Edinburgh Festival Fringe

TRICNIC

☆☆

Tricnic is a comedy magic show featuring twin magicians Kane and Abel who reject your preconceived notions of the props and common items magic is usually done with and instead perform with food. Tricnic is exactly what it sounds like – a picnic of tricks.

In terms of the tricks, the magicians do not do anything uniquely original or surprising, but that is forgivable in a magic show when the presentation is skillful and entertaining. However, in this regard they also struggle. Surprisingly, considering that they are twin brothers, Kane and Abel have a more awkward and stilted lack of chemistry than random strangers shoved on a stage together would. This uncomfortable dynamic is distracting from the show and means that even when the tricks pay off, it is hard to take any pleasure from them. Luckily, this magic show is situated next to a bar but that still wasn’t enough for some of the audience at the performance I attended, as some people slunk or even blatantly strolled out mid show.

To their favour, Kane and Abel are competent magicians, and their chosen shtick of a trick picnic is fun. Unfortunately, the bits that involve audience participation- which is most of them- the magical duo prove that they are just as weak at interacting onstage with people who aren’t related to them. In cases where poor direction leads audiences to fumble with what they are meant to do, they are mocked by the magicians. This is to be expected, but the lack of any true, connecting humor in their mockery makes it sound harsh and uncomfortable to the audience. It also means that the different tricks are drawn out to the point of feeling pained as Kane and Abel attempt to get the necessary participation accomplished. Even when they get there in the end, any true momentum and impact has been irrevocably lost.

Tricnic is a free show, and the idea of it isn’t bad at all. With more rehearsal with each other, and by adopting a more natural banter as their onstage patter, the brothers could probably get past their wooden interactions.and deliver an entertaining performance.

 

More information on Kane & Abel and their performance dates can be found here

Originally published here

CHRIS COOK: TRUTH OR DARE

☆☆☆☆☆

Chris Cook is an unexpected gem of Edinburgh Fringe magicians, and an absolute master of his stage. His show this year, Truth or Dare, is a testament to the captivating nature of skillful and surprising magic.

In accordance with its name, Truth or Dare is a game with the audience. In such a game, of course, the magician will always be winning. But Cook is a consummate professional and charmer of his spectators. Even if he was always going to fool us, we’re ecstatic for it to happen. The show is completely interactive, involving someone in every trick that is done. You would think this runs the risk of relying on a terrible participant, but Cook has no such troubles. His interactions with the crowd is his greatest strength amidst a show of only strengths. Striding around the stage confidently and very rapidly, Cook sweeps you up in his enthusiasm and devilish wit, but at the same time remains respectful of how awkward people can feel when brought on stage. He takes particular care to attend to that concern and makes sure that everyone is unembarrassed and comfortable at all times no matter what trick they are participating in.

Keeping pace with Cook’s rapid fire wit is his magic. He charges from one astonishing trick to the next, never giving a moment for the delighted bafflement to fade away before he’s brought it back again. Whether he’s reading someone’s mind or making magic happen in their very hands, Cook astounds both the immediate participant and everyone watching. The finale of Truth or Dare is a particular triumph. Although definitively different than the rest of the tricks that precede it, Cook still somehow weaves the theory into the show so that it stands out in a way that compliments instead of distracts.

Truth or Dare takes the sheer quality, polished nature, and powerful amazement of any magic show and puts it in a free show. If you want to see excellent magic performed, this show is the one to catch before the Fringe is over.

 

More information on Chris Cook and his performance dates can be found here

Originally published here

STRICTLY COME TRANCING

☆☆

Lunchtime is perhaps not the right time for a hypnosis show for adults. Strictly Come Trancing is a show where you can see how it could have been great – if only the sky had been a bit darker and the audience participants a bit tipsier.

The beginning of the performance is promising. Despite hypnotist Ben Dali’s suit screaming ‘sleazy’, his brand of humor is genuine and unaffected, connecting very well with his audience and establishing a base of comradery. Unfortunately, this is quickly lost.

The first thing that goes wrong is that Dali invites his participants onstage instead of doing an opening induction of hypnosis on the audience while people are in their seats. Giving people the option of bringing themselves onto the stage of their own will means that they later feel welcome to leave it in the same fashion. Once people are onstage, the hypnotic inductions are unnecessarily long. Perhaps Dali doesn’t feel comfortable starting the show without this, but the length of it seems boring – and quite probably for those onstage as well. Once the show actually starts, the audience has high expectations for the wait to pay off. Sadly it does not.

In most shows, you cannot blame the audience for the performance being bad. But it is difficult to find fault with Dali’s act. Rarely are all the participants in a stage hypnosis show going to be hypnotised. This doesn’t matter if people play along and give their friends something to laugh at. After all, they choose to be on the stage. But despite Dali’s best efforts, he cannot manage to summon up the necessary humor and connection with his participants to make them want to stay. To his credit, he troops on through the act impressively despite the quickly dispersing participants, but this actually just makes it more painful to watch.

Dali’s Strictly Come Trancing is a funny show with a great title, and is a great and free way to spend an hour laughing at your friends doing silly – but not humiliating – things. But in order for everyone to appreciate it, the people onstage participating need to commit to the show. Because if not, it is an tragically awkward experience.

 

More information on Ben Dali and his performance dates can be found here

Originally published here

COLIN CLOUD: KILLS

☆☆☆

Colin Cloud is the ultimate rockstar mentalist, or as he styles himself, deductionist. He has succeeded in cultivating the most intriguing aesthetic for himself, combining the Victorian mysteriousness of his idol Sherlock Holmes with his own flashy modern tech and dramatic reveals. The astoundingly talented showmanship he demonstrates means that even if his deductions should falter, the entertainment factor never will.

The first part of Cloud’s show consists of him deducing information about the members of his audience- personal or even secret information. There are some awkward falters in this bit, and it seems that truly accurate deduction might rely on being familiar with a large variance of nationalities, which is quite a challenge with the international crowd at the Edinburgh Fringe. However, he does not allow setbacks to disrupt the momentum of the show whatsoever, and brushes off the mistakes so easily and with such quick wit that you would almost believe it was intentional. As he warms up, as well, his powers of deduction kick in most impressively. Even though the shocked gasps of people having unspoken information revealed can never really get old, Cloud makes sure the show does not stagnate by filling it with many different methods of deduction. All with the same premise, but happening in unique and hilarious ways. Every time you think you know how he does it, Cloud immediately proves you wrong.

Just when it seems the show has ended, Cloud lights a candle and solemnly informs us of a new skill he has learned, a new outlet of his powers. What is the worst thing someone with Cloud’s particular talents could do? Well, it’s right there in the title of the show. Unfortunately, perhaps in a haste to become akin to the next Derren Brown, Cloud has premiered this trick before it was finished being perfected. There is a large amount of leading to make sure the audience understands the magnitude of what is about to happen, which would be acceptable if it weren’t for the fact that it never really happens. As far as presentation goes, this demonstration has no faults. It is slick and intriguingly tense. But if you’re paying attention, you will realize that there is no definitive payoff. However, the reality is, it would not be obvious to everyone in the audience, and that is to Cloud’s credit. Colin Cloud is a skillful pied piper of his audiences, and if he says “be impressed”, we will be. After all, nothing could be as impressive as his closing trick, where one deduction from the beginning of the show comes back around to prove that, ultimately, Colin Cloud is smarter than the rest of us combined.

 

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

Originally published here

COLIN CLOUD: THE FORENSIC MIND READER

☆☆☆☆☆

Any act that incorporates Sherlock Holmes will always have my automatic affection. But the effortless ease with which Mr Cloud incorporated his fascination with the character is spectacular on it’s own merits.

One challenge of the Fringe is that which room you are in definitely sets the tone for your show. And some of the Fringe venues are a little bit shoddy, or even nice but unintended for the purposes they’re now being used for. I got that impression off the Just the Tonic room that Mr Cloud’s show was in. However, his minor additions manged both to blend with the initial surroundings and, for lack of a better phrase, “class the place up a bit.” The tightly packed audience (sold out!) combined with the backdrop, gave off the sensation that you could, in fact, have been transported back to the Victorian era, and found yourself in the fictional detective’s sitting room- both dubious but undeniably curious at what secrets you were wearing in your facial expressions that he would see right through to.

And as if straight from the pages of one of these stories, Mr Cloud delivered his astonishing skill. The audience was repeatedly stunned at the ability he had to seemingly pick thoughts right out of his participants heads- the word from a favorite childhood book, a random number they had only then decided upon themselves, an image chosen from countless possibilities recreated right in front of their eyes. All done with a practiced air of charm and just a little bit of impatient disdain for participants who had trouble following simple directions. After all, nothing could be more Sherlockian. His showmanship was thoroughly on point, softening the adopted affect of superior wisdom by sharing his audience’s enthusiasm.

For a tone so steeped in the air of mystery, Mr Cloud does not pretend to be psychic. Rather, he is upfront about the psychological background of the techniques he uses. He perhaps leaves out mentions of old-school mentalist trickery employed, but we are all here to be entertained. There is a certain thrill to being left bewildered, and Mr Cloud knows where to draw the line between explaining how he’s reading participants lies and leaving bits up the the audience’s baffled imaginations. The combination between his skill at mentalism and his clever wit and showmanship make The Forensic Mind Reader a brilliant and utterly enjoyable experience.

The last three days of Colin Cloud’s Edinburgh Festival Fringe run at Just the Tonic are currently completely sold out, but you may be able to snatch up returns a couple hours before the performances at 5:55pm.

 

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

RENZ NOVANI: SPELLBINDER- MAGIC AND MYSTORY

☆☆☆☆

I’m not a mentalist (yet?) but when I sat down at the beginning of Renz Novani’s show, I made a prediction. That prediction was that for his review I would be writing: “well, maybe Renz Novani is a good magician, but I can’t tell because I can’t see a goddamned thing except for the hair of the lady in front of me.” But like I said, I’m not a mentalist.

The room was tiny. Everyone was squashed together, and the rows of seats were only at two levels. The “stage” started right where the “audience” stopped, and it was tiny itself. But what could have been suffocating actually worked for the show.

Mr Novani’s affect was flawless for the space, and for his material. He didn’t try to be overtly theatrical, a choice that by making him seem bigger would have made the space feel even smaller. Instead, his show was like a conversation. We were visitors at Mr Novani’s, and he a kind host. And like any good host, he exuded sincerity, and seemed to connect deeply with his audience.

I’ve mentioned earlier that I as a rule don’t go onstage or interact in the acts I see. Well, I broke that rule last night. I didn’t plan on it, but the room was so small, I couldn’t exactly hide. And when I was picked, I just went with it. I was initially worried that my preexisting obsession with mentalism and fascination with the exact things he was doing would mess the show up because I was thinking so much, so I guess it’s a blessing that when I’m in front of crowds I lose the ability to think. I won’t go into too much detail about the trick itself, but all I can say is that I was amazed by his talent. At so many points I was tiny slivers of a whim away from making wholly different choices, and yet the trick worked- the prediction that Mr Novani had secured, earlier, with another audience member, was right. Because of choices that I made and numbers that the audience picked.This ability wasn’t limited to but one trick, either. He again and again left members of the audience dumbfounded with his mentalist ability and readings of their deepest wishes.

He genuinely had astonishing talent, and at the same time expertly presented his material in a manner that made a grim little room cozy and captivating. Combined with a brilliant finish, Mr Novani’s show really does leave you feeling weightless.

Renz Novani’s Fringe show is at Spotlights at Merchants Hall, at 8:40 pm until August 25th.

+Reviewer’s note: I left this show a little stunned, and not just because of residual nervous energy from being onstage. Of all the magicians that I’ve seen as of late, his particular talents were exactly everything I’ve ever wanted to study, understand, be. The beautiful mixture of clever tricks, calming but firm stage presence, and a deep understanding of and ability to work with human psychology is exactly what captivated me about this world in the first place. His ability to imbibe it with a sense of enchantment struck me on a deeply personal level. Also, I want to steal all his books.

 

 

More information on Renz Novani 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.

ALAN HUDSON: TRICK TEASER

☆☆☆

‘No secrets’ could be the tagline for this show. Considering the ‘mystery’ appeal that most magicians will make their living on, this is a bit out of the ordinary. Alan Hudson’s show is pure silly, happy, humble magic, and he doesn’t pretend to be anything more than exactly what he is.

And what he is is spelled out right on his flyer: a comic with a feel-good magic show. But it works because he does it well. He’s working in a small venue here at the Fringe, where he stands at the same level as the audience, only a few feet from them. No room for frills or secrets, it’s just you and the magician- and Mr Hudson is a funny, friendly guy. He manages to make his audience like him nearly immediately, with jokes that hint of self deprecation, stupid dancing, and purposefully see-through magic.

This is all particularly notable on the night when I went. Mr Hudson messed up a trick in a way he couldn’t salvage in the moment. But perhaps with the exception of the woman whose wedding ring was now missing, he still had the audience on his side. The attitude was of willingness to gloss past the problem, not to blame him for messing it up.

Perhaps not the guy to see if you want to be utterly astounded, but if you want to see some cool tricks and genuinely laugh for nearly an hour straight, Alan Hudson is the right choice.

Alan Hudson‘s Edinburgh Festival Fringe show is on at Gilded Balloon at 19:45 until August 25th (not on the 13th).

PAUL DABEK: LIAR LIAR

☆

I’m the kind of critic you want at your show. I’m inclined to see the best in an act, and I come to shows willing to be amazed, not with my asshole hat on. That being said-

Mr Dabek’s flyer says he ‘weaves a web of comedy, magic, and lies.’ I didn’t realize his claim of comedy and magic was the lie. He started his show off with his enthusiasm and flair, flicking cards around and peacocking all around the stage. A valid and exciting start to the show, but it went rapidly downhill from there.

I don’t want to make this review all about his showmanship (although I do love critiquing showmanship) but that is the only thing there was to observe. He did no actual magic, so I can’t assess any skill in that. And I didn’t notice any comedy either, aside from a validly amusing NHS joke that a lot of comedians would have skipped on the grounds of being to easy.

So, showmanship it is. He was terrible. Paul mistook ‘loud’ to mean ‘funny’ and instead of ‘flirting with the audience’ went for ‘skeeving on the audience’. Sometimes he took a break from jumping around and shouting to be actually, overtly offensive. He indulged in some moderate racism- oh I’m sorry, xenophobia. Then, upon bringing a girl onstage, became rudely dismissive of her upon learning she had a girlfriend.

Mr Dabek has the right inherent enthusiasm, but he needs to get some skills- and a new personality.

But feel free to disagree with me! Paul Dabek is on at the 2014 Edinburgh Festival Fringe at the Jam House on August 11, 13, 15-18, 20-22 at 21:30.

CHRIS DUGDALE: MORE MAGIC AND MISCHIEF

☆☆☆

The first thing you will notice when More Magic and Mischief starts is that Chris Dugdale just radiates absurd, over-dramatic cheesiness. This is a fine line of a choice, wander too far and you risk making the audience want to punch the smarmy grin right off your face. But somehow, Mr Dugdale has actually cultivated it to the point of being hopelessly charming. It’s the kind of showmanship that will make you think ‘you utter goof’ while grinning and clapping loudly.

And clap loudly the audience does. Mr Dugdale interacts well with his crowd, focusing (and this is a warning if you’re planning on going to his show) on those in the front row. He weaves participation into many of his bits, interacting playfully but never disrespectfully. Rather he- and there’s this word again- charms his participants through tricks with predictions, reappearing cards, words in books, and an unexpected use of citrus.

The general rule of magic is that the performer will capture your attention exactly where they don’t want you to look, but even I, knowing where to look, took going to the show four times to catch even a couple of his tricks. As a rule I don’t go onstage the first time I see a performer, and then of course, I can’t go on if I attend again during the rest of the show run because I know what’s going to happen. However, I did peer pressure a friend into going up. She, a person who prides herself on being unreadable, was astonished at how quickly he could guess the word she was thinking of.

This is not to say that he’s perfect. I work with a lot of actors, so I am very observant of flubbed lines. And there are a couple of places in his show that he has distinct trouble with- watch for stumbles around mentions of Tesco’s finest wine and President Obama. But in his defense, the ability to weave a mostly set script around improv to audience participation is impressive, and he carries it off at most times. I wouldn’t notice these stumbles if I hadn’t seen them repeated at the six times I’ve seen his Fringe show so far- yes, I’ve gone six times, so who’s really winning?

Mr. Dugdale mentions Las Vegas in his show, and nothing could be more spot on. He emanates slick charm and skill indicative of a Las Vegas performer, and keeps his audience laughing and bewildered- without ever condescending to them. From start to finish his Edinburgh Fringe show is a captivating experience that will delight any and everyone.

 

Chris Dugdale: More Magic and Mischief is going on at Assembly George Square Studios during the 2014 Edinburgh Fringe, at 18:50 on August 12-17, 19-25.