CHRIS CROSS: A PANDEMONIUM OF PARLOUR TRICKS IN A PANDEMIC

☆☆☆☆☆

For those of us who haven’t heard of or seen him before, it is too easy to underestimate Chris Cross. From the wacky name and monogrammed belt buckle, the aggressively arranged alliteration of his 2021 show title A Pandemonium of Parlour Magic in a Pandemic, to the line in his show description advising “NOT for the easily offended”, it’s easy to assume that he must be overcompensating for something. Fortunately for his audience this is absolutely not the case. Cross brings the magic to back up the swagger of his over the top character in a funny and interesting performance.

Perhaps more impressive than any of the magic is how skillfully Cross manages to playfully poke fun at the audience without coming across as a bully. It’s a tough thing to balance, if the many performers who are unable to do so are any indication, and Cross makes it look easy. Of course in magic shows the audience is generally called upon to take a more active role, and Cross’s participants on the evening of this review were well chosen. A cadre of Canadian students in particular rose to the occasion to perfectly match Cross’s energy on stage and enhance the show with their participation.

Magicians often claim that they’ll show the audience tricks that they’ve never seen before, but his claim typically leaves those who have seen many magic shows feeling disappointed. Cross, on the other hand, genuinely follows through with a series of tricks that this reviewer at least hasn’t seen before (and we at World Magic Review have seen a fair share of tricks). This part of the show that is a bit of a history lesson is exceptionally fun to watch. Cross’s enthusiasm for these weird old tricks that have long since fallen out of fashion breathes new life into the old props. His style seamlessly blends the more standard card and escapist material with the tour of historic props, in a one man demonstration of the range and development of magical performance.

Cross’s Pandemonium of Magic is a necessary stop at this year’s Fringe for anyone who has ever considered themselves to be a fan of magic, even if for no other reason than the historical interest of the old-fashioned props that he has brought back to the stage. That being said there are plenty of other reasons to see his show, between his comedy, sleight of hand skills, and perfectly choreographed escapology. It’s as difficult to pigeonhole his act as it is to keep him in a straitjacket, and his show is all the better for it.

More information on Cross 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.

ALEX KOUVATAS: SOMETHING IS MISSING

☆☆☆

In a field where puns abound, Alex Kouvatas stands out as a master of their usage. He sets the tone early in Something is Missing, bringing out the fish as promised. Kouvatas is fantastic with his humour, charm with his audience, and in bringing his own take to his magic. However, he falters markedly in stitching the elements of his show together.

Kouvatas performs a succession of magic and mentalist tricks, personalized to his style and performance. His take on making an audience member’s money disappear is a fun example which he uses to bookend the show, but maybe even more fun is the fairly standard card trick which he adds his own ending to, preserving the magic for those who have seen the first part of the trick before. He is warm with his participants, even explaining a pandemic-polite contact free hug at the end of a trick.

Unfortunately Kouvatas struggles slightly, most notably in his transitions and confidence. These two points of issue seemed to feed into each other, but as the show goes on, he appears to gain some confidence and transition more smoothly between tricks. In addition, Something is Missing brings up interesting topics like dissonance between social norms of success and personal feelings of fulfillment that don’t get the time in the show to feel fully explored, but sound worth exploring.

What seems to be is missing from Kouvatas’s show it is time and practice. He suits the stage, shows an impressive degree of creativity in how he performs his tricks, and hints at an inclination to integrate broader themes in to his work. He is certainly a magician to keep one’s eye on in the future.

Any Fringe debut is a huge achievement. Making his Fringe debut during this weird pandemic Fringe must take an unbelievable amount of courage, for which Kouvatas deserves commendation. And while his show could do with fine tuning, his wit and charm make him worth a visit this year.

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

THE SECRET CONNECTION

☆☆☆☆

The magic of The Secret Connection starts before the zoom show, when each audience member receives a mysterious parcel in the post to be opened on Dr Will Houstoun’s instruction. This is not arranged via a mentalist trick, the organizers request an address when each ticket is purchased, but if key components of a magic trick are creating a sense of anticipation and wonder the parcel definitely qualifies. It is an early demonstration of Dr Houstoun’s wholehearted embracement of a new generation of magic that permeates every element of his show.

Dr Houstoun earned his title with a PhD in Victorian conjuring literature. He opens his show by asking if the audience would prefer an exhaustive history of notable magic events from the 16^th century to date or his collection of zoom-era magic tricks. While this audience voted decisively for the tricks, Dr Houstoun uses a brief historical introduction to contextualize modern magic as it is known pre-pandemic and how the new era of zoom magic fits into that lineage.

In a section devoted to sleight of hand tricks, Dr Houstoun takes full advantage of his medium to have maximum impact. Coin tricks are usually only performed to small audiences so everyone gets a good view, but in a zoom show the whole audience gets a front row seat, so Dr Houstoun can execute this trick regardless of his audience size. When he moves on to card tricks he goes a step further, with an effect that not only works on zoom but performing it in a way that would not be nearly as impressive in an in-person show.

The smooth use of the platform deserves its own mention. The audience are muted by default, and when the chosen participants are pulled in to the show they appear on the same screen as Dr Houstoun, mimicking the way participants were brought on to the stage in pre-pandemic shows. The audience is also divided out into timed breakout sessions at one point in the show, allowing for a randomized chat with a stranger that would be difficult to work out logistically in an in-person audience, where even if conversation with strangers were encouraged it would be limited to those within speaking distance.

Dr Houstoun ends on an entirely classic note, with a final reveal that all magic fans will have seen coming from the first few seconds of the show, that he nevertheless effectively ties in to his overarching theme of connections formed. While the sort of reveal that he utilizes is generally underwhelming to anyone who has seen more than one magic show, it works in context here as a final nod to the history of magic. The Secret Connection as a whole looks forward, demonstrating how magic has always adapted to its era to create connections and providing compelling proof that it will always continue to do so.

More information on The Secret Connection can be found here.

DAVE ALNWICK: ETHEREAL

☆☆☆☆

The typical modern magic show often requires two elements that are pandemic-taboo: a large crowd and real-life interpersonal contact, a bedrock that could previously be taken for granted in building the structure of the performance. Dave Alnwick gets creative in Ethereal to devise a magic show that is free from these foundations.

There are benefits and drawbacks to live virtual technology in magic, and Alnwick has clearly taken the time to adapt and find a balance that suits his style. While the particular capability of forcibly muting all but the chosen participant sadly eliminates the sound of applause, it also essentially eradicates any unwanted, distracting commotion, creating a tidier performance atmosphere. Alnwick’s dynamic stage presence feels especially unfettered to project through the screen.

Perhaps most obvious to feel but difficult to define is the lack of egregore in a virtual performance, where energy is less easily shared amongst the performer and members of the audience. Alnwick addresses this head on, structuring Ethereal around various categories of communication. This reflective use of his presentation scaffolding acknowledges the limits of his current means of performance without detracting from the display of his considerable skill.

Magically, Ethereal is particularly interactive, as Alnwick has evidently chosen to get around the limits of virtual magic by primarily choosing effects that he can instruct his audience to create at home. Alnwick helpfully sends out a list of the items required prior to the show, and it is well worth the price of a deck of cards to be able to participate. Ethereal at times feels less like a “magic show” and more like a “professionally guided magical experience”. Alnwick explains how to create the effect without explaining the “trick” that makes the magic, exporting the physical work of the effect to his audience’s homes but keeping their sense of wonder for himself.

Alnwick also takes the time to exhibit a couple card tricks more traditionally, in that he holds and manipulates the cards himself. His mastery of sleight of hand is indisputable. These are a fun diversion in a performance that relies more on mind reading and puppeteering the audience’s hands.

The pandemic is especially tough on the performing arts, and stage magicians in particular have had to redefine their genre during this universally stressful time in order to continue to work. Holding Alnwick and his colleagues to any formal standard of review at the moment feels entirely inadequate. That being said, a job well done deserves recognition, and Alnwick creates an entertainingly interactive magical experience in Ethereal that is worthwhile fun for all ages.

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

WMR FIRST QUARANTINE MAGIC ROUNDUP

At a time when even intimate parlor magic would be too large of a crowd for us, there are so many great magicians out there proving the show does go on. Virtual magic show reviews hopefully to follow here at some point, but for now, something a little different (magicians can have a little critique-free promotion from us, as a treat.) We’re going to start with just sharing lists of some cool magic shows you can see from the comfort (/confinement) of your own home. Please, please do get in touch with us and let us know your favorite magicians who are doing online shows and events so we can include them in Roundups #2 onwards!

The Magic Penthouse – Normally a monthly show in Chicago, the magicians of The Magic Penthouse can currently be found doing weekly Facebook live sessions. Check them out on Thursdays at 18:00 CST / 23:00 UTC
Mark James – Magician Mark James is doing weekly ‘Livestream Lockdown’ shows on Mondays at 20:00 UTC, each featuring special magical guests.
The Seance – Looking for something a little more historical? Performers Thom Britton and Jonathan Pritchard can be found on live on Youtube on May 15th at 18:00 CST / 23:00 UTC reading excerpts from Houdini’s ‘A Magician Among the Spirits’

KEVIN QUANTUM: ANTI-GRAVITY

☆☆☆☆

Kevin Quantum’s final performance of Anti-Gravity at this year’s Magicfest was to a sold out audience, an impressive feat for the Monday evening before Hogmanay. This year’s winter Magicfest has apparently found its time to shine in Edinburgh’s busy festival calendar, and Quantum, one of just two solo magical acts this year, has clearly found his following. Quantum’s particular science fiction blend of physics and magic appeals to all ages, and he cultivates a tone of ingenuous whimsicality that perfectly suits the levitation-themed event.

Quantum devises a plot line in Anti-Gravity with his homemade anti-gravity machine, which slowly gains power over the course of the evening, allowing him narrative justification to gradually increase the stakes of his tricks. He cleverly uses the same props for a series of effects, as when he switches, levitates, and multiplies a five dollar note. By using the same object to both follow his theme and deviate from it, he gives himself room to perform a wider variety of tricks while maintaining the cohesion of the show.

A penultimate effect involving two audience participants behaving erratically shifts the tone of the evening. It is a fascinating glimpse at what Quantum is capable of, taking advantage of the playful magician-scientist character that he embodies so well to create unexpected feelings of unease in the audience. While it is unfortunately a touch too surrealist to feel fully at home in Anti-Gravity specifically, it piques interest in Quantum’s future projects.

Easily the cutest moment in Anti-Gravity was Quantum’s interactions with one of his early audience participants, a young aspiring magician—who Quantum immediately identified as such by her top hat. She certainly appeared to take to it very well. She enthusiastically learned how to manipulate the audience from Quantum and visibly enjoyed her newfound power. It was lovely to see Quantum taking the time out of his own act to encourage a potential future magician, easily juggling entertaining his audience as a whole with spontaneously inspiring this one audience member in particular.

Anti-Gravity is overall a fun, solidly entertaining show, and Quantum’s personal enthusiasm for both magic and science radiates throughout. Its simple narrative and overall tone surely satisfy the numerous children in the audience, and Quantum’s performance is surely varied enough to keep their guardians entertained.

More information on Kevin Quantum can be found here.

MAGICFEST OPENING NIGHT CHRISTMAS GALA

☆☆☆

Despite the name, the MagicFest Opening Night Christmas Gala wasn’t necessarily the most Christmassy of experiences. But festivity aside, if one was in search for an eclectic display of extraordinary magic, the show definitely met those expectations.

Kevin Quantum was the perfect compere, putting the audience at ease from the start with slick card tricks and groovy dancing. Quantum’s expertise shone when a particularly difficult child participant threatened to derail the show. The way in which Quantum humoured the child whilst telling a completely different story to the audience was something only the best in the business could pull off. Quantum’s love for magic and the acts was admirable and ensured the audience was as excited as he was for each set.

The first act, Matthew Dowden, performed an array of traditional magic tricks that were well executed. Simple tricks that would have been less exciting had Dowden performed them himself were elevated by the use of audience participants. Particularly memorable was the gobsmacked look on a skeptical child’s face after they were left on stage to perform a trick’s finale alone – a bold risk that only a confident magician would be willing to take.

The highlight of the night was Young Magician of the Year 2019, Adam Black. The only act to tell a story through his tricks, he ensured that his set was cohesive rather than simply a demonstration of impressive magic. Black is a natural on the stage and his passion for magic shone brightly throughout. Black has a quality that is hard to put your finger on. He simply does something a little bit different, something a little bit special. He performed tricks that you had never seen before, and even if you had seen others do the tricks previously, the way he performed them was ingenious.

Powerful Chloe Crawford added an element of danger to the evening with a couple of gruesome tricks that the audience could only watch through their fingers. Crawford’s stage presence was especially notable, allowing her to perform her entire routine without uttering a single word. Particularly remarkable was the way in which, in total silence, she gained the trust of her participants and convinced them to join her in taking dangerous risks on stage. With a silent set, however, people watch Crawford’s expressions intently. She would do well to maintain her calm and confident expression even when things may not be going fully to plan, as with talent like hers, she will surely always skillfully resolve any issues- as she did on the night.

Your deepest darkest thoughts are not safe with concluding act, Colin Cloud, around! Cloud’s mind reading skills are simply unbelievable – he drew out numerous pieces of detailed information from various audience members with such pace that the audience did not even have time to applaud his efforts. Instead, they could only sit in a stunned silence. What makes Cloud’s performance most impressive is the sheer volume of information he extracts from the room in such a short amount of time – and the way he does it too, through taste and smell, is cunning.

Overall, the MagicFest Opening Night Christmas Gala was a thrilling evening of diverse acts. This diversity was, however, perhaps to the detriment of the show, which ultimately lacked cohesion under a common theme. But although lacking in that particular Christmas magic, it nonetheless satisfied the cravings of magic enthusiasts.

EDINBURGH MAGIC SOCIETY END OF SEMESTER CABARET

☆☆☆☆

Edinburgh University Magic Society’s End of Semester Cabaret was a showcase of the talented magicians that dwell among Edinburgh’s student body. With no overarching theme, the night was characterised by a diverse set of acts with close-up magic juxtaposed against larger stage shows. Regrettably, the evening was heavily delayed due to technical difficulties which unfortunately persisted throughout the show. Nonetheless, a close-up magician (who grew in confidence with each successful trick performed) entertained the audience and ensured the time passed quickly.

Comedic compare Alex De Koning entertained throughout the evening. His risqué jokes were well received by the student audience and De Koning’s charismatic personality ensured he dealt well with an array of magical mishaps, including a particularly difficult participant for one of his first tricks. De Koning’s persistence in the face of adversity paid off when his latter tricks were pulled off almost flawlessly. De Koning used his role well to highlight his large and diverse repertoire and ensured the audience looked forward to his inputs.

Matt Yocum had the tricky task of opening the show. Like De Koning, Yocum faced a difficult participant who he was unable to put at ease, which undoubtedly left the finale of his first trick falling a bit flat. Conversely, Yocum’s cups and balls trick was executed perfectly – no mean feat when the balls kept rolling off the make-shift table.

Chris Morningstar was the most bizarre and therefore the most memorable act of the evening. His act creatively pulled three seemingly unrelated aspects – maths, musicals and magic – into a comical and unexpected performance. Although also facing repeated technical difficulties, Morningstar breezed through his impressive stage magic tricks. Morningstar’s performance became repetitive towards the end, but in true rockstar fashion, Morningstar got the audience singing along with him, leaving the audience wanting more.

Most hindered by the technological difficulties was Leo Hotham whose act centred upon traditional close-up card tricks. With the input for the large projected back screen being a grainy webcam, unable to pick out the suits of the cards, the magic was slightly lost for those who were not in the front row. Although smooth-talking Hotham’s tried and tested lines will be well known to anyone who has seen a magic show before, his slick tricks were nonetheless impressive and well-executed.

Sean Harrington clearly had a large following in the audience, and given his remarkable performance, it is not difficult to see why. The only act to fully engage with the difficult double-tiered venue, Harrington’s showmanship was second to none. Although dangerous at times (perhaps throw coins away from rather than towards the audience in future!), Harrington performed arguably the most technically difficult magic of the evening effortlessly showing he is an incredibly skilled, traditional magician.

For a seemingly unrehearsed event, the Edinburgh Magic Society End of Semester Cabaret was an enjoyable showcase of diverse magic styles – it is definitely worth keeping an eye out for similar events by them in the future.

More information on the Edinburgh Magic Society can be found here.

CHARLIE CAPER: SLEIGHT OF HAND

☆☆☆☆

Charlie Caper is perhaps best known for his delightful robots. While these do make a cameo appearance in Sleight of Hand, Caper has reduced their role to focus on his sleight of hand magic skills. He has a charming bumbling style that he can only pull off because his skill is so well honed. Nevertheless, the robots that do feature still manage to steal the show.

The more involved robot sequence that Caper has included features his miniature robot self sharing a newspaper with his real self. The magic is there as Caper destroys and restores the paper, but the real magic is in Caper’s chemistry with his robot self. Watching them move in choreographed unison is such a fun moment, and even sweeter is seeing Caper gently hand props to his robot, so they can collaborate in amazing the audience.

The magic that Caper performs is a combination of more common tricks with some that are more specific to him. Even the magic that the audience may have seen before is done so well that they cannot help feeling astonished. His note changing is a perfect example of this—a trick done so commonly, by so many magicians of varying skill levels, that even casual magic fans may suspect how it is done. However, even those who think they know the secret behind this trick will question that knowledge when they see Caper perform it.

Caper excels at magic, but it is often the non-magical sections of his show that truly set him apart. He ends Sleight of Hand with what is less of a magic trick and more of a light show, while sharing a lovely life philosophy that brings meaning to the pretty flickering lights. Caper is capable of creating magical moments far and beyond the anticipated trickery.

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