author: Ali S

LUKA: MAGNUM OPUS

☆☆☆☆

Magnum Opus is many things, but a show for introverts it is not. Magician Luka, either though good fortune or force of personality, commands an audience of participants eager and willing to engage in every trick of magic and of witticism that he has to offer.

There are three parts to Magnum Opus, depending on how much you should be looking to pay for your magical diversion of the night. For the full experience, you get a half hour close-up magic show, followed by two hours with which to eat your three-course dinner upstairs at the Social American Tavern, and finally the main event of an hour long mentalist experience. If you’re looking to be a bit more budget friendly, you can skip the first two parts, but we cannot in good conscience imply they are missable.

The close up magic show provides audiences with their first experience of Luka’s very dry, sarcastic millennial humor. While this may not be for everyone – indeed over the course of the show reviewed it seemed to take some audience members a moment to catch up- it is generally well received. In terms of the magic, it is clear Luka is a master of technical skill. His sleight of hand is flawless, always a feat made more impressive in intimate settings where audience members are mere inches away, squinting intently at hands and pockets. Due to the smaller number of attendees, Luka can make each of his card and coin tricks far more personal than you would suspect, engaging in direct conversation to weave his effects within.

As this is a magic review and not a culinary one, we will not linger over the meal bridging the gap between magic shows, other than to say Social American Tavern provides a well matched ambiance to the mood of an evening of magical performance, delicious food, and magic-themed cocktails.

The main event, the mentalism performance, truly showcases Luka’s particular brand of showmanship. His takes on classic mentalism effects bewilder the audience and are somewhat made bawdy by Luka’s banter.  Definitely not a magic show to be bringing kids to, but that seems to be the point. Due to his chosen methodology of selecting participants, which comes with an unusual twist, it is likely that every performance will be notably unique in the communal atmosphere of the attendees. Sure, all will likely see a nail gun, balloons, books and rings do things we never thought they could. But Luka provides his audience with the opportunity to even steal the show somewhat, making everyone leave feeling like they’ve met their fellow audience members for far more than 60 minutes.

Magnum Opus is a well curated dinner theatre experience. If you are looking for a lively, engaging night out (and you have a slightly dirty sense of humor), look no further. Luka leads his crowd through a delightful experience of all different types of magical diversions.

LIAM A BLACK: THE MAGIC SHOW – THE RETURN OF THE GLITTERING PRICE OF MAGIC

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The prince returns to a cavernous warehouse underneath central Edinburgh in The Return of The Glittering Prince of Magic – Starring Liam A Black. If magicians use a traditionally glitzy assistant, said assistant is usually dressed in eye-catching sparkly outfits. Here Black is both the magician and the sparklingly dressed assistant. With not just one or two but several glittery coats, he certainly lives up to the “Glittering” description in his title.

The parade of beautiful coats is a highlight of the show. Black is a clothes horse for sparkly fashion. The changes are not exactly incorporated into the act, this is not a quick-change show. Instead, every few routines Black steps offstage to re-dress himself in the next item of clothing. Whoever creates these outfits for him deserves applause, they are magnificent.

Unfortunately, the clothes being a highlight is not the best sign for a magic show. Black does in fact do magic in between changing his outfits. Magic fans will find his tricks familiar. One slightly more unusual highlight is a juggling trick involving unusual balls, which, in the light of the venue, sparkle almost as much as Black’s outfits. However, by and large the magic feels significantly less inspired than the clothes. There is no theme except the glitter, and with the exception of that one mentioned juggling routine, even the glitter is limited to Black’s clothes. Black is not the best magician at the Fringe, despite his intentionally deceptively trimmed pull quote from an earlier review. His performance does, however, showcase quite well why he may have felt the need to subterfuge so desperately.

Fashion fans may find The Return of the Glittering Prince of Magic worthwhile, but even fans on glitter may find themselves wanting more from Black. The magic sadly lacks the sparkle of the clothes. As a show to have onstage in the background while having a drink it could be worse, but it also could be better. Even Black himself seems disinterested in the magic he performs, leaving the audience struggling to care.

BEN HART: JADOO

☆☆☆☆☆

Ben Hart and his shows are a staple of the Edinburgh Fringe magic scene. At some point you would expect that surely a performer cannot only have hits, no misses. But in Hart’s latest offering, Jadoo, we are yet again awestruck by his capacity to entertain and enthrall.

It is unfair to criticize a magician at the Edinburgh Fringe too harshly for a challenging venue situation, knowing what we all do about the difficulty of turning a normal, historic city into a living breathing theatre with every random building and business a stage. But we cannot go the other way around and not commend a magician for creating perfection in their experience starting from even the room their audience sits within. Assembly George Square Garden’s Palais du Variete has reappeared in this location for many Augusts, but if we were not aware of that we would believe it had been built from the ground up wholly for Hart’s use. It is hard to imagine a better ambiance to sink into than this smoky, mirrored, almost entirely in-the-round venue. The mystery evoked by one’s surroundings here are an unmatchable fit for the seductively spectacular story Hart tells in Jadoo.

Hart hearkens back to his interactions with India and Indian magic, both from experiences travelling there and from familial connections. Any magic aficionado is aware of the impact historical Indian street magicians have had on what we consider to be classical magic staples. At times the origins of these effects are uncertain, in question whether they are legitimate immigrations to “Western” awareness or made up by Golden Age magicians in an effort to appeal to the mysteriousness of the colonized ‘other’. That being said, magicians like Hart with actual roots in this country are well positioned to reframe and reclaim these effects and mold their own, highly personal stories around them.

Hart tells stunningly beautiful stories through stunningly beautiful sleights. From transforming a simple cloth into airborne moths, shocking the audience with his capacity for pain, and performing the impossible with something as simple as sand, Hart captivates the audience with his skill and storytelling. To again mention the physical surroundings, it is a choice of surprising bravery to have a magician perform in a room literally ringed with mirrors. If at times this boldness betrays him, it is to no real detriment to the overall show, for the force of his personability keeps his audience thoroughly on his side and hypnotized by the magic unfolding in front of them.

If one is looking for their last theatrical and magical experiences as the Fringe wanes to an end, Ben Hart’s Jadoo is an absolutely unmissable one.

CHRIS COOK ASKED A ROBOT TO WRITE HIM A FIVE-STAR SHOW AND THIS IS WHAT IT SAID

☆☆☆☆

In his 2023 Fringe show ‘Chris Cook Asked a Robot to Write Him a Five-Star Show and This Is What It Said’, magician Chris Cook toys with the idea of letting his show be born through requests to ChatGPT, a popular AI info generator. Never fear that your favourite magicians will be replaced by AI however, what ensues is the journey of Cook interacting with and responding to the suggestions rather than a thoughtless script provided by robot overlords.

The suggestions of effects provided to Cook by AI bring to attention exactly how formulaic magic shows can get when lacking a magician’s personal touch. From insistence for a revealed elephant (difficult to do in a Fringe venue hardly larger than an elephant itself) to a perfunctory “read a mind!”, ChatGPT clearly lacks the forethought and creativity that, fortunately, Cook is very capable of bringing. He attempts to respond to the best computer-generated ideas by nothing less than sourcing chemically disgusting candy in the hopes of opening his and his audience participants’ minds, and traveling through time.  

Cook is clearly aware that the factors that have historically elevated his shows are his confidence in forming classic magical effects around elements of modernity, and his mission of bringing out the best parts of humanity. The combination of these factors means that Cook’s shows almost always feel refreshing and authentic, and to fully hand over creation of a show to AI would seem to be sacrificing one of these aspects to the other. Instead, Cook creates a twist on this concept that makes this potential pitfall the very point of the entire exercise. He is a peerlessly skillful magician, not only in his relentless creativity but in his total technical competence in sleight of hand.

Ultimately, whether ChatGPT agrees or not, the most important part of technological progress is making sure that the world only becomes a better place for our children and generations to come, something Cook professes personal motivation for. And when it may seem like a cost of this progress could be a siloed perspective of only the base elements of magic, Cook reminds us that it is through connecting with our friends and loved ones and doubling down on our humanity that we are best able to take advantage of technological developments while never losing sight of the magic the world, and particularly Cook, is capable of.

AVA BEAUX: A MAGICIAN WITH CONFLICTING PERSONALITIES TRIES TO KEEP CONTROL ONSTAGE (POPCORN INCLUDED)

☆☆☆☆

In a city temporarily teeming with performers, Ava Beaux’s A Magician With Conflicting Personalities Tries To Keep Control Onstage (Popcorn Included) could not find a more apt audience. More than just a magic show, Beaux explores feelings on inadequacy and the relentless nagging of one’s own perfectionism in the field of performance. Her journey here is one not only familiar to magicians but anyone making a living off the ability to generate an audience, and to some degree anyone in general.

The show begins as one would expect from a magician- an oddly dressed performer presenting well-worn patter and quirky jokes around displays of magical effects. Beaux does not do anything particularly original in this department, sticking to time-honoured props like rope, newspaper, and metal rings, presumably to best set up the role of the Magician. We then are introduced to a vocal personification of Beaux’s internal thoughts, which spit negativity at her as she tries to keep up her act. Caught in a spell between the self critique and a desire to just perform what she loves, Beaux transitions through costume change to a mute but childishly delighted entertainer, and performs more effects in this persona.

Perhaps unintentionally, Beaux gives the impression that her mot confident and peaceful performing comes when mute, when not made to audibly interact with the audience. Actually, she may be among the rare magicians who can pull this off, as she has remarkable skills in physicality and graceful stage presence. Patter is a useful ingredient for magicians that contributes to distracting their audience away from trickery we are not meant to see, so experiencing a magician who can captivate a crowd with gestures alone is utterly impressive.

Beaux’s conflicting personalities compete throughout the show until the ultimate and heart warming climax. Her audiences cannot help but to be inspired and honoured by being permitted this glimpse into the mindset of the magician, although she does not, unfortunately, share her popcorn.

SEANCE LIVE

☆☆☆

The newest entry in the time-honoured tradition of magicians debunking the methods of false spiritualists is Séance Live by Sam Lupton. In this interactive show, Lupton showcases staples of mediumship, but all with the caveat of his own disbelief and in the stated interest of encouraging skepticism among attendees.

Lupton is a charming and compelling performer, and it would be easy to believe that had he chosen to peruse mediumship as a career, he would have no shortage of devotees. He divides his show into two parts, one composed primarily of hot and cold reading audience members, and one more focused on spirit phenomena like slate writing and pendulum dowsing.

Lupton is conscientious enough to assure participants, in the first half of the show, that he has had no legitimate contact with loved ones on the ’other side’. In some ways, his ethical standards here are to his detriment. Professional fake mediums are often extremely creative and invasive in their zeal to uncover personal information on audience members that they can use for their readings. Likely due to the absence of this, Lupton’s ‘hits’ of information on audience members are sporadic and somewhat underwhelming. He does use the excuse of this being an educational experience, but that falls a bit flat considering what he is theoretically trying to achieve. If it is shocking perceptiveness that causes people to fall victim to fake mediums, a show debunking it should be able to reach equal levels of this otherworldly-but-not-really skill.

As mentioned, stage magicians criticizing the methodology of fake spiritualists is no new practice. It has gone on essentially as long as the two groups have coexisted. However, one thing magicians typically do not mention is that this debunking was done not just out of a sense of justice for the general public or a fight in the battle to be the most honest liar. It was also because magicians and mediums often do use the same tricks, and through this, mediums posed a risk to magicians’ control over their secrets.

This begets the unfortunately innate weakness in Lupton’s show – as a working magician, there is only so far he can lead the viewer without giving away useful skills he and other magicians use in their careers. He wholeheartedly states his own disbelief in the supernatural, and indeed presents this entire show in the theme of disproving the beliefs of others. However, many phenomena within the show are left underexplained or unexplained for the purposes of dramatic appeal.

Séance Live is a fun and intriguing way of engaging in the concept and methodology of fake mediumship. While it may not change your belief one way or another, it is a worthwhile experience and a great way to learn more about the history of spiritualism.

GRIFFIN AND JONES: A LIFE-CHANGING MAGIC SHOW!

☆☆☆☆

Magic is a truly versatile art. Depending on the magician, the audience, even the night performed, it can be lies that tell a truth, beauty through wonder, or even – just a bit of silliness. In this year’s Griffin and Jones contribution to the Edinburgh Fringe, ‘A Life-Changing Magic Show!’, we learn exactly what the two magicians are looking to accomplish (despite the title).

A Life-Changing Magic Show at times feels like it has a surprising lack of magic. Sure, we see the almost obligatory cards, torn newspaper, and chopped up piece of rope involved at one point or another. All the effects are performed well and engender the ideal amount of audience engagement. But the core of this show is Griffin and Jones’ idiotic-to-the-point-of-irresistible humor. Entire segments of time are devoted to just jokes, but told with such enthusiasm and conviction that the audience can barely even detect that something is missing from this magic show.

What is absolutely not missing is either extensive rehearsal, true chemistry, or some winning combination of the two. Griffin and Jones have been performing together for over a decade, so it would be concerning if the partnership weren’t working. But the very degree to which they play off each other in unshakeable comedic timing is something to be commended. In this show, they are doing exactly what they want to do, perfectly.

A Life-Changing Magic Show is clear about the message that it wants to share. Sometimes, pure silliness and stupidity can be the cathartic release needed to, yes, change your life. It can be just a moment of joy that shifts you into a new mindset. Even when Griffin and Jones quiet the tone of their show, they do it in a tongue-in-cheek fashion that doesn’t even allow themselves to take things too seriously. And if Griffin and Jones are having that much fun, how could the audience even not?

More information on Griffin and Jones can be found here.

ILLUSIONATI – A MAGICAL CONSPIRACY

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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.

LUIS CARREON: LA BESTIA

☆☆☆☆

The Chicago Magic Lounge has a dual identity, and if one comes early to a show, they have the privilege in witnessing both sides. Magicians tend bar while hobbyists and hangers-on chat loudly about their own illusions, their own connections with “big names” in the magic world. Little jokes are made for the purpose of dropping names, and all at a volume intended to let everyone hear but not everyone understand. This bar is not a land for the casual attendee, this is where the diehards reign. That being said, there is a universal appeal here as well- in a venue that one goes through a fake laundromat entrance to access, this is only another sign that you have been accepted into a deliciously secret space, with tantalizing rumors abound.

But let yourself be ushered into the performance space, and your experience develops in a whole different way. Because while the Lounge itself may have two faces, Artist in Residence Luis Carreon is a man utterly secure in his own identity, and eager to invite his audience into experiencing it. This is the identity the Lounge thrives in sharing, the showmanship talent they have done so well cultivating.

Carreon’s pet schtick in his show La Bestia is, to be blunt, his ethnicity. Tricks and jokes alike are formed primarily around his Mexican background. This tactic lends a sense of cohesion to a show where otherwise the stream of tricks would seem picked at random, a collection of standard coin, card and similar familiar effects. However, a well-constructed persona can color a show, but cannot serve as the sole narrative, which Carreon seems to attempt. Carreon delights and charms the audience with ease through his authenticity. A smidge more confidence would seem to be all he needs to free him from overplaying his history and allow him to integrate it into a more developed narrative to build his show around.

Ultimately, Carreon is a talented performer who lacks only a little polish and experience. His comedic timing is clever and refreshing – when he lets it be. Carreon’s audience is captivated by every joke he lets breathe. He need only to stop overfilling his performance with any joke, trick, and pop culture reference he can think of, to stop throwing material at the wall hoping it will stick. The material that the audience gets time and space to absorb does stick, and spectacularly so.

Luis Carreon is a charming performer, and faultlessly adept at sleight of hand. While La Bestia may be at moments bloated with material, one gets the sense that this is because Carreon is so in love with his art that he cannot imagine not sharing his favourite parts of it with his crowd. This openness and delight with communicating the magic of magic wins his audience to him, and deservedly so. La Bestia is an experience well worth attending, and one that will likely only get better each time.  

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

TRENT JAMES: PURE LIES

☆☆☆☆

It cannot be underestimated what a boon the Chicago Magic Lounge is to the local magic scene. Within the flawlessly decorated interior, walls dripping with prints from the golden age of magic and hidden doorways at every turn, any performer is perfectly set up to shine. That being said, the brilliantly constructed beauty of the venue still would not be able to carry the show. For that, the magician still needs their own supply of skill and charm. Luckily for Trent James, he is well situated with both.

If you are the type to google your entertainers before you see a show, which increasingly we all are, you would note that James bills himself as a comedy magician. This may skew expectations, as Pure Lies is not what one would predict from such a claim. Comedy magic almost exclusively uses the trick as a tool to deliver the punch line, whereas James’ show is a far closer fit to a traditional magic show. Cheeky, self-depreciating humor sparkles under every line of banter, but is never made the focus of any bit, just a supplement.

More accurately, Pure Lies is well- performed, classic magic. James pulls from the best of old magic, but wisely avoids padding with any trick that is too worn out. Instead, he makes sure the tricks he does perform are given ample attention, molded around the ideal avenues for audience interaction, and refreshed to provide a modern take.

The unpretentious air that James affects may be the most clever part of Pure Lies, shrugging into the silliness of the show while perfectly disguising the hard work that magicians have to put in to seem effortless. The technical talent displayed by James is remarkable if you know to squint for it, and the fact that you have to squint a triumph on its’ own.

Chicago Magic Lounge seldom lacks for a good show, but Trent James’ Pure Lies stands out within their program as an unmissable event.

More information on Trent James and his performance dates can be found here.