Edinburgh

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

 

 

MAGIC FEST CLOSING GALA: LEVITATIONS

☆☆☆

This year’s Edinburgh International Magic Festival celebrated the end of its week of events with the MagicFest Gala: Levitations.

The event was hosted by the charming Kevin Quantum, a magician with international experience from Fife, Scotland. Kevin Quantum performed several bits of magic himself between acts. In a heartwarming gesture of inclusivity, he made a point of inviting children from the back section of the theatre to be the participants in his magic. Kevin Quantum’s engaging presentation of the acts as well as his between-act performances integrated the range of acts into a cohesive showcase of magic.

Cubic Act opened the Gala with their mysterious floating box. Their graceful choreography and whimsical illusions were wonderful to watch. Alan Hudson followed with a comedic magical act. In contrast with the other acts, which were performed to music, Hudson chatted with the audience throughout his performance, and provided the comic relief of the first half of the show.

Next up were Les Chapeux Blancs with their delightfully stylized performance. On the stage lit only by a composition of small bright lights, the two magicians, dressed in white, climbed up the air, into the ground, and in and out of sight as if they could jump in and out of reality. The contrasts of the props and costumes with the dimly lit stage, combined with the precision of the magicians, gave this act an otherworldly atmosphere that is surely enviable to other magicians.

After the interval, Bertox took to the stage with his spinning rings. His distinctive take on juggling was captivating and calming in an almost hypnotic way. Aaron Crow then brought along his romance-themed magical stunt. Crow was impressive in the precision that he brought to his act and delightfully humorous in his silent mannerisms.

The final act, Marko Karvo, featured infinite scarves that produced infinite birds. Karvo was styled as a prototypical magician, dressed in a tailcoat and accompanied by a glamorous assistant. His act might have felt outdated if it weren’t so skillfully and elegantly done, but Karvo’s evident ability and flair made this an engaging performance. Unanticipated entertainment was provided by his largest and most brightly colored bird, which decided that it preferred to perch on the exit doorway at the back of the theatre rather than in the cage that Karvo had obligingly conjured for it.

The MagicFest Gala was a lovely celebration of both the Edinburgh magic scene and global live magic performance. The range of the performances was a wonderful demonstration of the diversity of modern magical acts, and Kevin Quantum’s enthusiasm radiated optimism about the state of magic as a field, making the closing gala a triumphant end to a week of magic in Edinburgh.

BIBS ‘N’ BOBS RELOADED

☆☆☆☆

Bibs ‘n’ Bobs Reloaded is a magic show exactly as it sounds, being constructed of simple objects from an ordinary Morrisons bag. As well as, of course, being a pun on magician Elliot Bibby’s surname. This show is a prime example that something created with the most humble of objects can become something fantastic.

As it is an unavoidable aspect of the Fringe, venue conditions are generally not fair play to comment on in a review. But when an act surpasses the limitations of their stage spectacularly, it is worth noting upon. Bibby transcends the obstacles his particularly difficult venue with impressive agility. It isn’t just his understanding of the necessity to elevate his tricks enough for everyone to see- although that is something a lot of Fringe magicians, including ones with ticketed shows, could learn from. But more specifically to his art, Bibby wove together his act so well that it grabs your attention away from any discomforts and distractions.

Bibby’s skill is in his presentation as well as attention to detail. Composed and dapper, Bibby charms without any of that stereotypical magician smarminess. His onstage persona is just genuine enough to foster a connection with the audience, but aloof enough to maintain a sense of mystery. He expertly handles heckling, both of the negative and of the positive but obnoxiously intrusive varieties. He has unfaltering intuition of when to humor the interjections and when to ignore them, having literally no missteps in this regard despite it being prevalent throughout his show.

In terms of actual illusions, Bibby intertwines the traditional and the imaginatively unique to create masterful magic. Using everything from cards and fire to the titular bibs and bobs in his bag, Bibby nonetheless maintains the needed cohesiveness to make his show polished and professional. Slick but funny from beginning to end, Elliot Bibby unquestionably proves his magical prowess and potential in Bibs ‘n’ Bobs Reloaded.

Originally published here.

More information on Elliot Bibby and his performance dates can be found here

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

TODD VARIOUS

☆☆☆

If you startle easy (as I do) the crack of a whip on a crowded street can be a terrifying sound. However, in the case I am describing, it indicated something awesome was to come.

Street performance is really cool inherently, and to do successfully requires crazy impressive showmanship skills.  If someone comes to a stage show, they’ve already spent their money on a ticket, and are thus likely to stick it through regardless. But street performers have to make the audience committed. Todd Various was one of the best street performers I have seen in this regard. Mr Various, with his cowboy persona and vicious looking whips was genuinely funny in a relaxed way that kept the crowd both entertained and at ease throughout the show.

The insane thing is, Mr Various doesn’t do a massive amount of tricks in that time. He actually only does a couple. But due to his entertaining chatter and undeniably likable personality, it seems like a lot more happens.

The tricks that are performed are pretty impressive to see, but the truly great quality was his talent as an entertainer. Mr Various could make jokes at peoples’ expense without being nasty about it, convince dubious tourists to play along with his show, and keep an audience enthralled on a chilly day in Edinburgh for nearly an hour- all without guarantee that they will give him money for his performance. But they damn well should (and I was happy to see did) because this funny, startling, captivating show was absolutely fantastic.

If this was a stage show I would say here where it is playing and at what time but ??? uh Royal Mile, Edinburgh, in the afternoon? Look for the guy wearing a cowboy hat and just stick around until he does something interesting?

+ I realize at no point in this review did I explain the purpose of the whip I mentioned in the beginning. Good. Be curious.

++ I accidentally saw this show twice (there is v little to do on Sundays in Edinburgh. I am not actually a stalker) so this review basically covers both performances at the same time.

More information on Todd Various can be found 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