2 Stars

DAVE REUBENS: THE MAGIC GAME

☆☆

Magic shows are often interactive, and Dave Reubens takes this a step further with his new venture The Magic Game. Part magic show, part game show, there are plenty of areas to get involved in the act. The concept is good, and Reubens manages the various moving pieces of a hybrid show largely with a practiced ease. While there is certainly room for finesse Reubens ensures that everyone involved has a great time.

The magic is a mixed bag, but at points in the show it’s incorporated in particularly fun ways. Reubens’ use of an advertisement break with magical demonstration of the goods on offer is reminiscent of one of the better and more magical MCU properties, with the concept made his own. At the reviewed show unfortunately this did not all go to plan due to some mislaid props, which Reubens hopefully found for future audiences. Some of the effects were treated more as magic-themed jokes, with a presentation that felt deliberately sloppy to allow for comedic flashing.

Advertising a magic game show takes care of one of the pitfalls of a standard magic show—the entire audience, by and large, arrived eager and happy to participate. The game show elements were especially popular, Reubens had no problem getting enthusiastic participants to join him onstage. The participants were treated well, and were allowed to consult their team even while they were the ones who had to deliver the final response, making it a low stress environment.

At the reviewed show there was a slight disconnect in the tone versus the way participants were invited up. Much of the humor, including the playfully flashed magic, felt geared toward the younger age range of children. However, the opportunities for participation seemed distinctly oriented toward older audiences; two children participated in the first game show segment, and after that Reubens specifically requested adults. Aligning the age appeal might help the show feel more cohesive and find the right fans.

Reubens has put together an awfully fun experience in The Magic Game. While it may be a bit confused as to which age range it is best suited for at the moment, it’s a solid concept led by a great host. Hopefully it will find its people.

CAVAN BOOTH: THE HONEST MAGICIAN

☆☆

For a career field of professional liars, magicians are not great at keeping secrets. Revealing bits of magic to make bigger reveals more impressive is a staple of the genre. Cavan Booth has even brought an entire show to the Fringe with the theme of revealing magical secrets, The Honest Magician. Booth’s emphasis on this one type of quasi-honest reveal makes for an interesting premise. Notably, he doesn’t venture far (if at all) beyond the quasi-reveals that are common amongst magicians. 

Booth uses a range of both mentalist and magic effects to make his point. While they may not be new to magic fans, they are performed well. An extended mind reading sequence to do with judging audience members’ truth telling and lying is especially fun to watch. The reviewed show had a great plot twist in this routine when Booth’s brother volunteered to join him onstage. While his brother was fairly clearly not giving him any hints, it seemed like a lovely supportive relationship, which is always nice to see at the Fringe.

Audience participation was a mixed bag. For some of the earlier effects, to demonstrate his point about the necessity of lying to performing magic, Booth performs a few tricks that are experienced as “magic” by the participants but not by the rest of the audiences. The method and purpose is clever, but it would be nice if Booth clued in the participants after making his point. Ideally participating in a magic show should enhance the experience for the participant, or at the very least be neutral—it’s not ideal when participating takes away an element of the experience of the show for someone. To be fair to Booth he seems to make a point of choosing participants for this section who seemed to have come to the show with a group, so their family and friends could tell them what happened after, but in a friendly town like Edinburgh where strangers tend to get chatty it’s a risky calculation.

Booth may have billed himself as honest but he’s still a magician, and luckily for the audience members who want to experience magic, there are some secrets that he keeps, and some that he reveals because the secret is itself an impressive feat. His demonstration of how to solve a Rubik’s cube in what looks like a few seconds is one such moment. The audience watched Booth carefully make a few turns to make the cube look well mixed, but even so watching him solve it in a throw demonstrates dexterity and dedicated practice.

The Honest Magician may not be flawless yet, but it’s an interesting premise from a clearly thoughtful performer. Booth does a good job telling the audience how his perspective is unique, but showing them this perspective through the magic is still a work in progress.

DANIEL SINCLAIR: THE HYPNOTIST AND THE MIND READER

☆☆

Hypnotism is always a popular genre at the Fringe, and Daniel Sinclair’s The Hypnotist and the Mind Reader is no exception. Even a weekday show is fairly full, and he gets a good population up on stage to join him. While the hypnotism itself was patchy at the reviewed show, between those who managed to stay hypnotized, those who were willing to play along, and Sinclair working very hard, a version of the show was able to go on.

There are necessary alerts and reassurances ahead of a hypnotism show, and Sinclair’s version hits all the main points. He lets the audience know that he cannot force them to do anything they don’t want to do, hypnosis or not. Letting everyone know ahead of time that hypnosis is a mutual process is designed to get potential volunteers in the right mindset. If the people coming up onstage are ready to accept and work with Sinclair, the hypnotism process should work more efficiently.

The hypnotism process that Sinclair uses is nice and calming, even for those who don’t choose to go onstage. Sinclair even allows for everyone in the audience to participate in this from their seats if they want to, for those who would like to try to be hypnotized without being watched by everyone else. The sound that Sinclair uses is a classic hypnotism sound, difficult to describe but instantly recognizable, which is fun to hear.

At the reviewed show unfortunately the hypnotism by and large didn’t seem to take. There’s always an attrition rate with those who choose to take part in hypnotism, but rarely is it so pervasive and consistent throughout the show. Sinclair himself will be best placed to judge if this was an off day or if it’s worth adjusting his methods. To his credit, Sinclair breezed past the suggestions that just didn’t work, focusing on those where the majority of his struggling volunteers were willing to play along, and making the most of those who were able to experience hypnosis.

Every hypnotism show is different, and it’s a huge credit to Sinclair as a performer that he was able to recover the reviewed show to the extent that he did. The fact that so many of his volunteers were willing to play along with the majority of his show is perhaps a better testament to how fun his suggestions are than watching genuinely hypnotized participants undertake them.

SAM HURST: MAGIC! MAYHEM! MEMES!

☆☆

The nostalgia hits as soon as the audience steps in to the venue for Sam Hurst’s Magic Mayhem and Memes! show, to music classics that every millennial will recognize. The nostalgia doesn’t ever stop, with song references and memes of varying vintages. It’s certainly accessible even for the younger end of millennial, and probably even gen Z if they have spent enough time on the internet. If the Meme/millennial theme isn’t always a constant in the show, the fun is, and the time flies by.

The reviewed show was not without its challenges. Chief among these was a little French boy who tested Hurst’s skills with audience participants. Hurst had evidentially planned an early segment to cater to his younger viewers, always a nice thing to see in a magic show, but with younger viewers comes greater chaos. Hurst managed to muddle through with a mixture of simple French, miming, and the universal language of magic.  Additionally, Hurst experienced issues with the technology components of his show initially failing to perform their duties.  His good humor despite these setbacks made the audience feel safe in his hands.

Unfortunately the magic itself was at times noticeably imperfect as well. Hurst could have performed the red balls tricks with a bit more finesse, and a noticeably discolored thumb in full view right at the end slightly undercut the final reveal. However, it’s clear that Hurst is a skilled magician, his version of the classic cup and balls trick was flawless, even to audience members who have seen it countless times before. If the audience and technical issues at the reviewed show might have thrown him off slightly, hopefully future shows will be smoother sailing.

Magic Mayhem and Memes! can be confirmed to contain all three of those elements in significant quantities. It feels like the adult version of a children’s birthday party. The silliness is infectious and Hurst’s humor keeps the whole audience laughing. If it isn’t always perfect it’s difficult to care too much. Millennials have gone through a lot worse than an imperfect magic show. Hurst won’t fix that but he will temporarily distract us from it—about all that can be reasonably expected from a magician. This is the show to nourish the inner child of every millennial.

BARRY POTTER AND THE MAGIC OF WIZARDRY

☆☆

At a show called Barry Potter and the Magic of Wizardry, the audience has to have a good idea of what they’re getting themselves into. Potter does not disappoint. The magic may be recognizable by those who have seen muggle magicians, but there’s plenty of Hogwarts-magic style props and more wizardry puns than you can shake a hippogriff at. The execution did face some issues at the reviewed show, but he pressed forward with admirable professionalism.

Potter has a decent rapport with the audience, but surprisingly given the type of show, seemed to have trouble connecting with the younger audience members. One youngest was admittedly overly chatty from her seat, and he shut her down pretty harshly for an overactive toddler, calling her narcissistic and telling her that not everything is about her. It would have been an understandable, if unfortunate, reaction from a non-performer, but for a magician performing a self-aware childish kind of show it felt far too unkind. Potter was better with a young boy who joined him onstage for a coin trick, who had a great time getting in on the magical fun.

The magic performed was well themed but had a significant error on the day that the show was reviewed with the final reveal. As much as it’s a shame to end on an error, the rest mostly goes to plan, and if the patterns are familiar, it’s all perfectly themed. Potter uses familiar props, such as a golden snitch and photos of the Harry Potter film characters, to perform his effects. He tells a Harry Potter style story throughout the show, but a highlight is his playing card retelling of the original story. This did hit a few snags at the reviewed show but was nevertheless creative and engaging.

If it wasn’t perfect when it was reviewed, Barry Potter and the Magic of Wizardry was still a great time, thanks to the irrepressible professionalism of Potter himself.  There are plenty of fun reveals even when things go wrong, and errors of some sort are inevitable in a month-long live theater run. Harry Potter fans looking for a dose of nostalgia peppered with the best kinds of bad jokes need look no further.

ILLUSIONATI – A MAGICAL CONSPIRACY

☆☆

Welcome to Illusionati, the theatrical magic show about whether there is a secretive club of elite magicians controlling all who would dare to perform the art, you know, like the Magic Circle (just kidding). This concept is created by a magician by the name of The Great Baldini, and is performed with great enthusiasm even if not with great finesse.

The first part of The Great Baldini (henceforth referred to as Baldini)’s show sets a tone that the show may actually be theatre with some magic thrown in for garnish, which may not have been a bad idea going forward, although it was not the idea chosen. Over the hour we see Baldini vacillate between this former structure of basic tricks forced into the story he wants to tell, or at times, a story forced around a couple of genuinely new, creative trick presentations. These fresh presentations are delightful to see in an creative field so desperate for innovation. Unfortunately, in this show they seem under-developed, dragging on far beyond a reasonable audience member’s expected attention span, which dilutes the effect of the ultimate reveals.

Likewise on the theme of inconsistency, Baldini’s attempts at humor throw off any chance for the audience to be drawn into the show. He is too silly to take seriously, but not funny enough to be entertaining. At times this makes the experience of attending the show feel like watching a child perform magic. You nod and smile along encouragingly, but are mostly left wondering if it is all going to be over soon so you can stop performing back at them.

Similarly to that experience, there is no ill-will felt to the magician. Baldini seems like a legitimately amiable and well intended performer, with a perfectly good concept for a show, just one in need of a creative director and a more coherent vision of how he wants to tell the story.

More information on The Great Baldini can be found here.

THE MAGIC SHOW STARRING LIAM A BLACK AS THE GLITTERING PRINCE OF MAGIC

☆☆

One of the great features of the Fringe is that you can see shows in pretty much any venue imaginable. Bars, pubs, and restaurants all clear out their back rooms to use as venues, the university partners with the Fringe to allow use of many of their buildings, and even churches allow the use of their halls, like the one on Nicolson Square where Liam Black has staged his show, The Magic Show Starring Liam A Black as the Glittering Prince of Magic. The ostentatious wordiness of the title promises a certain kind of show, and Black largely delivers on this.

It has been said that the easiest way to be at the top of your field is to pick a small field. In that vein, Black is indisputably the best magician at the Fringe at costume changes—he has a huge number of them and each costume is more elaborate, more glittery, and overall more fabulous than the last. In fact, it can be safely said that Black’s show has the greatest concentration of glitter of all Fringe magic shows. Aside from his own costumes, Black includes a sparkly assistant and team of glitter-clad dancers in his act, and is actually too much of a pastiche for this to come across as sexist. The group song and dance numbers are a highlight.

However, there are a few areas where Black feels a bit flat, and unfortunately the magic is one of them. At the reviewed show his final reveal, for example, was sadly fairly obvious from the start—the word was written a bit too clearly for it to be hidden from the audience when shown upside down. Black also spent an unfortunate amount of time playfully lambasting the audience at large for not laughing at a few of his early jokes. This was fair enough at first but eventually felt like he was berating his audience for the fact that he wasn’t being funny. Whether the audience warmed up or he moved on to better material, they did eventually start to laugh with him. The show is a solid concept, and there are definitely plenty of elements that felt like he had gotten them right, but also plenty of room for improvement.

That being said, The Magic Show Starring Liam A Black as the Glittering Prince of Magic is more than just a magic show, it’s a satire of classic magic tropes with enough glitter to make a whole church sparkle. At its best it perfectly balances paying tribute to the classic magic shows of the past with poking fun at their less than ideal features. While perhaps not perfectly executed on this occasion, the concept there, and this reviewer for one will be curious to see what Black comes up with next.

More information on Liam A Black and his performance dates can be found here.

SIMON SOUTH: CLOSE UP CONJURING

☆☆

South presents soft, intimate array of close up tricks to an audience that is able to gather as closely as prevailing pandemic norms allow. The magic used consists of several classic tricks that may be fairly familiar to magic fans in the audience.  South works his way through several card, coin, and hoop tricks, all performed well.  A fun variation sees him perform a trick using the ubiquitous PBH Free Fringe program guide.  This essential guide to every Fringe schedule is much thinner this year than usual, perhaps making it easier to give it the centre-stage treatment that it gets at this point in South’s show. 

There is no issue in South’s performance of his magic, but the show feels a bit stilted with inconsistent transitions.  After some of his tricks the audience feels like they are just watching South tidy away his props before he takes out the next one and continues to perform.  Having a more consistent stream of patter or integrating the necessary transition points in to the act may help the show flow more smoothly. 

Given the reduced audience sizes of this pandemic Fringe, South is able to include the majority of his audience in the magic.  Participants don’t even have to get up on stage, as South is able to include them where they are sitting.  South is friendly and respectful with everyone who he includes in his show. 

In Close Up Conjuring South does exactly what it says in the title.  It’s a pretty standard, boilerplate show from a performer who has the magical skill to perform convincingly to an audience sat very close to him.  This is a solid show for those looking for an afternoon of magic. 

More information on Simon South and his performance dates can be found here.

MASON KING: SLEIGHT OF MIND

☆☆

Mason King’s Sleight of Mind is a primer on classic mentalism effects. A confident performer,  every piece of King’s show is delivered with the utmost technical perfection, from preparing the audience for what is to come to chaining together the different ways he would read their minds. Nothing in Sleight of Mind is uncomfortable, nothing is offensive. Over the course of the hour reviewed King received one single surprised gasp, a few chuckles, and polite applause for the majority of his tricks, most of them without having to overtly prompt the audience to do so.

But, I’m afraid to say, shows like this are exactly why some people don’t like magic shows. Magic isn’t off-putting when it’s actually bad, no, that makes it horrifically interesting. It’s off-putting when it is bland. Sleight of Mind really is just a primer- nothing more and nothing less than every trick in some fictional volume of mentalism standards, with a few general magic standards thrown in.  Everything from the tricks done to the words around them is like script from someone and everyone else’s book, even when King introduces himself: I was (enter number under 15) years old when I got into magic, here’s a line about my mentor, here’s how I’m going to read your mind.

Sleight of Mind has no narrative, no theme, no gimmick, no twist. King makes no real attempt at comedy and has no sense of comedic timing, nor does he afford the audience a sense of himself, or his personality, or make an effort to tie the humanity and stories of his audience members in. He gives us no reason to care, no reason to be invested, no reason to spend money to see his show. Sleight of Mind is a perfect first draft, a perfect skeleton, a perfect ‘what’ and ‘how’ to overlay with ‘why?’ Now all King needs is to find that missing piece, to find the ‘why’, or, if he knows it, to share it with his audiences. Because truthfully, that it the piece that matters the most.

 

More information on Mason King and his performance dates can be found here.

MANDY MUDEN: IS NOT THE INVISIBLE WOMAN

☆☆

With her bold style and even bolder personality, Mandy Muden is anything but invisible.  Muden’s premise for “Is not the Invisible Woman” is that women “of a certain age” are overlooked often enough to feel invisible, and she has set out to prove that she, at least, still commands attention.

However, Muden is let down by her magic, which is often basic and clumsy.  Her tricks are at their best when she incorporates them into her overall performance, as this marginally raises the audience’s emotional investment.  A section illustrating a romantic relationship ending poorly using several bits of string shifts Muden’s performance to an unexpectedly melancholic tone, despite the maintenance of her playful character, but is a highlight in how she uses magic.

Perhaps ironically, Muden’s many jokes about and references to being a woman “of a certain age” get old fast, especially as they start to sound repetitive.  It is possible that viewers who feel like they fit in to the category that she describes would appreciate this element of her show a bit more, and that she intentionally caters to this audience.  She is at least consistent in maintaining her theme.

Muden develops a patchy relationship with her audience, teasing her participants  slightly more than necessary, even when the participant in question was visibly uncomfortable. She was lucky in that the majority of her participants responded well to this approach.  Her repeated instructions to get her male participants to weigh themselves to contribute numbers for part of her final reveal could be construed as commentary on social pressures on women’s bodies.  However, it is left to the audience to decide whether her method of making this point is too neglectful of the similar pressures on men’s bodies that may be relevant in the lives of her participants.

Muden has a solid goal in her show in demonstrating to the audience and perhaps also to herself that she is not limited by her age and gender.  Her execution may have a more niche appeal.  Nevertheless she certainly succeeds in her aim—in fact, it is difficult to imagine Muden ever being overlooked.

 

More information on Mandy Muden and her performance dates can be found here.