3 Stars

JAMIE LEONARD: BLINK OF AN EYE

☆☆☆

If you are chronically online, you may be aware of the audio meme that goes: “Want a beer?” “He’s 4!” “I don’t know, what am I supposed to do with him!?” Jamie Leonard is of course not 4, but he is just 18, a fact that will be shocking to anyone who experiences his confident and mature mastery over the stage. He’s 18! What are we supposed to do with him, review him fairly to the same standard of long time adult magicians? That’s apparently all we can do.

Leonard is up front about his age, making multiple references to his recent stint in, well, school, throughout the show. He also is in one of the exact life stages that his chosen theme is more directly relevant to, where the cusp of adulthood that you are falling over reveals that many things that came before it can and will be over in the blink of an eye. This truth is prominent to anyone at a transitional phase of life, so even those in his audience who are long past their school days can and do find it relatable. The magic tricks that he picks are lightly tied into this theme, and are not necessarily anything profoundly original, mostly a selection featuring card and math based tricks. However, his bright presentations keep them feeling fairly fresh, and he performs each and every one to near technical perfection.

When including audience participants in his effects, Leonard finds an excellent balance in being charmingly open and easy with little kids, and gently razzing the adults. He guides everyone clearly and keeps instructions simple, while making the experience enjoyable for all.

Even if you cannot relate to the underlying theme, Leonard has an infectious energy and affable enthuiasm that keep the audience feeling upbeat and engaged. At some points he is literally dancing and prancing around the stage, showing the confidence you might expect only from a much more seasoned performer. The only showmanship facet that really seems to need more experince is enunciation, as occasionally Leonard seems to get a little overexcited and fails to speak clearly. However, these moments are limited.

Jamie Leonard’s Blink of an Eye is an excellent work of a magic show, and his sold out rooms indicate that he is rapidly finding the success he has earned. If this is the level he is capable of performing at as a teenager, his competion should be quaking in their boots at the prospect of what he will be bringing within the next five or ten years.

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.

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.

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.

KEVIN QUANTUM: INVISIBLE FORCE

☆☆☆

Fringe regular and favorite Kevin Quantum has clearly built a strong reputation, if the sold out Invisible Force on a Monday evening is anything to go by. He may be family friendly with the kind of arguably educational billing of being both a scientist and a magician that attracts young families, but it’s worth noting that the reviewed show had a decent mix of ages, with plenty of groups of adults of varied ages enjoying the show. Invisible Force is conceptually very interesting, and Quantum is an able and engaging performer.

As with many magic shows, Quantum invites many audience members to the stage. He is by and large a welcoming presence, rewarding most of his participants with biscuits. This is in keeping with the science theme; in the best, kindest way he is here reminiscent of a scientist training their beloved mice through a maze. Quantum’s long term fans may know that he loves a boogie, but it may be worthwhile for him to have a bit more respect for his participants who don’t. At the reviewed show watching him pressure his first participant of the evening into dancing was uncomfortable viewing. The moment could have at least been tied in thematically with a discussion of the invisible forces at play in a dynamic of unequal power, but the opportunity was missed.

There are a few other missed thematic moments in the show, which feels like a shame for such an interesting concept. The thematic elements of some routines feel fairly straightforward, so it feels reasonable that they are performed without explicit elaboration, like a participant’s emotional connection to a lost object leading it back to her, or a participant’s demonstrable connection with Quantum allowing them to subconsciously coordinate certain factors. On the other hand, Quantum’s magical illustration of quantum physics could do with a touch more tie-in, to allow those in the audience coming in with less physics knowledge to fully appreciate the parallel. Quantum is known for bringing an entirely new concept-driven show to every Fringe, which is certainly admirable in its own right, but the reviewed Invisible Forces may leave some audience members hoping that someday he returns to the concept introduced here with further insight and elaboration. 

As a magician-science hybrid, Quantum makes great use of the props of both his passions in the effects that he performs, often leading to visually spectacular results. A highlight is his use of a glittering chain that behaves in a beautiful, fascinatingly unexpected way. Quantum’s own driving force is, as he describes it, enabling his audience to experience wonder, and he is adept at using both science and magic to achieve this.

Quantum is a regular and strong performer, and his many fans certainly won’t leave Invisible Forces disappointed. Some may find it the most interesting work he’s brought to the Fringe in recent years. However, it does feel like the concept work of the show could be slightly augmented to give it a more cohesive feel, plus the reviewed show had a participant issue that, to be fair to Quantum, may have been a one-off. Quantum is always one to watch, and if anything, the ambition evident in the structuring of Invisible Forces is a fascinating glimpse into what makes Quantum himself tick— a sub-theme of the show. It will almost definitely leave audiences curious and excited to see what he comes up with next year.

CALLUM MCCLURE: WON’T GET FOOLED AGAIN

☆☆☆

It’s rare and welcome that a magician comes to the Fringe with a show concept that feels so completely different that it almost calls for a new genre category to be added to the Edfringe website. For this accomplishment alone, Callum McClure’s Won’t Get Fooled Again’s combination of magic and computer programming is worth a watch. While magic is a common category at the Fringe, computer programming demonstrated as a performance art is rare, perhaps even unique. This was under appreciated on the rainy weekend that it was reviewed, the weather may have deterred Fringe audiences from venturing out for an unticketed show. McClure’s warm presence made the excursion worthwhile for those who made it in to his audience.

McClure blends magic and technology for all of his effects, even when he looks to the past for a brief interlude to give his computer a break. The bones of the effects he performs will be familiar to those who have seen a magic show before, but the inclusion of technology makes many of them feel new. McClure’s opening routine using a virtual assistant is the perfect way to set the scene, encouraging the audience to interact with his program the same way they would interact with a human performer.

Like all the best magicians, McClure makes participation in his show easy. Those required for an easy task might be chosen at random, but participation that requires a bit more involvement is on a voluntary basis. McClure has no problem getting volunteers at the reviewed show, those dedicated enough to brave the rain to see him were evidently enthusiastic.

In between the magic and computers, McClure makes the beginnings of a point about the use of technology, both the benefits it brings and what it takes away from society overall. This point feels like it could be developed further, McClure’s show and evident professional background give him an unusually strong foundation from which to comment on this.

The blend is not yet flawless, while the magic went to plan at the reviewed show, the computer programming had the occasional glitch. It is maybe even more impressive that a show that felt at times like a work in progress also felt like an incredibly worthwhile performance to see. McClure’s Won’t Get Fooled Again is only at the Edinburgh Fringe for a brief run this year, but hopefully he will have the chance to develop it and continue to perform it. It’s certainly an unusual entry into this Fringe’s roster.

CASPAR THOMAS: THE ART OF CLOSE-UP MAGIC (VOLUME 2)

☆☆☆

Fringe regular Caspar Thomas is back, this year in a beautiful venue overlooking one of Edinburgh’s most famous streets. It’s the perfect setting for his The Art of Close-Up Magic (Volume 2). Thomas is known for providing a solid routine of physical magic, and, true to form, does exactly that. The effects may be familiar to magic fans, but Thomas’s engaging demeanor and solid performance make it a fun way to spend an hour.

Thomas primarily works with cards, but also includes a fun, visual coin effect to start his show. The effects may be known enough that some of the sleights feel a little more obvious than would be ideal, but the audience is already enchanted with Thomas’s stage presence. His series of card effects are well performed and received, getting several audience members involved in the show. A highlight includes Thomas demonstrating a card trick with the help of a “pet”, whose brief appearance is appreciated by the audience. Thomas also includes an effect involving a book, which he reports to have received strong feedback on in previous years. While it doesn’t go perfectly to plan at the reviewed show, it’s a strong enough effect that even a reveal that isn’t quite perfect is still impressive.

Like many magicians, Thomas uses audience participants for most of his effects. Participants are treated with kindness and only asked to complete simple tasks to aid in the magic. Most are able to participate from their seats, and when an audience member is called upon to join Thomas onstage, he’s appreciative and happy to share the spotlight.

In keeping with the aura of his venue, Thomas’s magic and presentation style feel like a well preserved piece of history. At a festival which tends to attract performers actively evolving the next era of magic, it’s helpful and welcome to have a well performed example of why this art form became popular in the first place. Audience members might easily imagine Thomas entertaining audiences hundreds of years ago in the same way that he entertains them today.

SEAN HARRINGTON: SLEIGHTLY FUNNY

☆☆☆

Comedy magician Sean Harrington doesn’t even wait until showtime to hit the audience with the jokes, considering his pun-y show title Sleightly Funny. As promised, the show contains laughs and magic. At the reviewed show on a drizzly weekday afternoon the attendance wasn’t huge, but really solid considering. Harrington has a good balance of jokes and magic that keeps the audience entertained.

The magic is nearly all well performed, with just one keynote and unfortunately very brightly colored prop sneaking a peek at the audience behind Harrington’s back before its official reveal. An early coin routine is a highlight, well performed by Harrington and immediately grabbing the audience’s attention. Elsewhere Harrington performed some great magic-themed comedy, as exemplified in a mind reading sequence with a carefully placed audience participant who played along happily to great effect. It’s in moments like these that Harrington really shines. He mentions the similarities in approach of both comedians and magicians in entertaining an audience, and it’s clear that this is an avenue that he is passionate about exploring, and one that he is well equipped to demonstrate to audiences.

With a small audience naturally everyone got involved in helping Harrington with his magic. Harrington is friendly with his audience, and they are happy to join him—as with the participant in one of his magic comedy segments who unquestioningly played along to help Harrington create a funny moment for the rest of the audience. While there is one participation moment that is a little bit more nerve wracking, living in a country with nationalized healthcare takes some of the pressure off of the participant. And of course, Harrington is always in control.

These days everyone could probably do with a laugh break, and for the next few days Sleightly Funny is here to provide it. Harrington is a funny performer and skilled magician. Magic and comedy fans won’t regret spending time with him.

PHILIP NORTHFIELD- MIND READER?: OBSESS

☆☆☆

It can be difficult for lunchtime shows to attract weekday audiences. Phillip Northfield—Mind-Reader?: Obsess did manage to get a small audience at the reviewed show despite the day, timing, and rainy weather. While one friend group had a self-imposed magic ban for this year’s Fringe due to disappointment last year and had come by mistake, even they left with smiles on their faces. Northfield took full advantage of the crowd he had, still delivering a full show.

Obsess is about obsessions, how they make us who we are and should be celebrated. It’s a nice message from a performance art that, like many, calls for some level of obsession from its practitioners if they want to be considered successful performers. Northfield brings some level of non-magical obsession to the show with his demonstration of a Rubik’s cube solve, but this is such a common magic effect it feels adjacent. He shines a light on how hard magicians must obsess to learn the skills that they perform.

The magic that Northfield performs by and large is a tribute to how much he has obsessed over it. His card shuffling sequence is certainly entertaining, with one handed moves that he makes look deceptively easy. While his actual trick ran in to some trouble, with a participant calling him out for switching out the card she pointed to even without her glasses, Northfield recovered the effect for a nice if somewhat undercut reveal. Most of the magic goes to plan, with a series of mind reading effects that see Northfield successfully reading the audience’s thoughts.

With small audiences,  participation is inescapable and building the show can feel like a collaborative experience, as there are times when there are as many or even more members of the audience on the stage as off it. Northfield balanced his participant use well, ensuring that each audience member had an approximately equal time onstage with him.

Obsess is a really lovely tribute to the work it takes to become a working magician. While the reviewed show was perhaps hampered by the weather and time of day, it could easily be a great option for a start of the day show, particularly for Leithers on their way in to town to enjoy the Fringe. Northfield’s perspective on magic gives new insights into the art form.

ANGUS BASKERVILLE: HIDDEN POWERS

☆☆☆

Magician Angus Baskerville has quite a following, at the reviewed date of his Hidden Powers show he managed to get a strong audience on a sunny weekday afternoon. He has a dual mission of educating his audiences about autism and also impressing them with magic, all structured around the story of his own childhood as an individual with autism. It’s gently empowering with some well performed magic.

The magic performed tends toward the modern classics, themed on stories from Baskerville’s youth. If some of the humor comes across as a bit juvenile from an adult perspective, it feels appropriate for a family-friendly show that, at the reviewed date, had a significant minority of children in the audience. There is a clear creative highlight in Baskerville’s bank note routine, which features a particularly unusual reveal, allowing Baskerville to show off a few skills at once. Thematically it’s perhaps a bit tangential to the primary point of the show, but it’s such a fun reveal that the audience hardly notices.

With an audience of mixed ages Baskerville does a great job of balancing getting the enthusiastic children involved with making sure he gets adults onstage with him when required. Baskerville is kind to his participants, often asking for volunteers, and when he does need a random choice for effect ensuring that the participant is chosen via a selection process that is easy to opt out of. Those who do participate are even sometimes rewarded, even sometimes with a cheeky monetary memento.

Hidden Powers is not just a magic show, Baskerville also seeks to educate and advocate for neurodivergent individuals, especially those that share his diagnosis of autism. It’s a theme that’s clearly very close to his heart. The theme does effectively tie the show together, and while there are a few moments where it feels tangential—and, in his final effect, it seems to wholly takes the backseat to a good reveal—by and large Baskerville does a good job of using it to mold the presentation of his tricks.

Well suited for all ages and demonstrably popular, Hidden Powers is a not-so-hidden gem of a show. Baskerville performs his magic well, with plenty of jokes and inspirational conclusions that he’s reached over the course of his life along the way. It’s wholesome, family friendly, and welcoming of all types of brains.