COLIN CLOUD: PSYCHO(LOGICAL)

☆☆☆☆

Colin Cloud begins Psycho(logical) by saying that as, in this show, he will be discussing us, the audience, it is really our own fault if we do not like it.  This sets the tone perfectly—Cloud maintains that ominous and facetious balance steadily for the duration of the show.  Cloud consistently astounds his audience with his mind reading tricks, and uses both classical and unusual techniques for scary magic to great effect.

The first half of Psycho(logical) is more expected magical fare.  The audience files in to find Cloud already on stage, taking notes, but his condition quickly evolves into an escape artist themed situation.  Cloud’s calm demeanor throughout his change in situation could be interpreted two ways, either that he is confident in his control over his show, or that his tranquility when facing apparent death does indicate that he is, as the title of is show suggests, a psychopath.

Midway through the show Cloud switches gears, framing the majority of his second half as a séance-style attempt to communicate with the dead.  This is, he explains, a bit of a tribute to the creator of his beloved Sherlock Holmes, Arthur Conan Doyle, who was a prominent spiritualist.   This spiritualist theme allows Cloud to incorporate mind reading, hypnotist, and even meditative techniques to create his effects.  The emphasis is always on the mind reading, Cloud’s specialty, but the addition of the more varied techniques accentuates the story line of that segment, to Cloud’s benefit.

Notably, given the nature of Cloud’s show, he is nevertheless kind to his audience participants.  Cloud reserves the majority of his sinister affectations for the audience as a group, and is much more considerate when interacting with the individuals who put themselves before their peers to help him perform his tricks.

The split format of Psycho(logical) works well for Cloud.  While his séance themed section is certainly engaging, the premise may have felt a bit thinly stretched if he had attempted to hold it for the entire hour.  The only issue is that he did spend such a significant portion of his show on a segment that seemed to have little to no relation to his Psycho(logical) theme.  Cloud did end with a throwback to the start of the show that successfully tied the evening together, but these were external to the séance section.

Psycho(logical) is dependably impressive and reliably entertaining throughout.  Cloud’s séance section was a delightfully creative framework both to showcase his mind reading tricks and allow him to explore related techniques, but did feel like its own self-contained mini-show dropped randomly into the otherwise Psycho(logical) themed main event.

At the start of the show, Cloud claims that any member of the audience may be unknowingly sitting beside a psychopath.  By the end, the one thing that is clear is that, regardless of Cloud’s true mental state as a man, as a magician he certainly plays an entertaining psychopath.

 

Colin Cloud can be found at Pleasance Courtyard during the 2018 Edinburgh Fringe at 20:00 from August 9-13, 15-27 

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

KEVIN QUANTUM: AND FOR MY NEXT TRICK

 

☆☆☆

In And For My Next Trick, Kevin Quantum fully embraces the silly side of magic.  The slightest notion of a theme gives the show some structure, while allowing Quantum to perform a wide range of varying tricks.  Quantum takes advantage of this freedom to show off an impressive breadth of versatility for an hour long show.

Early in the show, Quantum performs a well-judged card trick.  Quantum’s audience is just big enough that the people at the back might have had trouble seeing a playing card, but Quantum made sure to use a heavily marked card for the duration of the trick to avoid any such difficulties.  Quantum performs this trick with dexterity and poise, demonstrating his skill in classic sleight of hand.

Quantum gets into more story-based magic as well, with a magical attraction themed segment featuring a mock date with an audience participant.  In such a trick the choice of participant is key, as they have a slightly more involved role than just picking a card, and Quantum chose perfectly.  His participant appeared delighted to have her turn on stage, which made that part of the show even more delightful to watch.  The theme led Quantum into a performance that was at times more comedy-based than magic, but this was no disadvantage as he entertained the audience throughout.

Performing can be unpredictable, and Quantum is adept at handling potentially challenging variables.  Quantum has a good rapport with his audience.  If he teases the participants who he brings on stage he comes across as friendly rather than antagonistic.  Additional disturbances arose on this evening with equipment difficulties and an unusually noisy fan, but Quantum dismissed these with a smile and a joke, and did not allow them to have any detrimental effect on his performance.

Quantum uses And For My Next Trick to bring the audience on a quick journey through the more playful parts of his repertoire.  Quantum seems to be having as much fun on stage as the audience is having watching him, which makes him all the more enjoyable to watch.

 

Kevin Quantum can be found at Gilded Balloon Teviot during the 2018 Edinburgh Fringe at 21:30 from August 9-20, 22-26

More information on Kevin Quantum and his performance dates can be found here

PETE FIRMAN: MARVELS

☆☆☆☆

Pete Firman describes himself as a “comedy magician”, and it is his balance of comedy and magic that set Marvels apart.  Firman’s comedy does not feel like filler in between magic tricks, but like an equally valuable and sizable component of his show.

One highlight epitomizes this balance.  Firman uses a gigantic deck of cards for this section of the show, which he shuffles and then has an audience volunteer cut at random.  However, rather than then proceeding with a magic trick as the audience might reasonably expect, Firman tells a fantastically pun filled story based on the order of the cards in the deck.  This balance proves to be characteristic of Firman’s performance.

In a more magical sequence, Firman gets a couple of audience participants to join him on stage while he borrows a ring from one of them to use in his tricks.  While he could be a bit kinder to his audience participants, luckily the individuals who he had onstage seemed unfazed.  Firman performs his ring tricks with skillful precision, and an impressive degree of personal flair.

Firman unapologetically takes another break from magic when he uses a physics demonstration to mix drinks.  The principle is simple enough, and Firman’s attempts to build tension may seem especially overly dramatic to audience members who had enthusiastic physics teachers.   It is all the more impressive that Firman is able to seamlessly integrate such an experiment into his show, in a manner that does not feel out of place or any less entertaining to the audience.

Firman delves into classic magic as well, in particular in his utilization of two nesting tubes.  Callbacks to classic magic tricks continue with the materialization of a multitude of scarves.  Firman puts his own twist on the old tropes, and his distinctively idiosyncratic personality ensures that the tricks do not feel too old fashioned.

Marvels could be billed equally accurately as a magic show with bits of comedy, or a comedy show with bits of magic.  Firman is an exceptional performer in either genre, and watching him blend the two is a delight.

 

Pete Firman can be found at Pleasance Courtyard during the 2018 Edinburgh Fringe at 20:00 from August 6-26

More information on Pete Firman and his performance dates can be found here

SEAN HARRINGTON: SELF DECEPTION

☆☆

Perceptual manipulation is an inherent component of magic, but is rarely discussed in any depth in magic shows.  Sean Harrington’s Self Deception is a well assembled show that highlights several of the facets of psychology that are especially relevant to magic.  This does not come across as a psychology lecture, for better or for worse, as the emphasis is decidedly on the magic tricks.  Nevertheless, the psychological themes prove effective at creating a structure for Harrington’s magic.

In one of his opening sequences, Harrington uses coin tricks to illustrate inattentional blindness, perhaps more famously illustrated in the experiment involving basketball players and a gorilla that Harrington cites as inspiration.  These are well performed, and easily engage the attention of even the children in the audience.

Harrington frames another trick as a tribute to the discredited science of phrenology.  While the way in which he “uses” phrenology is not really how phrenology works, this is perhaps forgivable as phrenology does not actually work, a fact with Harrington makes sure to state to his audience.  It does, however, work as a fun framework in which Harrington performs his tricks.

There is room for improvement in Harrington’s performance.  His magic tricks are skillfully done, but he might work on his use of the time between tricks, which does occasionally fall a bit flat.  This is especially noticeable in his final trick, which requires some length of preparatory work prior to the big reveal.  Harrington gets the audience involved in this stage, but it does still feel like the dull necessary procedure to reach the exciting conclusion, rather than an integrated and entertaining component of the show.  Performing well through these transition times is key to creating a cohesive show out of a collection of tricks.

In Self Deception Harrington has put together a fun set of magic tricks, which do for the most part fit in well with his psychology theme.  Harrington interacts well with an audience of mixed ages.  While there are elements of Harrington’s performance that could definitely do with more polish, his creative use of his theme has enabled him to design an interesting magic show.

 

Sean Harrington can be found at La Vida Room 1 (Venue 113) during the 2018 Edinburgh Fringe at 19:30

More information on Sean Harrington and his performance dates can be found here

AARON CALVERT: DECLASSIFIED

☆☆☆☆

Aaron Calvert has chosen a timely theme for his new Fringe show, Declassified. As Calvert explains in his opening remarks, on his inauguration, Trump declassified vast archives of information about some of the United States’s quirkier Cold War era research projects. Calvert’s jokes at Trump’s expense ensure that his audience knows that he is on the right side of history. The rest of the show is framed as an exploration into these declassified archives.

An early segment of Declassified features a classic mind reading trick using several cards with a range of simple shapes. This fits neatly into the Cold War theme. The story often told alongside these props is that they were used by the CIA to study subjects’ mind reading capabilities during the Cold War, and that when the Cold War ended and these research projects were disbanded several subjects used the same cards to demonstrate their skills in magic shows. Calvert puts his own stamp on this classic by adding a hypnotist twist.

Calvert soon shifts into the more hypnotism-centric part of the show, attempting to put the entire audience into a hypnotic state in order to find the best participants for the evening. The process is pleasantly relaxing, even for those who do not reach a full hypnotic trance. A selected few of those who do make it to that state are brought onstage to demonstrate the depth of their hypnosis. Unlike the seedy hypnotist stereotype, Calvert is respectful and empathetic toward those who he has successfully hypnotized.

Here Calvert shifts from his stated theme of the recently declassified files that he discusses at the start of his show, and spends more time relating his demonstrations to modern urban legends. Cold War enthusiasts may be disappointed. However, Calvert’s interpretation of this theme is ultimately uplifting. Rather than re-create the experiments of the Cold War era, Declassified is a new experiment designed to demonstrate the same theory, that individuals are capable of extraordinary feats.

If there is a criticism to be leveled at Declassified it is precisely that, its title. The titular declassified documents feel underused, as they are hardly mentioned beyond the opening political quips. The link between the Cold War theme and the later segments of the show is muddled with Calvert’s increasing reliance on modern urban legends to bring thematic structure to his demonstrations. Declassified would perhaps be better described by a title that evokes urban legends in general rather than one evocative of such a specific aspect of history.

Declassified succeeds as an impressive display of hypnosis, and is enhanced by Calvert’s optimistic attitude toward his audience. Calvert’s style of hypnotism comes across as benevolent rather than manipulative, as he proves his power over his hypnotized participants by compelling them to perform exceptional stunts rather than pointlessly embarrassing actions, while still putting on an entertaining show for his audience. Calvert’s refreshing take on hypnosis makes Declassified well worth the visit.

 

Aaron Calvert can be found at The Gilded Balloon at the Museum during the 2018 Edinburgh Fringe, at 18:00 on August 5-26

More information on Aaron Calvert and his performance dates can be found here

INTERVIEW WITH AARON CALVERT

Aaron Calvert sat down with us after his show Declassified to talk a little about hypnotic suggestibility, his television show, and the pressures of performing at the Fringe.

Hannah: What got you into hypnosis?  What made you decide this is what you want to dedicate your life to?

Aaron: I got into hypnosis at 15, I saw a hypnotist onstage and around the same time I saw Derren Brown. I was interested in magic and being onstage and performing, so I started to read up on it, started to research it, try and practice it.  Then, I worked in America when I was 18, at a summer camp. They knew I was interested in this area and said “Hey, why don’t you put on a show for us?” I was hesitant, I was like, “…..ohh, okay…? Sure?” but I did and 35 people showed up and it was an amazing show and just worked. Then I went to med school, and I did hypnotherapy on the side, it was part of my medical degree, and I was kinda left with two choices at that point- either I could go full time into medicine or I could go full time into entertainment. And I couldn’t do both, because, if a patient walks in at 5 o’clock when you have a show at seven, it doesn’t really work out. So I just had to go with my heart, and hypnosis and performing in general are where my heart laid, so that’s exactly what I went for.  

So does the medical side of hypnosis interest you, or just the entertainment aspects?

It does interest me. I combine the techniques I learned from hypnotherapy and the techniques I’ve developed onstage for myself, to make the approach I have. I think that’s…it’s not revolutionary, but it’s different that what most hypnotists do, either they’re very much stage entertainment or they’re very much hypnotherapy. Whereas I combine both of those and because of that I get a really good response to the hypnosis. As you saw tonight, there were a lot of the people in the audience I could have chosen and I got fantastic suggestions on stage because of that.

Can you talk about hypnotic susceptibility? Some people say no one can be hypnotized if they don’t want to, and others say everyone can be hypnotized?

Sure, well I think they’re two sides of the same coin basically. You’ve got some people who say you can’t be hypnotized if you don’t want to be, and that’s absolutely true. And the other side of it is that everyone can be hypnotized. And yes, everyone can be, but if you don’t want to be you won’t be. Some people are amazing subjects, and like in my Channel 4 show, we had to go out of our way to find incredible subjects who were highly suggestible that would work and would be able to let me erase their memory each time. At the other end of the spectrum you’ve got people who are just open to some suggestion, and we might not ever be able to do something like erase their memories but they may well experience something like their foot being stuck to the floor, and that’s it. So you’ve got a spectrum of suggestibility. There is a moment when you’re being hypnotized by someone when you choose to go with them. If you go with it, it’s an incredible experience. But some people resist it and it doesn’t work.

What’s your opinion on the suggestion that most participants at a stage show aren’t actually hypnotized in the strictest sense, but playing along because they’re onstage? Do you think it matters?

I think it matters a lot for my show. I don’t necessarily think it matters a lot for comedy shows, where by someone wants to get onstage and might happily follow the instructions to dance with a mop or whatever that suggestion may be. In my show I invite the whole audience to participate, I go out to the audience, and I purposefully test them. They don’t know what I’m looking for, so I can tell when someone might be faking, and I test them to make sure I get the most suggestible people onstage. Because the things I ask people to do, they wouldn’t be able to do properly if they were faking. And it’s so important. Each of the participants, every one of them, does something incredible. And if any one of them was faking it, it wouldn’t work, and it would be very obvious, and it would become very awkward. That to me- I’d hate to have that be the case in my show.

What’s the most stressful thing about performing?

You know, I get asked this a lot, and I don’t tend to get nervous before a show until I am side stage and I hear the video intro play, and suddenly I’m like “Oh my god, why do I do this to myself.” But the moment I step onstage the nerves are gone, the moment I open my mouth, on that stage, there are no nerves, I’m just having fun. When it comes to fears for performing, the first week of the Fringe is what terrifies me. I don’t get nervous before doing a corporate event or even a stage show in Manchester or anywhere else, but coming to Fringe, I know there’s so much to do. Fringe audiences are tough. They won’t let you get away with it if you’re rubbish, and so the first week of the Fringe is probably my most scary time of the year, and then I settle into it and I just enjoy the rest of the run.

What’s the most exciting?

It’s got to be sharing an experience with people. I want people to leave my show having had an experience that they will take away and talk about with their friends and their family. I don’t really care if they remember my name, but as long as they were in some way moved or left with something to think about and talk about from the show, that’s my job done, that’s great, that’s entertainment. It’s not about ego, it’s not about me, it’s about the audience experience. And if the audience are having the best time, the most exciting thing for me is seeing that response.

And now you have a TV show, Hello Stranger. What was your inspiration there?

That tv show came about through the production company that had an idea that was based on Eternal Sunshine of the Spotless Mind, where two people have their memories erased. And they approached me with basically, ‘was it possible to erase one’s memory’ and I was like, yes, depending on how long and what for. And so we started to develop this idea and eventually came up that we wanted to have a couple and we wanted to have them erase their memories of each other and then go on a date. So the inspiration come from two points, one, the film, and two, the idea of giving a couple the chance to meet for the first time again. And getting them to meet each other, that’s what it’s about. It wasn’t about sending them on a date or getting them to break up, it was about getting a couple to meet and fall in love all over again.

Did it turn out the way you expected?

Yes. It did and it didn’t. I loved working on the show. What was brilliant was stuff that happened off camera that reaffirmed for me that everything that was happening in this experiment was genuine. The thing I didn’t like was that a lot of people called fakery on it. Which is natural with a hypnosis show and I think it was because we didn’t quite display all of the moments of genuine interactions we had that happened off camera. I’m very happy with the program, I’m happy that it’s out, I’m happy that everyone got to see it. But I think it taught me we need to help people understand hypnosis more, help people understand what’s going on.

So what do you think you enjoy more, live performance or television?

I enjoy both for very different reasons. I enjoy the live because you’re instantly getting feedback from the audience. So I know, if the audience don’t like something or don’t react to something at one point in this show, I can change it up again, that the audience can leave having the best show. And it’s great that when you see it live, you can’t call bullshit, because what is happening is happening to you, or is happening to your friend. That’s what makes television difficult, because they’re not there and can just say ‘oh they’re just stooges’. But what I love about television is that you can do things that take three days, or two years of planning, and bring it out, and put it on for such a wide audience. So I enjoy television because it allows us to do much bigger things, and I enjoy the live shows because you get to interact with people.

There are hundreds of shows at the Edinburgh Fringe. In one sentence, tell our readers why Declassified is a must see.

If you want the opportunity to be involved, and see people demonstrate inexplicable feats live onstage, come to Declassified.

 

Aaron Calvert can be found at The Gilded Balloon at the Museum during the 2018 Edinburgh Fringe, at 18:00 on August 5-26

More information on Aaron Calvert and his performance dates can be found here

MAGICFEST GALA: FAST & FURIOUS

☆☆☆

MagicFest’s gala this year is themed Fast & Furious, and is notable for its scarcity of traditional magic.  The host is the one self-described magician of the ensemble—although, to be fair, he is joined on stage by an illusionist troupe.  This works to the gala’s advantage simply because inviting a wider range of entertainers allows for more options in putting together an interestingly varied show.

Kevin Quantum returns to host the gala.  Perhaps in acknowledgement of his status as the only traditional magician of the evening, Quantum does a fair amount of magic in between the main acts.  His assortments of tricks are a disjointed jaunt through the world of magic that keeps everyone well entertained in the transition times.  He has a considerate rapport with the audience, using a combination of volunteerism and random selection to choose the participants that join him on stage to ensure that as many eager viewers as possible get their chance in front of the crowd.

Like many magicians, Javier Jarquin’s act uses a lot of playing cards.  However Jarquin is not a magician, he is the Card Ninja, so rather than stealthily manipulating his cards he demonstrates methods for throwing them.  Despite his variety of throwing methods, this may get a little bit repetitive for some audience members.  Jarquin’s enthusiasm and audience interaction help him continue to engage them.

Tom Crosbie’s Rubik’s cube themed performance is next on stage.  His Rubik’s cube solves are fast, and his cheerful chatter of stories and facts—nearly entirely about Rubik’s cubes—matches the speed of his hands.  Crosbie creates different solve situations, alternately tossing his cube to the audience to get in mixed up and keeping it in his own hands to show off his quickest solution methods, to get the maximum mileage out of his single cube.

The illusionist company Magus Utopia splits their act, performing the first half directly before the interval and the second half at the very end of the gala.  This is an effective format for them in this particular show, both to increase the suspense of their story and ensure that their numbers and theatrics do not overwhelm the other performers.  Illusionists are a staple of traditional magic, but Magus Utopia’s fantasy aesthetic aligns them with modern trends in popular culture, and the emphasis on the plot of their act gives new life to old magic tropes.

The audience returns from the interval to MC Hammersmith, a freestyle rapper comedian.  Such a large proportion of his spoken comedy relies on stereotypes that this does make his act occasionally feel outdated, despite his youthful appearance.  However, his freestyle rapping is exciting to witness, as he creates connections between random audience suggestions incredibly rapidly while maintaining the rhythm of his rap.  The improvised comedy of his raps is creative and fresh.

The final performer of the gala is James Freedman, a professional pickpocket.  His skilled demonstration of pick pocketing techniques was enhanced by one of his audience participants, whose absolute astonishment at seeing his possessions in Freedman’s hands gave the rest of the audience a glimpse into what it might feel like to have their pockets picked so thoroughly by Freedman’s nimble fingers.  Freedman proves his mental as well as manual dexterity in an impressive identity theft bit that feels fittingly akin to a magic trick.

MagicFest’s Fast & Furious gala includes an admirable assortment of acts over the course of the production, and it draws strength from this variety to build a lively show.  The diversity of the acts ensures that there is something for everyone.

THE SECRET ROOM AT LAURISTON CASTLE

☆☆☆☆

MagicFest’s Secret Room events are fantastic, as the chosen venues lend a theme to the performances, and the addition of the historical lessons of the buildings ensure that the evening is about more than magic.  This second point is especially true for the Secret Room at Lauriston Castle.  The event features three magicians, but the castle itself is the fourth star of the show.

The audience is first led into the study, where Billy Reid begins the evening’s magic.  Reid is perhaps the most true to theme.  Inspired by a historical cabinet maker who lived at Lauriston Castle, he incorporates a wooden puzzle into his act, and he concludes with a coin trick inspired by the lost coin collection of one of the castle’s former residents.  Reid’s gorgeous illustrated card trick sequence set to “Caledonia” is a highlight, working particularly well in this smaller venue.

The drawing room of the castle barely contains the boisterous character of Ian Kendall.  His tricks are classic, featuring cups and balls or ropes and rings, but his jokes keep the audience laughing, and his rapport with the group draws everyone into the performance.  Kendall does integrate a bit of a history lesson in to his act, and expresses suitable admiration for the room that he is performing in, but only very tenuously links his tricks to the history of the venue.  He makes this work as his larger-than-life personality easily distracts the audience from any thematic absence.

Chris Cook concludes the performances of the evening in the castle’s library.  The tidy precision of Cook’s magic style is exceptionally effective with this smaller audience.  In keeping with the theme, Cook uses an audience participant’s phone for his final trick, because, as he explains, these days the internet serves a similar purpose that a library would have back when Lauriston Castle was built.   While this does run in to technical difficulties, Cook maintains the momentum of his performance to deliver his reveal.  It is perhaps all the more impressive for the unplanned extra suspense.

Cook’s performance brings the magic of the evening to a close, but the audience is lucky enough to have the opportunity to stick around for a quick tour of the remaining rooms of the castle.  This includes two real secret rooms hidden in the performance venues.  As the event begins with a brief re-telling of the story of the castle and ends on this tour, the actual magic shows feel surrounded by history.

Lauriston Castle is an incredible venue for this Secret Room event, and the magic matches the excellence of the architecture.  The assortment of magicians is well chosen, as their contrasting styles ensure that each of their performances feels distinct, and the contrast makes the event feel balanced.  The castle and illusions combined ensure a wonderful evening steeped in all the best history and magic Scotland has to offer.

VINCENT GAMBINI – THE CHORE OF ENCHANTMENT

☆☆☆☆☆

Vincent Gambini’s meta-show about magic, The Chore of Enchantment, encapsulates the pessimism of 2016.  It is especially fantastic for those who still haven’t quite gotten over the ridiculous politics of that year.  Most of The Chore of Enchantment is less magic and more Gambini’s stand-up comedy style routine about his disillusionment with both magic and the real world, with bits and pieces of tricks used to enhance his monologue and illustrate his descent into melancholy.

Gambini creates a sense of unease from the start as he steps on to the stage in a sleep mask, and describes the room, the audience, and himself as figments of his dream.  While the big illusions that he describes do not manifest—no floating yoda or hole in the fabric of reality appear on the stage—the card tricks that do are still enjoyable, and create a bridge between Gambini’s mind and reality.

Equally atmospheric are the smaller bits of magic that Gambini performs as he gets into the politics of his show.  Gambini makes coins and balls disappear and reappear as he talks about the repetitiveness of performing magic, and brings magic back to the forefront of the narrative when he makes a staff appear with a loud snap.  He does occasionally run the gag for a little bit too long, but this feels like part of the show, as it periodically transitions the audience from awe to near-apathy with each new effect.

Gambini’s interactions with his audience are charming.  He does not use a lot of participants, due to the relative scarcity of magic in his show, but he reacts remarkably well to their mistakes and interruptions, seamlessly working them in to his performance.

By its nature, The Chore of Enchantment does occasionally feel a little bit pretentious in its exaggerated self-consciousness.  Gambini pokes fun at his past career in conventional magic as inadequate given the current state of the world, while performing what is, at its heart, a magic show in his own attempt to come to terms with those real issues.  In spite of its stated conclusions that magic is simply another distraction, the effectiveness of The Chore of Enchantment is evidence in support of magic’s usefulness as a tool for performers to address real world issues.

In The Chore of Enchantment, Gambini balances entertaining his audience with inspiring them to think, both about the real world and the nature of entertainment.  His comedy still feels timely two years after the events that he discusses, and his minimalist magic augments his words and astonishes his audience.

 

More information on Vincent Gambini and his performance dates can be found here

RENZ NOVANI: POET OF THE IMPOSSIBLE

☆☆☆☆

For a magic show, Poet of the Impossible is curiously light on magic, at least in the illusions sense.  Renz Novani’s poetry and storytelling share the spotlight with his magic tricks.  It is clear from the beginning that this is because Renz is a compelling performer, both with and without his magic. It does mean that his show might feel exceptionally niche—his best audience will be those who enjoy both magic and poetry—but those boundary-defying qualities also lend him a wider appeal, as a performer first and foremost over his role as a poet or magician.

In a fun twist on classic playing card trickery, Renz frames an opening trick by talking about his early days of learning magic out of books, and then having an audience participant read instructions from a magic book to guide him through a trick.  The audience feels as if we are taking part in this childhood anecdote.  But of course the instructions that are read out are incomplete, and the audience is still amazed to see the trick succeed.

Renz ventures into less conventional magical props with his use of tarot cards for a mind reading trick.  He does briefly use them for their intended purpose, while acknowledging that he himself is not a believer in such fortune telling.  When he finishes by using the tarot cards to reveal his mentalist trickery he dazzles the audience on his own terms rather than those set by the cards that he is using.

Poet of the Impossible winds down show by Renz telling stories about magic while performing the magic that he describes.  In one he describes a childhood dream about fairies fixing his broken toy while fixing it on stage in front of the audience.  He uses this to then draw a parallel between dreaming and watching magic, with both allowing for temporary escape from reality.

Renz’s graceful magic combined with his spoken word performance gently reshape his audience’s perception of reality while keeping us grounded in the real world.  While fans of both magic and poetry might get the most out of Poet of the Impossible, the elegance of his performance is enchanting to all.

 

 

More information on Renz Novani and his performance dates can be found here