4 Stars

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.

KEANU HO: EASTERN ILLUSIONS REIMAGINED

☆☆☆☆

The impact of Chinese culture on the international conception and performance of magic is undeniable, perhaps most obviously in the ubiquity of the classic linking rings effect. However, while Edinburgh increasingly sees magic from a variety of international performers, China’s magical heritage is most often illustrated to Fringegoers by magicians with no personal connection to it. Luckily, this gap in the Fringe magic program has been filled this year by Keanu Ho, who has brought his Eastern Illusions Reimagined from Hong Kong. Ho updates tradition to perform a set that feels both modern and imbued with his own personality, while also acting as a means of cultural expression and exchange.

Eastern Illusions Reimagined is part of the Fringe’s Chinese Culture Week, and perhaps the emphasis on explaining Chinese magical heritage is in part due to this brief, but Ho expresses what feels like a real and deserved pride in that heritage. The linking rings, commonly described as Chinese linking rings, are of course given a prominent role in his opening act. At other points, Ho’s own personality shines through especially clearly. His card routine is a highlight of creative presentation. Describing it as a “card routine” doesn’t do justice to the experience of watching it; Ho turns a trick that many magic fans might have seen before into a moment that is exceptionally fun and exciting to see.

In between the magic, Ho is approachable and informal, chatting with his tech support and the Chinese Culture Week staff. It does, at times, feel less like a magic show and more like Ho is hosting a gathering of friends, introducing his new friends in the audience to his older friends who are involved in the production. There is of course plenty of magic presented, but these interludes highlight Ho’s hospitality as he invites the audience to witness and take part in his routines.

By magic show standards Eastern Illusions Reimagined is relatively light on audience participation. Most of the audience are able to join in from their seats, examining the props that Ho brings for them to examine. For the one more involved role, Ho was able to select the most enthusiastic audience member to participate, and she was clearly overjoyed to be able to experience the magic from a closer perspective. It’s worth noting that the Chinese Culture Week staff who sat in on the reviewed performance helped Ho curate his hospitable atmosphere, most notably in helping this participant get photos and videos of her time onstage.

Eastern Illusions Reimagined is a well crafted, well performed show, both as a piece of cultural exchange and as a magic show in its own right. Ho is an excellent performer who seems born for the stage. At the reviewed show Ho surprisingly revealed that he was mostly retired from performing magic prior to preparing for this Fringe run, and instead works as an educator and mentor to children in Hong Kong. His audience will undoubtedly hope that he continues to create and perform magic, they will be keen to see more from this engaging, exciting performer.

ELLIOT BIBBY: ABRACADADA

☆☆☆☆

In the opening moments of Abracadada, a family friendly show that attracts all ages, Elliot Bibby explicitly welcomes adults with kids to enter and exit the show as often as needed to cater to the little ones. He’s family friendly on both an artistic level and on a human level. The show itself is themed on childhood, from Bibby’s own childhood experiences through to his current experience as a father of two.

As the show progresses, it becomes clear that his opening remarks weren’t just empty words. Beyond the magic, the real factor that sets Bibby apart is in how he interacts with his audience. At the reviewed show Bibby had two very enthusiastic young siblings in his front row, heckling him in that adorable but still potentially disruptive way that kids do. Bibby made sure to get them both involved at appropriate points in the show. His navigation of their interruptions revealed not just the unflappably professional demeanor that has made him such an in demand magician, but also a keen sense of the potential rivalries of sibling politics, which he navigated flawlessly in his responses to them.

Most of the tricks that Bibby performs might be familiar to magic fans, but they are well themed and perfectly performed. Those who have seen any particular trick and think they might know how it works won’t get confirmation from Bibby. A highlight draws inspiration from Bibby’s other Fringe venture, with a child-friendly makeover that results in one of the many particularly adorable audience participation moments of the show. His final reveal is also impressive, he may employ a classic magician closer but manages to use it in an unusually visual, thematic, and engaging way.

The Abracadada theme feels fairly light touch in that as much a description of Bibby’s life as a magician and father as it is a theme for the show, and is used to encompass incidents from his own childhood as well—not a critique so much as a comment on the type of show that Bibby is choosing to perform. That being said, the care and attention to detail in the props and presentation results in an especially cohesive show. Bibby is also in a position to uniquely embody his theme, showing off his dad skills as much as his magic skills in how he speaks to his audience.

As at the writing of this review, Bibby has been regularly selling out his Abracadada run and appears poised to continue to do so. It’s not just families with young kids in the audiences. Bibby is a Fringe regular, and particularly as this is his first solo show in a little while, it’s attracted his long time fans as well, who are committed to him regardless of the theme. Abracadada might be a different theme than they’re used to, but it is a beautiful little triumph of a show. Bibby’s old and new fans left his venue slightly more joyful for having experienced it.

ANDREW FROST: JUST LET ME HAVE THIS

☆☆☆☆

Popular card magician Andrew Frost seldom uses other props, but in his new Fringe show Just Let Me Have This he breaks with tradition to briefly consult a dictionary. So, it’s fitting that as his audience filtered out, one woman could be heard saying to her friend, “I’m the definition of flabbergasted!”

Frost is a friendly stage presence from the moment that the audience enters, greeting folks as they come in and getting early arrivals to help with the set up for a trick while the rest make their way in. Like most magic shows Frost uses a significant portion of the audience in the act, and at the reviewed show his friendly demeanor is, at times, tested by the unexpected nature of these interactions. Luckily Frost is a true professional, remaining kind to his participants even when they mistakenly undercut the occasional reveal.

The magic that Frost performs is, as his fans will have come to expect, primarily card magic. It can be a challenge to make an hour of card magic feel varied enough to hold an audience’s attention, and even more so for an annual regular like Frost, but you wouldn’t know it to watch him perform. This year he does include a few other props, including a couple of books and even a mathematical prediction, which he performs with his usual skill. However, Frost evidently knows what his fans come back for, and the card tricks he performs are the clear highlights.

Frost also leans in to his storytelling talent this year, spending slightly more time telling the audience the stories from his life that augment the tricks. He is an entertaining speaker, frequently getting laughs as big as the applause for his magic. In a festival known for having possibly too many comedians, this may not be the factor that sets him apart, but it certainly increases his appeal.

If the sold out reviewed show is anything to go by, Frost’s previous ventures have cemented his status as the Fringe’s favorite card magician. In a way Just Let Me Have This is more of the same, with its perfect card magic to satisfy his fans and gain him more. It’s also different enough to make Frost a reliable performer to keep coming back to. Frost has become the must-see for card magic fans, and Just Let Me Have This will only help that reputation grow.

TAIWAN SEASON: BIRTHDAY PARTY

☆☆☆☆

It’s not really a party if there’s no magician around. Lin Lu-Chieh has had plenty of experience providing the magic in other people’s parties, but this year at Taiwan Season: Birthday Party he is both the magic and the celebrant, throwing an exceptionally magical birthday party for himself and inviting the entire Edinburgh Fringe to celebrate with him.

Lu’s magic and routines are consistently and delightfully birthday party themed. Scottish audiences may even learn a little bit about Taiwanese culture, with one of Lu’s early routines showcasing a candy that he grew up eating at friends’ birthday parties. A later highlight is Lu’s celebratory take on a dangerous magic classic, making this usually serious effect feel unusually playful and fun.

Both magic and birthday parties often require more than one person for maximum effect, and Lu does indeed invite the occasional participant to join him onstage. An affable host, Lu makes them all feel welcome. At the reviewed show, it was notable that Lu attracted a particularly friendly audience. When one participant who had arrived alone was involved in an effect that she couldn’t witness due to her role in it, an audience member seated near her quickly filled her in once she returned to her seat, without disrupting the next routine. The fact that his audience was willing to pitch in is a testament to the type of people that he is attracting to his show.

Lu’s Birthday Party is undoubtedly a success, both as a party and as a show. With its early time slot, Lu wisely keeps it family friendly to maximize appeal. While he does indulge in the very occasional joke that is more aimed at children, Birthday Party is largely performed to appeal to adult audiences as well. If birthday parties are the individual’s annual celebration of themselves, the Fringe is undoubtedly the performing arts community’s equivalent. Lu’s Birthday Party Fringe show is the perfect way to mark both occasions, celebrating himself and the art of magic.

JUSTIN WILLMAN: ONE FOR THE AGES

☆☆☆☆

How much magic makes a magic show… a magic show? What percentage of focus on sleight of hand, trickery, or carefully designed deceit is enough to say, ‘this is a Magic Show’? At this publication, we will review even the tiniest amount, eager to engage with every performance that even touches the world of magic. But that doesn’t mean it isn’t a topic worth pondering. Justin Willman is, undeniably, a magician. In his show One For the Ages, you will find all the comfortable classics you yearn for – cards to pick from, a thing turned into another thing, a word plucked from the very recesses of your mind. If you’re looking for originality in your magic, this is not the place. But the focus of One For The Ages seems a bit different. It seems magic tricks may be the skeleton, but humanity the filling.

Willman radiates openness (ironic for a magician) and down-to-earthness. His banter with the audience is eagerly received because for a lack of a better word, it is simply so normal. Willman is a working magician with a Netflix show and multiple appearances on daytime televison. Show attendees can be sure that every word he says and every breath he takes have been rehearsed down to the second. But he still manages to make it not feel that way. He makes every joke feel organic, and weaves his storytelling so languorously that you legitimately forget to expect the magic trick that comes at the end of it.

If this is an impressive skill to witness, it is not his only one. Willman’s sleight of hand is cleanly done and his show designed with enough variety to stay interesting, while still focusing around a few central moments that set a good pace for the night. Even more impressive is his – skill? luck? with audience participants. Perhaps Milwaukee is just a city teeming with character, and Willman had a 100% chance of getting a star as he brought multiple people on the stage to take part on long effects. But experience does not back that up, and more likely the culprit is just his practiced hand at setting participants up to succeed. The two main participants at the show reviewed were darn near show stealers in their own right, particularly a young lady who may have skewed a little too close to curiously skeptical for Willman’s taste in the end.

While the show was certainly designed to be completely family friendly and was clearly mostly intended for the under 18 set, it still full of tongue in check risque jokes to keep the elders entertained. Willman also wisely includes nods to Milwaukee’s favourite magic son (he was here for a few years in his young adulthood! That’s close enough!), Harry Houdini. And ranging from extensive audience interaction, literally running around the venue, and just exuberant clownishness, Willman’s show really does encompass enough to keep anyone entertained.

CHAMPIONS OF MAGIC: HOLIDAY SPECTACULAR TOUR 2025

☆☆☆☆

No good magician, nor performance artist of any type, backs away from a challenge. And to be part of an ensemble show when engaging in an artform that thrives on forging a unique identity is certainly that. Here at World Magic Review, we are wary of ensemble shows for exactly that reason, but the Champions of Magic prove that not only will they not back away from that challenge, but they will spend over a decade becoming quite possibly the best at it in the business.

The Champions’ show kicks off with an immediate burst of energy, with not a moment to lull an audience into it when there is so much trickery to accomplish in 90 minutes. This could go either way, and in the beginning the laughs are light, but the Champions’ effusive energy, particularly on the parts of magicians Richard Young and Sam Strange, ultimately wins them over.

This show has it all – cardistry, “close up” magic, grand illusions, mentalism, and escapology, and more. The four performers: the aforementioned Young and Strange, Liberty Larsen, and Fernando Velasco spread the disciplines between themselves, but still share so much stage time and assist in each other’s tricks so much that the entire show feels cohesive and well plotted. The Champions favor classic tricks that a magic fan is likely to be familiar with, but do an excellent job of constructing narratives around them in a way that make them feel unique. Not only that, but the Christmas theme is lightly, but cleverly, woven within the show.

The most and least compelling of the storylines are actually done by the same magician, Fernando Velasco. Velasco thrives with his variation on a Spirit Cabinet that connects the audience with the most famous Christmas ghost story. It is equal parts cheeky and earnest, and is delightful to see included in a non- Spiritualist centered magic show. He does misstep elsewhere, however, by missing an easy opportunity to localize a Houdini inspired escape when performing in Milwaukee, WI. Houdini grew up in nearby Appleton after his family moved to the US, and moved to Milwaukee for a portion of his young adulthood, which would undeniably make Milwaukeeans consider him a local boy and win any magician to call it out their favor. Coupled with fellow magician Larsen making nervous ‘windy city’ jokes when struggling to keep a card tower stable (and on a day the Packers lost to the Bears! Oh the controversy!), this unfortunately gave the impression that the simple work of making a few adjustments to connect to locals was not made a priority once tour cities were chosen.

Regardless, the Champions of Magic have created a fun holiday experience with this show, which easily delights the children of their audience and charms the adults too with their unfettered silliness and joy to be performing. Group magic shows are a difficult balance to maintain, and the Champions do it better than any other contemporary act.

IGOR LIPINSKI: PIANO ILLUSIONS

☆☆☆☆

Igor Lipinski may not be the only magician to combine his skills in magic and music, but the music and magic rarely feel as classy as in his Piano Illusions. The venue is slightly outside the main Fringe center but he’s worth the venture. Notably on the venue front, St Mark’s only charges their acts to rent the space so the full ticket price goes to the performers, making this beautiful space one of the more ethical venues—hopefully this is working out in Lipinski’s favor. Lipinski combines magic and music in increasingly interesting ways throughout the show, making for especially interesting and entertaining viewing.

As many may have realized from the title of the show, Lipinski is a pianist and uses his piano in both setting up and revealing his magic. A highlight in both realms sees his equally musically skilled wife, flautist Anna Chenoweth Lipinski, join him onstage for a lovely duet that also perfectly sets up and accompanies a romantically themed magic trick. While the trick might start in the expected way, the reveal is unusual, with specifics that may even make it unique at this Fringe. Novelty is rare and not required at magic shows, but it’s certainly nice to see when it happens.

While Lipinski is demonstrably hugely talented, he may benefit from adjusting the angles of his magic at times to preserve the illusion for the full audience. This is particularly noticeable from the first couple of rows when he performs his card finding routine. His sleight of hand doesn’t feel clumsy, it just looks like he may be more accustomed to performing it for individuals rather than both performing for a specific participant plus a whole audience at the same time. That being said, the card finding is a great routine that, at the reviewed show, earned specific compliments from the participant, who was evidently trying unsuccessfully to work out how it was done.

Like all magicians, Lipinski uses participants at times to make the magic more magical. Audience participants are obviously a benefit to the magician, but Lipinski particularly excels at making participation feel like a real benefit to the audience members who undertake it as well. Whether it’s a uniquely magical souvenir or a routine that makes the participant feel like they had a hand in making something magical happen, this is an especially positive show to participate in.

A properly mixed bill, there is a significant proportion of music mixed in with the magic. This is not a music review site, but both Lipinskis are definitely pleasant to listen to. Igor Lipinski in particular, as the primary star of the show, demonstrates his musical art in a way that almost feels educational. Those who come to the show more due to the magic may find a new appreciation for the ways that a pianist as skilled as Lipinski can manipulate a tune to his will.

Piano Illusions has something for everyone. It’s a perfect dual ambassador, bringing magic to the music fans and music to the magic fans, while ensuring that it will be a memorable evening for both. Lipinski is an exceptional talent whose Piano Illusions are a worthwhile addition to any Fringe itinerary.

STUART LIGHTBODY: MYSTERIOUS MOMENTS

☆☆☆☆

The popular Stuart Lightbody is worth traveling for. At the reviewed showing of Mysterious Moments with Stuart Lightbody, several audience members from Lightbody’s home country of South Africa reported that they had seen him in that country and loved him so much that when they found out that he would be in Edinburgh for the Fringe, they made sure to take the time to see him again. That level of committed fandom is surely the most impactful endorsement to hear. As soon as Lightbody gets started, the rest of the audience understand how he has acquired such enduring support.

Mysterious Moments may emphasize mentalism a bit more that Lightbody’s fans would usually expect, but they can be reassured that they will still see some of his excellent card work. Plus, the mentalism is equally excellent. One card effect in particular that garners a big reaction from everyone is part of a sequence involved in forging a connection between two randomly chosen participants. Many of the audience members at the reviewed show were on board as soon as Lightbody showed off his fancy shuffle work. The card effect itself earned Lightbody an affectionate expletive, and the subsequent demonstration of the connection forged left all in awe.

Lightbody gets a good proportion of the audience involved, while keeping anything difficult for himself. Much of the audience involvement can be done from their seats, including a highly impactful mind reading sequence that manages to get just about everyone at once. The one mildly disconcerting moment involves a participant whose consent is acquired ahead of the start of the show.

Mysterious Moments functions as a series of stories, sometimes even just vignettes, as a framework for Lightbody to perform his magic. This contributes to the dreamlike quality of the performance that he deliberately curates. It’s a highly effective way to frame and make memorable the mysteries that he demonstrates.

Many will be drawn to Lightbody’s shows due to their previous experiences with him, and those for whom that was not the case this year will find themselves in the same boat by the next Fringe. Mysterious Moments is an excellent primer on perfection in storytelling magic, that will ensure the viewer’s standards are high in assessing other shows. Lightbody’s hypnotically powerful magic perfectly highlights the stories.

DAVID ALNWICK: SECRET MAGIC SHOW

☆☆☆☆

Probably one of the hardest working performers of the Fringe, David Alnwick tends to pack his days full. This year he has three carefully written shows that he performs every day, plus his roving Secret Magic Show that takes advantage of other performers’ off days leaving the odd free slot in various venues. Not everyone has Alnwick’s work ethic and endless energy! The reviewed show at 10:30AM on a Sunday morning took place in a record shop, and like Alnwick’s shows always are, was very well attended. Alnwick performs a variety of his favorites and the occasional experimental bit.

The magic performed is as perfect as usual for Alnwick—with the hilarious exception of his attempt to demonstrate one of the effects that he invented to sell to other magicians. While this minor imperfection was a nice reminder to the audience that this isn’t TV—when something goes wrong the performer can’t re-shoot until they get it right—it did not have a significant effect on the overall impression that Alnwick is just what he claims, a truly exceptional magician. There is an emphasis on card tricks at the reviewed show, which is fantastic as this is an area where Alnwick particularily excels. He even shows off some fancy shuffles and cardistry, just for fun. A great early moment that sets the tone is a card finding effect that gets many members of the audience involved, with Alnwick successfully recovering the many chosen cards in inventive ways. The audience is also treated to Alnwick’s favorite card trick with the accompanying story. Returning fans may remember this one from prior years’ shows, it’s a strong routine that’s fun to revisit.

A practiced professional, Alnwick treats his audience participants well throughout the show. At the reviewed show he made sure to locate the fellow magician in the audience, and got her involved at the perfect moment. In a small venue there’s nowhere to hide from participation in the magic, but nothing to fear from a performer like Alnwick.

Alnwick’s Secret Magic Show is a slightly more chaotic experience than his fans will be used to, which in this case is a draw. Alnwick navigates the chaos well and it feels like an interesting insight into how his mind works. There’s even the opportunity for greater involvement, he asks the audience if they happen to have cards he could use, giving the truly devoted fan a chance to own a deck shuffled by Alnwick himself and everyone a chance to see a magician perform with a verified standard deck.

The great advantage of Alnwick’s Secret Magic Show is that the timings are so varied, those who want to come will provably be able to find a time that suits. Magic fans, comedy fans, and anyone looking for a random assortment of good times will enjoy Alnwick’s company.