue, Andrew McKinlay can be found performing his mentalist show Classified… or at least, that’s his cover for recruiting for the mysterious Bureau, one audience at a time. McKinlay takes his audiences through a series of tests to judge their suitability to join up. While the show is not not flawless and McKinlay seems to struggle at times to connect with his audience, it’s an entertaining time.

McKinlay has made an effort to theme his effects for a recruitment drive, and by and large he’s done a good job. Perhaps, in this case, slightly too good of a job, as his reveals may come to feel a bit same-y. To a skeptic this is arguably a feature of magic in general, but many Fringe magicians add in enough creativity and variety of effects to keep their shows interesting. The effects employed are all mentalist in nature, so perhaps particularly suited to fans of that genre of magic.

With a relatively small venue and recruitment theme, McKinlay is able to include pretty much the entire audience in his act at the reviewed show. Results are complimentary, with McKinlay ensuring that everyone passes the tests and is judged suitable for The Bureau. McKinlay is a friendly presence, and makes participation feel more like the most chill job interview ever than like joining a magician onstage.

McKinlay struggles slightly with timing and connection with the audience throughout the show. He has a tendency to draw out the setup, slowly showing the audience nearly all the cards or pages in a notebook where it might feel slicker to just show a few as a representative sample. The connection with the audience may be more a problem with the audience at the reviewed show, which was slightly combative, than with McKinlay himself. After the show McKinlay could be seen chatting to tables of strangers at his venue with more charm and charisma than he displayed during the show. While it’s unfortunate that McKinlay wasn’t able to recover this show’s audience, he is clearly able to win over others.

The reviewed show of Classified may have been a mixed experience, but McKinlay is clearly a competent performer and his concept for the show has an interesting potential. Mentalism enthusiasts, and those who would like to join The Bureau, may enjoy it.

DAVID ALNWICK: MAGICIAN. NOT CREEPY.

☆☆☆☆

Music fans might have Taylor Swift and her Eras Tour, a wildly popular performer showing off her longevity and creativity in a massive three hour spectacle. David Alnwick is the Fringe magic equivalent of Taylor Swift. Alnwick’s informal Eras Tour might be modular in nature, with at least three hours’ worth of shows throughout every day of the Fringe, but if anything that makes it more accessible. While his most ardent fans have been known to follow him around for the day, those with less time to devote to him daily have the whole month to catch all his shows. Magician. Not Creepy. is Alnwick’s second regular show of the day. Here Alnwick demonstrates a range of the magic that earned him his renown, with a nod to the venue, which had historically hosted his creepier content.

In Magician. Not Creepy. Alnwick draws from several of his eras as a magician. One of the many things that Alnwick is known for is his card tricks, and he performs several of his regular favorites. These are a highlight, managing to be impressive and entertaining even for those who have seen them before. Magic fans may particularly appreciate the skill required to perform a well known card trick using a fairly tight jean pocket rather than the roomier suit jacket pocket that magicians tend to favor. Alnwick has perfect mastery over his deck and is not afraid to let his audience get close to him. He also performs some of his less regular and even new content, a real treat for long time fans in particular.

Alnwick might occasionally lightly tease his audience as a whole, but he is very welcoming to his participants. Once a member of the audience joins him onstage, they are transformed into a cherished member of the act, and Alnwick makes sure they know it. Alnwick primarily chooses his participants at random, based on instincts honed with over a decade of Fringe performances, and these prove unerringly accurate. For his more involved roles he gives the individual he lands on a clear out if they don’t want to participate, but at the reviewed show none took it—he is very beloved in Edinburgh.

Alnwick’s fans will know that of all the things he’s known for, the big overarching one is being perfect. Or, for those who believe that true perfection is not possible despite Alnwick regularly demonstrating evidence to the contrary, being so consistently close that he comes across as perfect anyway. At the reviewed show the one noticeable error was Alnwick opening a deck of cards too enthusiastically and throwing them all over the floor, but even this felt like a tribute to his earlier, messier shows that regularly ended with the stage covered in abandoned cards and other magical detritus.

Whether they know him by reputation or from his previous work, no one could possibly leave Magician. Not Creepy. at all disappointed. It’s a worthy stop for anyone from his biggest fans to those looking for a magic show to tick the genre off their Fringe list. Unlike Swift, Alnwick doesn’t make a big production out of regularly performing daily for three to four hours, it’s simply how he shows up for his fans, himself, and his art every year. Here, at the midpoint of his day, he is flawless as ever.

MAX DAVIDSON: STRANGERS

☆☆☆

Max Davidson doesn’t even need to be onstage to get his audience to do what he wants. His new Fringe show Strangers opens with instructions for his first participant, who is whoever is first to self-select from the audience, before Davidson even introduces himself. At the reviewed show the potential awkward silence had no time to develop before someone leapt to the stage. Davidson is clearly attracting an enthusiastic audience, and his trust in them is both heartwarming and justified.

Davidson’s theme for his magic is memory. A popular genre of tricks, most magic fans will have seen a magician perform one of two of the effects that he uses, but rarely all of them at once. Notably, during one routine Davidson openly and lightheartedly admits that his goal is to gaslight his participant. Many, perhaps most, magicians will attempt to gaslight some or all of their audience during their shows, the best so successfully that, aside from the tacit consent of purchasing a ticket for a magic show, it passes unnoticed by the audience. Few have the honesty and talent to admit to it ahead of time and still pull it off.

The vast majority of the tricks used may be familiar to magic fans, but Davidson puts them together in routines that, by virtue of their creative combinations, feel fresh and interesting. A highlight sees him read a piece of information from a random participant’s mind that hasn’t been written down or mentioned in any way ahead of time, for a particularly impressive reveal. While at the reviewed show not everything goes perfectly to plan, Davidson pivots excellently to keep the energy up and the magic flowing.

Despite admitting to attempted gaslighting, Davidson comes across as warm and welcoming to those who participate in his magic—the honesty is perhaps beneficial here. Davidson pulls from volunteers for his more involved participation moments, and at the reviewed show there is no shortage. The appreciation he expresses to each participant who joins him leaves the rest of the audience increasingly happy to take a turn onstage as the show goes on.

Davidson’s premise is that the audience might arrive Strangers to him, but by the time they leave he will know everything he needs to to read their minds. By the time they see his impressive finale, the audience may very well agree. His audiences will be pleased to no longer consider Davidson a stranger.

JACK KENYON: TABLE FOR TWO

☆☆☆☆

The Fringe is a busy time of year. It’s been described as the Olympics for culture critics, and it’s even busier for artists advertising, developing, and performing their work for the entire month. It can be difficult to find time for personal life. Jack Kenyon has found a solution. In Table for Two, Kenyon takes one audience member per show on a practice date, to help him recover from a rough breakup and prepare to re-enter the dating world. It’s a cute premise, and at the reviewed show Kenyon manages to have a good date.

Slightly hilariously for a show with this premise, the magic is explicitly themed on Kenyon attempting to fix the aspects of his character that his ex cited as reasons for ending their relationship. Of course in real life regularly referencing your ex’s complaints about you on a date is poor behavior, but in this magic show it provides a useful framework—and, as this is just a practice date, Kenyon has the excuse that he’s getting this unproductive date behavior out of his system. An early highlight is Kenyon demonstrating his newfound romanticism with a card trick, which is sweet, meaningful, and magical, perfectly setting the scene for the rest of the show.

The perspective that this show takes towards its own premise and conclusion feels very innocent, like the fluffiest of romcoms. Unlike many magicians who are eager to point out, often in the closing moments of the show, that they were in perfect control of everything that happened at all times, Kenyon often presents his magic almost as if it were real. A matching trick is, in Table for Two, an indication that Kenyon and his mock date have perfect chemistry, not framed as a demonstration of Kenyon’s abilities. It’s a different attitude towards magic than is usually seen at the Fringe, setting Kenyon apart, and it works perfectly for the style of show that he is performing.

As indicated in the advertising for Table for Two, there is one audience participation role that is especially involved, that of the audience member selected for the date. This participant is selected at random, but in a way that is easy to opt out of for those who would prefer not to be onstage for the majority of the show. Other participation roles are fairly minimal, easily executed by the individuals chosen.

Table for Two might be more of a magical experience than a magic show for the participant Kenyon takes on his nightly date, but it’s entertaining for those enjoying it as a show from the audience seats as well. Kenyon’s livestream set up ensures that the effects that happen on the restaurant table are visible to everyone watching. Whether audience members bought their tickets because they liked the look of Kenyon’s face on his poster and wanted to try their luck at a date, or just to see an unusual magic show, they will be happy that they attended.