☆☆☆☆

Music fans might have Taylor Swift and her Eras Tour, a wildly popular performer showing off her longevity and creativity in a massive three hour spectacle. David Alnwick is the Fringe magic equivalent of Taylor Swift. Alnwick’s informal Eras Tour might be modular in nature, with at least three hours’ worth of shows throughout every day of the Fringe, but if anything that makes it more accessible. While his most ardent fans have been known to follow him around for the day, those with less time to devote to him daily have the whole month to catch all his shows. Magician. Not Creepy. is Alnwick’s second regular show of the day. Here Alnwick demonstrates a range of the magic that earned him his renown, with a nod to the venue, which had historically hosted his creepier content.

In Magician. Not Creepy. Alnwick draws from several of his eras as a magician. One of the many things that Alnwick is known for is his card tricks, and he performs several of his regular favorites. These are a highlight, managing to be impressive and entertaining even for those who have seen them before. Magic fans may particularly appreciate the skill required to perform a well known card trick using a fairly tight jean pocket rather than the roomier suit jacket pocket that magicians tend to favor. Alnwick has perfect mastery over his deck and is not afraid to let his audience get close to him. He also performs some of his less regular and even new content, a real treat for long time fans in particular.

Alnwick might occasionally lightly tease his audience as a whole, but he is very welcoming to his participants. Once a member of the audience joins him onstage, they are transformed into a cherished member of the act, and Alnwick makes sure they know it. Alnwick primarily chooses his participants at random, based on instincts honed with over a decade of Fringe performances, and these prove unerringly accurate. For his more involved roles he gives the individual he lands on a clear out if they don’t want to participate, but at the reviewed show none took it—he is very beloved in Edinburgh.

Alnwick’s fans will know that of all the things he’s known for, the big overarching one is being perfect. Or, for those who believe that true perfection is not possible despite Alnwick regularly demonstrating evidence to the contrary, being so consistently close that he comes across as perfect anyway. At the reviewed show the one noticeable error was Alnwick opening a deck of cards too enthusiastically and throwing them all over the floor, but even this felt like a tribute to his earlier, messier shows that regularly ended with the stage covered in abandoned cards and other magical detritus.

Whether they know him by reputation or from his previous work, no one could possibly leave Magician. Not Creepy. at all disappointed. It’s a worthy stop for anyone from his biggest fans to those looking for a magic show to tick the genre off their Fringe list. Unlike Swift, Alnwick doesn’t make a big production out of regularly performing daily for three to four hours, it’s simply how he shows up for his fans, himself, and his art every year. Here, at the midpoint of his day, he is flawless as ever.

☆☆☆☆

Probably one of the hardest working performers of the Fringe, David Alnwick tends to pack his days full. This year he has three carefully written shows that he performs every day, plus his roving Secret Magic Show that takes advantage of other performers’ off days leaving the odd free slot in various venues. Not everyone has Alnwick’s work ethic and endless energy! The reviewed show at 10:30AM on a Sunday morning took place in a record shop, and like Alnwick’s shows always are, was very well attended. Alnwick performs a variety of his favorites and the occasional experimental bit.

The magic performed is as perfect as usual for Alnwick—with the hilarious exception of his attempt to demonstrate one of the effects that he invented to sell to other magicians. While this minor imperfection was a nice reminder to the audience that this isn’t TV—when something goes wrong the performer can’t re-shoot until they get it right—it did not have a significant effect on the overall impression that Alnwick is just what he claims, a truly exceptional magician. There is an emphasis on card tricks at the reviewed show, which is fantastic as this is an area where Alnwick particularily excels. He even shows off some fancy shuffles and cardistry, just for fun. A great early moment that sets the tone is a card finding effect that gets many members of the audience involved, with Alnwick successfully recovering the many chosen cards in inventive ways. The audience is also treated to Alnwick’s favorite card trick with the accompanying story. Returning fans may remember this one from prior years’ shows, it’s a strong routine that’s fun to revisit.

A practiced professional, Alnwick treats his audience participants well throughout the show. At the reviewed show he made sure to locate the fellow magician in the audience, and got her involved at the perfect moment. In a small venue there’s nowhere to hide from participation in the magic, but nothing to fear from a performer like Alnwick.

Alnwick’s Secret Magic Show is a slightly more chaotic experience than his fans will be used to, which in this case is a draw. Alnwick navigates the chaos well and it feels like an interesting insight into how his mind works. There’s even the opportunity for greater involvement, he asks the audience if they happen to have cards he could use, giving the truly devoted fan a chance to own a deck shuffled by Alnwick himself and everyone a chance to see a magician perform with a verified standard deck.

The great advantage of Alnwick’s Secret Magic Show is that the timings are so varied, those who want to come will provably be able to find a time that suits. Magic fans, comedy fans, and anyone looking for a random assortment of good times will enjoy Alnwick’s company.

☆☆☆☆☆

Ask David Alnwick to describe himself, and for at least this Fringe he’ll say Objectively the Best Magician. “What can’t I do”, he exclaims after a particularly impressive (to himself) trick. The ego may in fact be justified. The trick is also genuinely impressive to people who aren’t Alnwick. Alnwick doesn’t try to convince the audience that he is Objectively the Best Magician, he knows who he is and inhabits that role completely, delivering a perfectly scripted, plotted, and performed comedy magic show.

The overwhelming impression that the audience gets from Objectively the Best Magician, aside from the magic, is the energy. Alnwick works hard with his three daily Fringe shows plus a roaming secret show, but the audience can’t tell from the high energy he exudes in this first one of the afternoon. That’s what the audience talks about as they leave the show. It’s not because the magic is underwhelming in any way—it’s perfect, but Edinburgh audiences have come to expect that—it’s that this Fringe veteran on his 15th year has perfected the vibe of his show to such an extent.

Alnwick does of course back up his reputation with perfectly performed magic. His card magic is always a highlight. Alnwick loses and finds several audience cards in increasingly impressive ways, showing off his fancy shuffling skills along the way. He also demonstrates a textbook mentalist escalation series of effects over the course of the show, culminating in a visually exciting reveal that proves his absolute mastery over everything that happens in his show.

A kind performer, Alnwick uses plenty of audience participants and treats them well. He’ll only make a slight bit of fun of his participants if they deserve it. At the reviewed show, a mid-show participant was slightly reluctant to take part, but was egged on and teased by her friends. Alnwick made a point to get said friends involved later in the show, not for anything extensive but for enough that the initial participant got back at them.  If his participants are kind to him, Alnwick will have their back. 

Whether or not Alnwick is truly Objectively the Best Magician is for every magic fan to decide for themselves. But he’s certainly a Fringe institution, particularly for his iconic brand of high energy comedy magic. Anyone who would seek to challenge his claim had better check out this show first.

☆☆☆☆☆

David Alnwick’s career as a Fringe magician may have now led him to primarily perform darker, spookier work that increasingly bends the boundaries of magic as a genre of performance, reshaping the definitions of the art form to suit his needs in much the same way that he appears to reshape reality itself in his tricks. However, he first built his Edinburgh fan base on his comedy magic, and in Comedian Magician that is what he celebrates. It’s a throwback to the Dave Alnwick brand that many may still remember, and a retrospective on how Alnwick’s outlook on magic, performance, and his career have evolved over the course of his time at the Fringe.

Many magicians in the past couple of years have performed retrospectives to mark the occasion of their tenth year at the Fringe, however as it transpires Alnwick’s first Fringe was 2010. Those who remember both 2020 and the tentatively sized 2021 Fringe will understand why Alnwick did not take that route—although he did, memorably, comprise a full third of the magic shows that the PBH free fringe hosted at that 2021 Fringe. This celebration of his career is long overdue.

As such, Comedian Magician is made up of classics of Alnwick’s comedy magic repertoire interspersed with vignettes from various points of his career. The magic is, as per usual with Alnwick, flawless. If Alnwick has not written the book on how to perform magic it can only be because he’s been too busy with the creation and performance of his four shows per Fringe. One of the many highlights is a recurring favorite in which Alnwick tells a story encompassing both one if Edinburgh’s primary off-season festivals, the International Magic Festival, and a beloved Glaswegian magician who occasionally makes an appearance there. The vignettes are insightful as well, for example audiences at the Fringe may not have an understanding of the trade offs involved in performing at the PBH free fringe rather than the paid venues.

Audience participation is as frequent as a comedy magic audience would expect. The most involved participant is the one for that previously mentioned card trick, and in recognition of that Alnwick seeks a volunteer for that role. At the reviewed show Alnwick chose the first volunteer, despite his young age. The volunteer looked absolutely thrilled to be trusted and take part. Alnwick undoubtedly played a role in a core memory for him that day.

Alnwick’s fans may be used to the feeling of surprise that they get when they rediscover his seemingly limitless skills at each of his shows, but it’s always a wonderful feeling. His audiences celebrate his talents at every Fringe, and it’s great to see Alnwick himself get in on the party.

☆☆☆☆☆

If David Alnwick is known for anything other than being likely one of the busiest performer at the Fringe, it’s his habit of bringing the same show back to the Fringe for another year, tinkered into something recognizable to returning fans but demonstrably better—even when it comes to his many 5 star shows. This is the case with The Mystery of Dracula, Alnwick’s magical play about the origins of both the story of Dracula and the art of magic, and where they intertwine.

Alnwick’s magic is honed to perfection, a crucial step to creating a show that uses magic tricks so sparingly. Magic is used here as an illustration of the history that Alnwick discusses, although at times the boundaries between academic demonstration and supposedly genuine conjuring (at least, we hope it’s only “supposedly genuine”) is blurred to great effect. The audience’s impression of the effects are often of not the usual assertion that Alnwick, the magician, knows all, but rather to pose the question, “does he really?”

The Mystery of Dracula may be nominally about Dracula and come around to also be about magic. However, other timely themes come through too, of vulnerability of loneliness and the all too realistic possibility of a charismatic voice persuading lonely individuals into self destructive behaviors in search of community. The pressure felt by Alnwick’s timeless character is recognizable to anyone who has ventured into spaces both on and offline offering community in exchange for money, loyalty, or your immortal soul.

As a play with a light sprinkling of magic, audience participation is similarly kept to a minimum.  Several participants may be chosen to take part from their seats, and when a few are called to the stage Alnwick gives clear directions to make their roles easy to follow. The biggest point of participation comes at the end, when the entire audience becomes complicit by default in Alnwick’s performance. The audience does not need to do anything in particular to achieve this, their presence is sufficient.

The Mystery of Dracula is a retelling of history, but in a far more clever, universalized way than the audience might expect. Alnwick perfectly captures the loneliness of both an obsessed academic and the mythic immortal who he’s obsessed with in a dark satire of fandom and the search for community, palatably ensconced in the trappings of dark academia. Alnwick’s own fans will never be disappointed to see what he creates next.

☆☆☆☆☆

David Alnwick might have gained renown as a magician, but this year, of his four Fringe shows (three daily, still impressive) only half are traditional magic shows. Fans from previous years may remember the lighthearted style of Comedian Magician, the intimate close up of David Alnwick’s Secret Magic Show, and the spooky magical theatre of Dracula. Necromancer is best classed as a magic show only because there isn’t a genre option for “live action video game”. Alnwick, or as he is for the hour, The Necromancer, does use magic to make his game work, and the integration of the tricks into the show is exceptional.

When the audience does it right Necromancer both starts and ends in their own hands. The first throwback of the show is the paper tickets given out as placeholders by Banshee Labyrinth, which have QR codes that can be scanned while queuing for a good seat. The pre-show interaction perfectly sets the scene, and the post-show follow up is the perfect ending.

Once the audience enters the lair of the Necromancer a series of magic tricks are presented as games for either specific participants or the entire audience at once to take part in. These are perfectly chosen from Alnwick’s vast repertoire of magic. Participants are not given especially challenging tasks. Even a mind reading effect requiring the participants to reveal a truth about themselves along with several false statements is done with cards containing the truths and falsehoods to choose from, so no one has to think on the spot. With a relatively niche theme in the context of Fringe magic, the majority of the audience at the reviewed show were especially enthusiastic about participating. When one randomly selected participants revealed that she was only attending as a companion to one of Alnwick’s fans, Alnwick was quick to invite his fan to participate in her stead.

The Necromancer plays to win over those who enter his domain, but will he prevail? A game against the darker half of a master magician is surely more rigged than even the sketchiest casino. For years Alnwick has won over the hearts of Edinburgh with his magic, and this year his alter ego seeks to add its souls to the collection. The Necromancer is scary, not for the easily frightened, but the perfect show for fans of horror, video games, and creative magic.

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

☆☆☆☆☆

Reviewing The Mystery of Dracula means bending the rules, for it is only very loosely a magic show. From the minds of the Alnwick team, the Fringe’s favorite genre-bending siblings, it’s a slight deviation from their theatrical magic offerings of recent Fringes into more of a proper play, albeit told using magic. Magician David Alnwick is here a researcher investigating the origins of the Dracula story, and along the way illustrates his occult findings with stage magic. It’s a style of performance that he has honed over the past few Fringes and it shows. Like seemingly everything that Alnwick produces, the magic itself is flawless, and the storytelling aspect is equally perfectly performed.

As the public have come to expect, the Mystery of Dracula is nothing short of a triumph from concept to performance. Alnwick uses magic sparingly. The mentalism cards he uses in an early effect may look familiar to magic fans, but what is unfamiliar is just how perfectly placed they are in the narrative—plucked from Alnwick’s extensive repertoire for their important role in the story. Alnwick tells the history of magic alongside that of Dracula, and indulges the audience in a display of Victorian-style escapology along the way. It seems a bit random at first, but by the end of the hour is revealed to be a crucial element of the final effect.

There would have been no room for Alnwick to hide if his magic were anything less than flawless due to how little of it is used, but luckily that is never a concern. Dracula is as much a story about the origins of magic and their interconnection to occult beliefs as it is a magic show. Alnwick has never really needed magic to hold an audience’s attention, at least not for as long as this publication has been reviewing him, and this is the proof of it. If it’s more a story than magic, it’s difficult to imagine anyone other than a magician thinking to tell it; and if they did they wouldn’t tell it with nearly as much passion or insight as Alnwick.

It’s easy to dismiss a magician’s stories as more fiction than fact, the necessity of their tricks outranking any need for truthfulness. However, watching Dracula with a Yorkshire local reveals that the settings that Alnwick describes are at least real, the photographs are indeed recognizable as actual locations in the town of Whitby. Hopefully Alnwick has arranged to receive referral fees for customers of one particular restaurant that will undoubtedly receive an influx of new customers after this show.

For Alnwick fans, Dracula fans, and indeed every discerning Fringe fan, The Mystery of Dracula is a must-see show this Fringe. It’s perfectly balanced, not quite so scary as his proper horror or so comedic as his lighter-hearted shows. Alnwick doesn’t look to be giving up his place of prominence in the Fringe magic scene anytime soon.

☆☆☆☆☆

The Fringe’s very own energizer bunny David Alnwick and his backstage partner and sister Charlotte Alnwick have brought an incredible four shows to this year’s Fringe—albeit “only” three that are performed every day. The rest of us can only aspire to the Alnwick’s energy levels. His magical play The Mystery of Dracula will be reviewed separately, but the other three deserve more than the brief mention that could be squeezed into the Dracula review. Alnwick is deservedly showing off a bit with this line up, not many could pull off the full range of jazz magic to structured magical play in one Fringe, but he does it with apparent ease.

Their first two daily shows, David Alnwick is a Magician and Necromancer, are, when taken together, a playbook for how to craft a well themed magic show. Is a Magician is the comedy version, for Alnwick’s long term fans who remember him from his ‘cult’ days. It features all that classic Alnwick high energy humor. The highlight and climactic moment of the show is a card trick story featuring a beloved fixture of the Scottish magic scene who many in the audience might recognize by name.

On the other side of the coin is Necromancer, appealing to the horror-loving fan base that Alnwick has cultivated over the past couple of years. Framed as a series of scary games that the audience plays with Alnwick in the role of the Necromancer, it’s a divisive one—perhaps a bit too much for those who are easily frightened, but an excellent Fringe choice for those who enjoy being scared. A highlight for wordplay lovers is a game of “passed the parcel” to pick a participant for a frightening mind reading effect. Magicians and magic aficionados might enjoy seeing one of the tricks from Is a Magician repeated but made scary, an interesting insight into how to adapt the props and performing style to have an entirely different effect on the audience using the same fundamental trick.

Alnwick also performs a jazz magic style secret show every so often at varying times and venues. In these he intersperses a selection of fun tricks and cardistry with poetry recitation. It’s a combination that seems odd at first, but Alnwick makes both a logical argument and a compelling show of sheer charisma to convince the audience that it makes sense. These shows are a fun little diversion for Alnwick and his fans. He’s not telling a story but celebrating his versatility as a magician and performer.

Each of Alnwick’s shows stands on its own, and each is perhaps designed to appeal to a different segment of their fans. Those who have the opportunity to see all of them get a glimpse into the breadth of the possibility of magic as performed by one very talented magician, and where this magician draws the line between magic and theatre.  The shows in this review are advertised as magic, but The Mystery of Dracula is advertised as theatre (with magic components). Alnwick has demonstrated the range of performance that can be classified as magic for the past few years, so while the boundary that he has delineated is just one perspective, perhaps no one is more qualified to judge where that boundary should lay.  Entertainment value of each show aside, it’s exciting to see Alnwick push magic to its breaking point only to keep going.