Ben Hart

THE REMARKABLE BEN HART

☆☆☆☆☆

The Fringe’s favorite oddity Ben Hart is back, with a show title that sounds egotistical even by magic standards, The Remarkable Ben Hart. At the reviewed show the wind may have threatened to blow down his circus tent, but Edinburgh was not deterred. Not a seat was left empty on that windy Monday evening. The enthusiasm was justified, as was Hart’s ego, as Hart turned out one of his signature perfect and inventive performances.

The way that Hart uses magic is creative in both emphasizing the visual beauty of his effects and in making them more magically impressive. The assembly of his cutlery effect in particular addresses potential moments when skepticism might creep in, making the reveal all the more impressive. His mentalist routine is notable as well. Hart primarily performs physical magic, where, by its nature, the audience can see the magic happening.  Hart’s usual performance style takes advantage of that innate feature to create stylish visuals on his stage. With mentalism that innate materiality is not necessarily there, but Hart’s staging and showmanship make the effect blend seamlessly in to the distinct iconography of Hart brand, creating visual appeal to magic that is performed in the mind.

Aside from creative, visually beautiful magic, Hart loves a theme, and The Remarkable Ben Hart does not disappoint. The theme is not in fact just that he’s uniquely remarkable, although the audience may find themselves agreeing with that sentiment as well by the end of the show. While it would be a shame to make available from the start what Hart works so hard to build up over the course of an hour, future audiences can be reassured that this renowned storyteller has not given up on that element of his craft.

Like all performers, and especially magicians, Hart has to deal with members of the public in his show. Hart expertly choreographs his audience participants to ensure that they can perform their roles while also giving the whole of the audience a view of the magic, a notable challenge for a magician performing in the round. As the reviewed show took place during stormy weather, Hart also had to contend with Mother Nature herself heckling him, with howling winds that threatened to bring down his tent. Hart’s response to the wind revealed the practiced professionalism of a performer who regularly works in tents in Edinburgh—this is undoubtedly not the first time he has had to deal with that particular interruption.

The Remarkable Ben Hart is well worth braving the Edinburgh weather. Hart is constantly innovating in the performance of his craft, making him an exciting performer to return to year after year. Rain, shine, or hurricane, Hart’s tent is the place to be.

BEN HART: UP CLOSE

☆☆☆☆☆

One of the more unusual features of Ben Hart as a magician is that his Fringe shows are of late designed to be performed in the round. This is an extra challenge in a performance art known for its reliance on angles to execute the effects properly, and in Up Close Hart ups the stakes even further. The intimate venue and minimalist decor and props are cleverly designed to leave Hart with no space to hide. The magic is, as ever, nothing short of a masterclass. The intimacy of the venue also gives Hart a chance to show off his crowd work skills, to great effect. Even his outfit takes advantage of the venue size, with trouser embroidery that adds an extra element of visual interest to watching his perform.

Up Close is a mix of routines that Hart has performed before, in his larger scale shows, as well as effects that his fans may not have seen in his prior shows. The more familiar tricks in particular serve Hart in a variety of ways. They are, of course, impressive in their own right for newcomers to his act. There’s also an extra interest for Hart’s fans in seeing him execute these effects flawlessly in such a stripped back environment. And, after watching Hart experiment with ways to bring close up magic to the stage in his larger scale shows over the years to occasionally mixed reactions, it’s satisfying to see him find space to fully showcase a genre of magic that seems like a particular passion.

A particularly well formatted bit involves a classic spoon effect, with an extra element of spellcasting that makes it feel distinct to Hart. Hart excels at performing effects that are recognizable classics of magic, adapted so perfectly to his own style that they feel refreshed specifically for his fans. Hart’s Ouija board routine is a recurring success, with two audience participants getting involved who are ready after the show to swear to the others that Hart must have indeed conjured spirits, as there is no other explanation for what they experienced.

The intimacy of the Up Close venue works both ways—not only does the audience get a better view of Hart, he gets a better view of them at the same time. This is not as scary as it may sound. The only audience member who got told off at the reviewed show was on her phone, and Hart’s gentle chastising earned him one of the first rounds of applause of the evening. Hart cultivated the community of his audience, sharing the spotlight at every opportunity. One participant’s especially well mixed shuffle got an especially enthusiastic reaction, as the audience was clearly happy to help Hart celebrate one of their own. The already commanding Hart gained power from the communal atmosphere, at one point successfully holding the audience’s attention for a long few seconds while trying to change the sheet of paper in his little notepad—maybe a more true test of sheer charisma than any magic trick.

Hart’s audiences have come to expect perfection and he does not disappoint. The casual-witchy Up Close even has a suitably casual-witchy theme, developed by Hart in a suitably cheeky manner that is perfect for this type of show. A perennial Fringe highlight across two continents, Hart had a solid audience at the reviewed Tuesday evening show, a testament to the loyalty of his fans. Always changing, evolving, and experimenting, Hart is a rewarding performer to return to year after year. Up Close will only further cement his role as a trail blazer in the progression of magic as an art form.

BEN HART: HEX

☆☆☆☆☆

Edinburghers fear not: the witch is back.  Ben Hart is always one of the more stylishly dressed magicians. This year he looks so sharp in his tan suit that Americans might feel compelled to vote for him for president. Hart has performed at the Fringe for the past ten years, and this year’s show Hex is billed as a retrospective, composed of the best tricks and bits from previous years.

Ever the storyteller, captive to his magical talents and creativity, Hart does weave a delicate yet cohesive storyline through the themes of the various effects. This is so perfectly done and perfectly revealed that it would be a shame to say any more in a review. Suffice it to say that if there is such a thing as a good year to skip Hart’s show, this is not it.

Due to the nature of this show regular attendees of Hart’s Fringe offerings may recognize specific effects from past years. Hart is such a creative performer that it feels like a real treat to revisit these effects; these are all the most inventive, personalized routines that were genuine highlights of previous years.  That being said, while perhaps Hart’s long time superfans who have attended all ten of his Fringe shows may recognize all of the effects performed in Hex, for the rest there will be novelty. Magicians love recovering lost items via citrus fruit, and Hart’s take on this classic theme is an early highlight in the Hex magic lineup. As with this effect, while the bones of oft-repeated magic tricks are occasionally detectable through the meat of Hart’s performance, they are entirely transformed by his tinkering with the specifics of the presentation.

A self described witch, Hart curates an intense, otherworldly stage presence. Nevertheless he allows gaps in the intensity to welcome his audience participants into the show. Hex’s participation points are clearly delineated and easy to engage with—for many, the participant does not have to get up on the stage to be a part of the magic, and at no point does Hart even ask anyone do anything even as challenging as remembering a playing card suit. Hart uses magic as a vehicle to reawaken the wonder in his audience, and removes any potential difficulty in participating in it, keeping both the challenges as well as the secrets for himself.

Hart is consistently one of the best magicians at the Fringe. Each show has a theme, or sometimes a story, and while Hart himself has a specific, recognizable performance style, each show that he creates also has its own defined character that feels both distinct and entirely inseparable from his baseline stage presence. Describing the precise genius of Hart’s performance to any degree of adequacy is a regular, welcome challenge. In its own way Hex is no different… and, of course, completely different. Hart will undoubtedly continue to be a highlight of the Fringe for as long as he is willing to grace Edinburgh with his presence.

More information on HeX and its performance dates can be found here.

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.

BEN HART: WONDER

☆☆☆☆☆

Edinburghers fear not: an obligatory goth magician remains stationed at the Pleasance Grand to guard the night.  Ben Hart’s Fringe show Wonder was all but sold out on a rainy Monday evening, a testament to the work he has been putting in to building his local fanbase over the past few Fringes. And as always, Hart does not disappoint.  With his warehouse-chic costuming and staging, Hart is in turn funny, unnerving, and magical, but never dull to watch—the whole hour is entirely captivating. 

To quote an insightful fellow reviewer, Hannah Risser, “magicians fucking love putting money in oranges”.  It’s about as cliché as finding a card from a shuffled deck.  This Fringe is lucky enough to see two re-imaginings of this classic effect that genuinely make it feel fresh, and one of them is here in Hart’s show.  Similarly, a classic restorative effect is here woven in to a story with a fantastic fully immersive conclusion.  This creativity keeps even those who go to multiple magic shows excited to see more. 

Some of Hart’s magic happens on a smaller scale, and Hart has employed a live stream camera to beam his hands up to two large screens above his stage.  He makes great use of this, he is excellent at playing to both the audience and the camera, and for bigger effects he uses the live stream to give the audience new perspectives from which to appreciate his magic.  While his participants get the super close view—and despite Hart’s well constructed eerie, disconcerting air no one is harmed—this ensures that the full audience feels included.  When the camera is not in use he’ll casually flick the buttons and lean on it, making it feel like a natural part of the show. 

Hart manages to end Wonder on a note that is both uplifting and darkly comic, the perfect combination for his show.  He warns the audience early on that he loves a plot twist, and the semi-meta nature of the one employed is wonderfully creative. The incredible Hart is well worth a ticket, and a return visit next Fringe as everyone who sees him will definitely want to see him again. 

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

BEN HART: THE NUTSHELL

☆☆☆☆

The room already radiates an air of enigma as you walk in, and this is just your basic Fringe venue. What is it about Ben Hart that infuses mysteriousness into any room in which he walks?  That question may never be answered, and maybe that’s for the best. What can be known, however, is that Ben Hart’s The Nutshell is an elegant, stylistic experience in truly beautiful magic.

The Nutshell feels, in a nutshell (sorry), like a desperate and intense attempt of a magician at piercing the true nature of his art and its’ limits. A journey in magical madness, even, but one so artfully explored that it pulls every onlooker in, captivated from start to finish. From changing the course of fate to nature to murder, Hart somehow connects an array of topics into a enthralling rhythm.

Hart is an understated performer, gentle in word and movement, which makes his magic feel all the more astonishing when it happens- you’ve been lulled into a pleasant reverie by his stories when you’re caught off guard by the reveal of the illusion he’s slipped past you. Hart is masterful at maintaining a sense of delicious tension, never letting the mood break even when he has to instruct audience volunteers. He weaves his way through the slipperiest of sleight of hand, and appears as watchful of his audience as we are of him, a small smirk as if wondering how far he can trick us into suspending our disbelief.

Ben Hart is an exceptionally skillful magician and a bewitching performer. You won’t leave The Nutshell completely understanding what you just saw- or even what you were meant to see- but you won’t be able to stop wondering about it.

 

Ben Hart can be found at Gilded Balloon Teviot during the 2018 Edinburgh Fringe at 20:15 from August 18-27

More information on Ben Hart 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

 

 

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.