5 Stars

THE CHICAGO MAGIC LOUNGE

☆☆☆☆☆

As cheesy as the phrase ‘the talk of the town’ is, the Chicago Magic Lounge has already built a notable reputation for some of the best evening entertainment in Chicago. As deserving as the magicians are for this renown, it would be near professionally negligent not to begin with the role of the Lounge itself as a contributing character to the show. What has been created here is impressive to the point of utterly remarkable. From the time you enter through a laundromat – and no more secrets will be revealed about that, you’ll have to find out for yourselves – every step within the Lounge is a perfectly curated experience with mysteries and history in every nook and cranny. One could probably visit fifty times and see something new on each of them, both in their surroundings and in the magic performed for them.

At the early evening show on April 28th 2018, the featured stage act was performer AJ Sacco. A man of flexible flair, Sacco had also been one of the wandering magicians doing close up magic for attendees during the preceding cocktail hour. Sacco’s close up easy and amiable demeanor shifts seemingly effortlessly to a cheeky onstage persona. At some points clowning around with silly and undeniably funny tricks, Sacco also has turns of magician-as-beat poet, an unexpected but compelling act.

Sacco led for the headlining stage act, Mago Gozner. Hailing from Mexico, Gozner jokes about having a poor understanding of English, but he certainty understands how to win the crowd. Radiating a kind of affable self consciousness, Gozner excels at including members of the audience in his show while making them a part of the joke, not the butt of it. To be completely straightforward, Gozner excels at every moment of his performance, executing tricks with everything from cards to Rubix cubes to toilet paper with near perfect comedic timing.

Although there are only two acts to the main event, it is extremely worthwhile to swing for the extra post-show show in the Lounge’s 654 Club. On this night performed by Justin Purcell, the half hour of magic in the 654 Club gives an opportunity for intimate close up magic. At this point in the night most of the audience has been drinking for at least two hours, and some people will have had quite a lot.  The combination of the close quarters and their own personal intoxication means that some attendees are, if not exactly unruly, vocally overexcited. The single most remarkable magic performed by Purcell is just how well he handled these people. This is not to say he isn’t an excellent conjurer, but his ability to go along with the (repetitive, unyielding, loud) exclamations shouted at him without giving them the spotlight was one of the most impressive things to see all night. Purcell also impresses with some very classic magic performed with such dexterity and charming sincerity that it is impossible not to be dumbfounded, even if you’re familiar with the concepts. Far from being just an added bonus, Purcell’s performance at the 654 Club is an integral aspect of the Chicago Magic Lounge experience.

The magic scene in Chicago may not be in it’s golden age anymore, with men in top hats sauntering around, sawing women in half (which many women are probably okay with ending), and committing trademark infringement, but the Chicago Magic Lounge seems to serve as a promise that the greatest parts of this scene will never die. Not only is this theatre a worthy successor to the magic of days gone by, but it is a vibrant and exciting reminder that truly good magic is eternal and there’s so much more to be delightfully deceived by.

 

More information on the Chicago Magic Lounge can be found here

WONDERS AT DUSK

☆☆☆☆☆

Scott Silven’s  “Wonders at Dusk” is aptly named, not just for the literal time at which it occurs but also for the thematic progression of the show itself. Silven’s opening remarks about his childhood struggle to pinpoint the moment at which dusk turns in to the proper darkness of night draft a verbal blueprint for the evening. The audience is drawn in by Silven’s autobiographical stories and gradually captivated by his mind reading powers, ultimately leaving the venue spellbound and in wonder at his skills.

This act is not entirely a magic show, but also includes elements of storytelling, as previously mentioned, and also Silven’s interesting take on mindfulness meditation. At various points in the evening, Silven encourages the audience to be present in the moment, likening time spent as his audience to a detour on the path of life. His act quickly becomes very relaxing. Unlike the vaguely threatening kind of relaxation common in hypnotism shows, in which the performer asks the audience to give up conscious control of their bodies, this is a much nicer relaxation, in which Silven simply asks that the audience soften the boundaries between their conscious and subconscious thoughts. Such a lowering of these boundaries will, says Silven, allow individuals in the audience to connect with each other in a manner conducive to their reception of his mentalist magic.

The magical elements of the show are similarly remarkable. Silven repeatedly correctly deduces information generated by the audience, always with safeguards to demonstrate the veracity of his magic. Hidden envelopes and pouches placed throughout the room prior to the audience’s arrival are proof to assure the audience that Silven predicted their responses before he had even seen the evening’s crowd. These hiding spots add an extra layer of whimsy to the evening, as Silven directs audience members on a hunt through his props, or climbs on top of furniture, to collect the evidence of his powers of prediction.

Silven’s “Wonders at Dusk” is indeed a wonderful show to experience. Its pacing and theme make for a calming end to the typically hectic day at the Fringe. At the same time, the magic is exciting to watch, with the final illusion in particular leaving the audience in amazement. We leave knowing that, just as surely as the dusk has become night, Silven’s uplifting magic has stolen over the evening and left its distinct impression on our minds.

 

More information on Scott Silven and his performance dates can be found here

CHRIS COOK: CONTROL

☆☆☆☆☆

In his show “Control”, Chris Cook speaks a lot about not feeling in control of his life, and even says that he does not have complete control over what will happen in that show. But this is only partially correct- Cook quickly captivates his audience, and easily controls their full attention for the entire hour of his set.

Cook primarily performs sleight of hand tricks, and these are reliably inventive and surprising. It is a testament to his abilities that when he made a mess of a tomato that he ate onstage and took a moment to clean his hands, one almost expected he was about to reveal a new, uneaten tomato from the wreckage. His real tricks, however, are even more impressive.

Control includes many timely political references that both ingratiate Cook with the more liberal members of the audience, and help tie his tricks in to the story line of his show. Whether it’s a quick joke about mourning the death of the European Union, or Cook taking the time to read from and criticize Donald Trump’s book before using it as a prop in his next trick, the show decidedly favours the political left. American members of the audience in particular might be especially satisfied to find that Trump’s book does not emerge unscathed from its role in the show.

While the majority of Cook’s show does focus on sleight of hand, he does veer briefly into mentalism in an unexpectedly heartwarming final segment. His more serious themes are predominantly present as an undercurrent for the rest of the show, but here they take centre stage. Cook captivates the audience with his tricks and wit, and then uses that control over his viewers to instill his message of hope and motivation.

Cook’s “Control” is an excellent show that is definitely worth watching. Cook’s magic is creatively and skillfully performed. He excels both in performing big impressive tricks, and in creating small surprisingly magical moments in between the main illusions. In the end, it is his modesty that is particularly charming. Rather than using his considerable charisma solely to control his audience for the duration of the show, he gives that control back by inspiring us to exert what control we can over our own lives.

 

More information on Chris Cook and his performance dates can be found here

BEN HART: BELIEF?

☆☆☆☆☆

Early on in his show, Ben Hart compares magic to time travel- a way of recapturing the powerful feelings of surprise and amazement that many adults feel are gradually beaten down by the passage of time. His skillful and intriguing tricks in ‘Belief?’ certainly manage to inspire such emotions.

The hour does begin with a little bit more intensity than would perhaps be expected from a magic show. In his opening sequence, Hart describes the performance of the trick of making objects disappear as a form of self-harm; he details how performing such tricks caused him to forget who and where he was, losing his identity. This may have been part of why the first word used to describe his show in the official Fringe description is “dark”. Ultimately, it made me a little bit worried about him. That intensity continues as a theme throughout, although it quickly simmers down to calmer, less concerning, levels.

Hart continuously integrates his illusions into his storytelling. He tells the audience a story—topics range from describing prejudices against a sewage worker to an explanation of Schrodinger’s cat—and then transitions seamlessly into a trick with that theme. Hart keeps the audience engaged in his stories both with his personality and with clever use of light. For one story, he sits with a bright light shining directly on him, evoking a pleasant modern campfire effect.

This storytelling aspect does result in a lower concentration of actual magical content. While his entire act as an artist is certainly appealing to an audience composed primarily of adults, it is perhaps not the best choice for children. However, Hart engaged with the one child in his audience by inviting him to take part in one of the tricks, which is a nice gesture toward guardians who may have expected a more traditional child-oriented magic performance.

Hart’s show is an interesting and absorbing way to spend an hour. His use of storytelling both to entertain and to incorporate his magic into his theme gives his act a pleasant and calming flow. ‘Belief?’ does not feel like just another magic show, but a polished performance piece. Both the cohesiveness of theme and the pervasiveness of Hart’s personal style set this show apart and make it both enjoyable and worthwhile to watch.

 

 

More information on Ben Hart and his performance dates can be found here

 

 

CHRIS COOK: TRUTH OR DARE

☆☆☆☆☆

Chris Cook is an unexpected gem of Edinburgh Fringe magicians, and an absolute master of his stage. His show this year, Truth or Dare, is a testament to the captivating nature of skillful and surprising magic.

In accordance with its name, Truth or Dare is a game with the audience. In such a game, of course, the magician will always be winning. But Cook is a consummate professional and charmer of his spectators. Even if he was always going to fool us, we’re ecstatic for it to happen. The show is completely interactive, involving someone in every trick that is done. You would think this runs the risk of relying on a terrible participant, but Cook has no such troubles. His interactions with the crowd is his greatest strength amidst a show of only strengths. Striding around the stage confidently and very rapidly, Cook sweeps you up in his enthusiasm and devilish wit, but at the same time remains respectful of how awkward people can feel when brought on stage. He takes particular care to attend to that concern and makes sure that everyone is unembarrassed and comfortable at all times no matter what trick they are participating in.

Keeping pace with Cook’s rapid fire wit is his magic. He charges from one astonishing trick to the next, never giving a moment for the delighted bafflement to fade away before he’s brought it back again. Whether he’s reading someone’s mind or making magic happen in their very hands, Cook astounds both the immediate participant and everyone watching. The finale of Truth or Dare is a particular triumph. Although definitively different than the rest of the tricks that precede it, Cook still somehow weaves the theory into the show so that it stands out in a way that compliments instead of distracts.

Truth or Dare takes the sheer quality, polished nature, and powerful amazement of any magic show and puts it in a free show. If you want to see excellent magic performed, this show is the one to catch before the Fringe is over.

 

More information on Chris Cook and his performance dates can be found here

Originally published here

SCOTT SMITH: WONDERS AT DUSK

☆☆☆☆☆

Wonders at Dusk is not just a magic show; it is a magical experience. Scott Smith does not define himself; he does not say, ‘I am a magician, here are the tricks I am going to do for you’. That potential for disconnection from the wonder is not even extended to us as an option. Instead, the entire performance is an immersion into the impossible.

Undoubtedly, the reason so many magicians will regale their audiences with tales of their childhoods is to try and connect us to a memory of wonder. To speak of their own youths, and thus remind us of ours, predisposes us to being a bit more open minded – a bit more willing to suspend disbelief. Scott Smith is only one example of a magician making this artistic choice, but it is arguable that he is the best example of it being done smoothly and artfully. He weaves for us a memory from his childhood, and allows his illusions to develop naturally and gracefully from this narrative.

This is a mind-reading show, so requires audience interaction in order to exist. But while a less polished performer could lose the ambience here with the awkwardness of audience members, Smith expertly keeps it in hand. While seeing other people being made to participate is always inherently funny, Smith keeps it utterly respectful and never embarrasses his participants, which maintains the air of elegance that permeates the show.

His talents for mind-reading are scarily good, which I can attest for personally as a participant. Smith ‘read’ from my mind the name of an object that I had only decided upon at the last second, that I had scribbled on my paper at the last second, and that I had carefully hidden from his eyes. The same skill was used to pick equally hidden words and images from the minds of several other audience members.

As Smith noted by nature of the object I chose, I am a skeptic. And by nature of being a magic reviewer, I have good reason to be. But even considering this, Smith’s illusions of mind-reading, placed in the atmosphere that he creates with his set and compelling words, will have even the most ardent of doubters eager to believe.

 

More information on Scott Smith and his performance dates can be found here

Originally published here

COLIN CLOUD: THE FORENSIC MIND READER

☆☆☆☆☆

Any act that incorporates Sherlock Holmes will always have my automatic affection. But the effortless ease with which Mr Cloud incorporated his fascination with the character is spectacular on it’s own merits.

One challenge of the Fringe is that which room you are in definitely sets the tone for your show. And some of the Fringe venues are a little bit shoddy, or even nice but unintended for the purposes they’re now being used for. I got that impression off the Just the Tonic room that Mr Cloud’s show was in. However, his minor additions manged both to blend with the initial surroundings and, for lack of a better phrase, “class the place up a bit.” The tightly packed audience (sold out!) combined with the backdrop, gave off the sensation that you could, in fact, have been transported back to the Victorian era, and found yourself in the fictional detective’s sitting room- both dubious but undeniably curious at what secrets you were wearing in your facial expressions that he would see right through to.

And as if straight from the pages of one of these stories, Mr Cloud delivered his astonishing skill. The audience was repeatedly stunned at the ability he had to seemingly pick thoughts right out of his participants heads- the word from a favorite childhood book, a random number they had only then decided upon themselves, an image chosen from countless possibilities recreated right in front of their eyes. All done with a practiced air of charm and just a little bit of impatient disdain for participants who had trouble following simple directions. After all, nothing could be more Sherlockian. His showmanship was thoroughly on point, softening the adopted affect of superior wisdom by sharing his audience’s enthusiasm.

For a tone so steeped in the air of mystery, Mr Cloud does not pretend to be psychic. Rather, he is upfront about the psychological background of the techniques he uses. He perhaps leaves out mentions of old-school mentalist trickery employed, but we are all here to be entertained. There is a certain thrill to being left bewildered, and Mr Cloud knows where to draw the line between explaining how he’s reading participants lies and leaving bits up the the audience’s baffled imaginations. The combination between his skill at mentalism and his clever wit and showmanship make The Forensic Mind Reader a brilliant and utterly enjoyable experience.

The last three days of Colin Cloud’s Edinburgh Festival Fringe run at Just the Tonic are currently completely sold out, but you may be able to snatch up returns a couple hours before the performances at 5:55pm.

 

More information on Colin Cloud and his performance dates can be found here

BEN HART: THE VANISHING BOY

☆☆☆☆☆

It was magic like poetry. Not the script necessarily, not specifically, but how the storytelling interwove with the tricks. A “plot”, for lack of a better word, is always good in a magic show, but this was beautiful. Mr Hart did magic tricks, of course, but he didn’t make it a magic show in the sense you would expect. It was theatre, not theatricality. He turned tricks into something you can actually, temporarily let yourself believe is truly supernatural, and it was spellbinding.

The tale we were to follow is a mystery, harkening back to olden times, to days of magic past. A juxtaposition of his modern self and something form the depths of the century. Despite his young age, Mr Hart radiated a kind of wisdom when he settled into his storytelling reverie, lulling the audience into willingly suspending their disbelief, letting them hear the drip of phantom rain and the bewilderment of an unexpected, strange visitor at your door.

But it’s the 21st fucking century, folks. We’ve seen magic tricks, we know them well. We squint for hidden wires and when a twenty-something (I’m assuming?) beguiles us with dark tales, a little bit of our minds will stay modern despite, modern and skeptical. And he knows that. So when it’s been going a little too long, maybe, when you can’t stay under the comfortable romantic lull for much longer, he whips the act back, to silly, borderline risque (but covertly enough that he needn’t worry about kids in the audience) jokes, and to unexpectedly funny tricks.

And his tricks are beautiful as well. Falling naturally and elegantly within the narrative, he does confounding magic. At one point, he took a magic standard that I’ve seen countless times before, and changes it, in such a way that it invalidated everything I know about how the original is done in the first place.

But the truth of Ben Hart’s show is not the trickery, but the presentation. It is acts like this that make you remember why magic is so powerful in the first place. If you go to a lot of different magic acts- as one can easily do, as I am, here at the Edinburgh Fringe- you might forget that sense of awe in the attempt to deconstruct, to figure it all out. But it’s so important not to. Of course that desire will still stay, of course as you walk out and shake Mr Hart’s hand (can I just say I love performers who stick around to greet their audience after) and tell him how magnificent he was and wander off, your mind will be twisting and mulling and trying to work it out. But at the same time, and more importantly, you will be brilliantly and blissfully astounded and bewitched.

Ben Hart is performing at Underbelly Cowgate at 4:40pm until August 24th. Seriously, go see him.

+Extra point: It is about 40 minutes since I got out of the show. I literally had to write this all immediately, because the experience was so fantastic. Thank you for the ‘bloody’ tissue by the way, Mr Hart.