magic

KEVIN QUANTUM: UNBELIEVABLE MAGIC FOR NON-BELIEVERS

☆☆☆☆

As the only magician-scientist hybrid performing in Edinburgh (perhaps in the world) it makes sense that Kevin Quantum dedicates his latest Fringe show to those who appreciate magic as a mechanical phenomenon that can be explained in rational terms. In Unbelievable Magic for Non-Believers, Quantum demonstrates a series of tricks and routines that are naturally designed to flummox those looking for their rational explanation, and uses real life examples to show that the natural search for rationality in the irrational isn’t just for magic shows.

Quantum is a skilled magician and several of the routines he performs in Unbelievable Magic are particularly creative. His opening routine with a breakfast theme is especially fun to watch—who doesn’t love breakfast for dinner? Quantum’s performance of a well known effect that usually uses two people but here only uses one and a video camera is also interestingly innovative, and all the more impressive for it. Such fascinating magic also highlight another way that non-believers can enjoy magic without committing to becoming believers. When performed with the skill and creativity of a magician like Quantum, magic can be appreciated as a beautiful and funny art form regardless of the audience’s belief in it.

Real life intrudes on the magic in a couple of instances in Unbelievable Magic. The first is the previously mentioned examples of real life phenomena in which it is human nature to search for a rational explanation to an irrational world. While Quantum understandably skates around the sociological and political implications of this element of the show, which would probably take a whole different show to fully unpack, it’s clear enough to feel timely. The second element of reality comes in the form of Quantum’s science demonstration, a regular and exciting feature of his shows. Quantum leans in to the visually exciting parts of physics. Quantum’s demonstration of the properties of his Tesla coil mirrors his use of magic. While there is, again, a rational explanation, the effects can also be appreciated simply for their beauty.

Quantum often gets audience members involved in his show, and often in doing simple tasks from their seats. On the one occasion that he asks slightly more of his audience participant, and teases them a bit more, Quantum makes sure to find a volunteer rather than a randomly selected participant, a great way to ensure happy, active participation.

Creating magic designed to seduce non-believers into believing is a fairly common theme for magicians. Unbelievable Magic for Non-Believers is certainly an entertaining take on that classic, with Quantum’s particular blend of magic and reality adding an interesting perspective. Despite the title it is well worth a watch for believers and non-believers alike.

JOKERS! MAGIC SPECTACULAR

☆☆☆

A midafternoon compilation show, Jokers! Magic Spectacular is a solid option for those scouting out family friendly acts to check out while also having a good time. Hosted by the friendly Mr. Frosty, it’s an entertaining frolic through the magicians’ favorite bits that they have plucked from their main shows.

As well as introducing the acts, the host Mr. Frosty also performs a bit of magic in between them. He quickly notices the youngsters in the room and presents child friendly routines that keep the kids engaged. The props are classic and the tricks performed with skill. Frosty’s red ball trick with an adorably enthusiastic child helper is an early highlight. As the host he’s only one guaranteed to be back at every show, and is guaranteed to set the tone for family friendly fun.

The first to take the stage is Adam B, who bonds with the audience over their flavors of “neurospice” and performs a themed series of effects. Adam B is enthusiastic and friendly, bringing up the energy in the room with his knot-themed magic.  At the reviewed show the audience participants for this section seemed particularly pleased with their role, getting an up close look at Adam B’s work.

George Hunt, the introvert magician, is next in the reviewed lineup. Hunt puts the magic in the hands of the audience, with both a child and adult participant each able to take part at age appropriate moments. Each leaves the stage equally impressed with themselves and with Hunt—the introverted tendency to deflect attention works without distracting from the magic.

And finally, the show is headlined by the millennial magician Chris Fleming. Fleming’s double bluff is a fun interpretation of a classic of magic, keeping it fresh for the next generation. He’s a friendly performer and treats his participants kindly, even if they might not realize that until the end of the routine.

The Jokers! Magic Spectacular is a well hosted compilation that seems able to attract a fun variety of magic acts. It’s centrally located, perfect for a family friendly magic break in an afternoon at the Fringe.

LUKE OSEY: THE MAGIC HANGOVER

☆☆☆☆☆

Luke Osey’s The Magic Hangover has got to be one of the weirdest magic shows of this Fringe, and it’s all the better for it. Osey’s trademark high energy and infectious humor keeps the story bounding along, and the perfect magic highlights plot elements to great effect.

For those who have followed Osey’s career to any degree at all, it will come as no surprise to find that the magic performed in The Magic Hangover is perfectly themed and executed. Fans may at times recognize signature props and elements, but each is used in such an entirely new way that it feels more like a self referential Easter egg than like Osey repeating a trick. Osey uses magic with exceptional creativity. There are at times elements of classic tricks that peek through—a dangerous item is created and concealed, or a money routine has a citrus—but as well he creates bespoke routines to showcase his sleight of hand skills in ways that suit the story.

The Magic Hangover has a decent ratio of story and comedy along with the magic. While the humor will not be to everyone’s taste, Osey is a talented comedian who may very well get the audience to laugh even when they’re not sure they want to. The plot line works well with the magic, and lends an element of sweetness that is as welcome as it is unexpected in this style of late night show. The conclusion of the mystery that unfolds ties in perfectly with the big magical reveal, and again demonstrates Osey’s skill at making classic magic effects feel fresh by knitting them seamlessly into his theme.

Osey is a personable performer and works well with the members of the audience who join in on his act, whether he invited them to or not. Intentional audience participation is sprinkled throughout the show, and is easily completed with Osey’s friendly instructions. At the reviewed show Osey also had to contend with the occasional heckling, and justifiably shut down one individual (only after they annoyed the rest of the audience) without missing a step. On the other hand, Osey also received a positive heckle from a member of the audience who couldn’t contain his admiration for one of Osey’s jokes, and this resulted in a sweet moment of mutual appreciation.

The Magic Hangover works perfectly as both a wacky late night show and a showcase of magical skill and creativity. Osey leans in to the surrealist weirdness, using the uniquely odd products of his imagination to create a show that no one else would, and pulling it off with textbook panache. Whether it’s the weirdest end to your Fringe day, or the perfect way to kick off the kind of evening that will result in your own magic hangover, The Magic Hangover is the place to be.

MARTIN BROCK: ALMOST IMPOSSIBLE 2.0

☆☆☆

Many magicians claim to show their audiences impossible feats, but Martin Brock is much more honest. If he can do it onstage, it must not be impossible! So he is very candid in titling this year’s show Almost Impossible 2.0. Brock’s show is a visually beautiful performance-collage of the best bits of magic he’s learned and created over the course of his career.

If one skill shines through in particular, it’s Brock’s card tricks and cardistry. His aces finding trick in particular is so perfectly performed that it feels like art, even before the final reveal. While there isn’t a strong conceptual theme to the show, the style of magic that Brock employs is consistently sleight of hand, and it’s clear that this is his strength.

If there is an area of Brock’s performance that could use some work, it’s in the timing of his magic. At the reviewed show he had a tendency to draw out each effect for a bit longer than felt strictly necessary, and this was pervasive enough that it became a drag on the flow of the show. To be fair, for most of the audience, the perfection of execution would undoubtedly easily outweigh such a relatively small issue—everyone exiting the show was clearly delighted by what they had witnessed. Excellent magic has a tendency to speak for itself regardless of subjective issues in the construction of the show.

Brock only involves a few audience participants in his act, and is sure to get enthusiastic consent from them. An especially keen participant at the reviewed show was a ten year old boy who helped with an early demonstration of card magic. Brock set him up for success, giving him ample opportunity to receive applause from the audience, ensuring a positive memory for one of his youngest fans.

As a family friendly celebration of sleight of hand magic, Almost Impossible 2.0 is a great addition to any Fringe schedule. Brock will get the littler audience members involved in age appropriate ways and keep the adults entertained with his beautiful magic.

JAMES PHELAN: THE MAN WHO WAS MAGIC

☆☆☆☆

In the hierarchy of Fringe venues, James Phelan has undoubtedly earned the use of one of the best this year, with The Man Who Was Magic finding its home in the beautiful McEwan Hall. Phelan honors the venue with an equally beautiful magic show that makes great use of the space. With a well-balanced mix of hypnotic effects, mind reading, and magic, Phelan’s show is as ever the crowd pleaser, with a real heart to back up the tricks.

One of Phelan’s notable strengths as a performer is in his crowd work, and this was readily apparent at the reviewed show. With his quick wit and charm Phelan has an easy chemistry with everyone who he invites to get involved in the show. Participants are made to feel comfortable, and as Phelan keeps all the hard work for himself participation feels particularly unthreatening. McEwan Hall is a big room, but like every good host Phelan turns the space into a welcoming home.

The hypnotism and magic performed are all done with exceptional skill. At the reviewed performance there were a few noticeable teething issues—nothing out of the ordinary for the second day of the Fringe—but if there were any genuine problems with the tricks performed, Phelan played them off so well that the audience was left unsure if these were planned “mistakes” to set up the reveal, which is surely the truest tell of magical excellence. A crowd-pleasing highlight is Phelan’s ring trick, with a reveal that neatly ties in to the show’s theme of making the important things permanent, which in this case took the form of a permanent testament to the impermanent moment of the reveal.

That theme of creating permanence may initially seem at odds with the medium of live performance, a necessarily impermanent art. Phelan navigates this in part with the obvious, the gifting of souvenirs to his various participants, and in part in autobiographical storytelling and general inspiration. In a way his slick handling of early-Fringe issues contributed to the theme as well, with the temporary technological problems becoming surpassed by the permanent impression of controlled professionalism that he leaves on the audience. Phelan even refreshes a form of final reveal that in other hands feels overused, breathing new life into this classic magical ending by imbuing it with new meaning.

Phelan, the Man Who Was Magic himself, is certainly one to see this year for anyone in need of an uplifting hour, which would probably be just about everyone this year. His show is one of those impermanent things that is worth being made permanent, whether in reviews, in the futures of those who he takes the time to inspire, or even just in the memories of everyone in his audiences.

LIN LU-CHIEH: TAIWAN SEASON: DAZED AND CONFUSED

☆☆☆

Who doesn’t love talking about themselves? Autobiographical magic shows are a classic for a reason, especially for a magician introducing themselves to a new marketplace. Lin Lu-Chieh’s Taiwan Season: Dazed and Confused is excitingly not just his Edinburgh Fringe debut, but his fully-English-language debut, and it’s a memorable introduction. Dazed and Confused is light on magic but big on heart, and Lin is easy to watch onstage.

Lin utilizes the magic in his show in a consistently thoughtful way, the tricks feel well chosen to highlight the story. If there is the occasional moment where the sleight of hand feels a little bit clumsy—maybe a card edge peeking out where it shouldn’t, or a prop that is slightly fumbled—it’s only because the Edinburgh Fringe has such a high standard of magic, and it doesn’t have a huge effect on the overall enjoyment of the audience. There are plenty of magic highlights in the show, most notably a sequence in which Lin demonstrates his enthusiastic performance of the first card trick he learned to all of his friends and classmates. Lin has perfected the balancing act of performing the same trick over and over just often enough for it to feel entertaining each time, making this routine particularly fun to watch.

Naturally following from the light sprinkling of magic is a light sprinkling of audience participation. At the reviewed show, Lin found ample participants in the front row who were visibly delighted to take part onstage. Lin’s personable stage presence made joining in on the act an appealing proposition.

The story that Lin tells about his journey into magic is compellingly relatable. At a time where the concept of finding and staying in one dream job forever is increasingly unrealistic, Lin’s tale of stumbling in to magic as a just one attempt of many to find something that he is both passionate about and able to excel at will ring true for many who are watching. Lin simultaneously demonstrates and pokes fun at the advice he received early on from his father, that miracles aren’t real but are just the result of persistence. With enough strategically applied persistence, he may not yet be a baseball star but at least he is able to create miracles in front of his audience.

With a lunchtime time slot, central venue, and family friendly theme, Taiwan Season: Dazed and Confused is sure to be a hit this Fringe. Lin’s magic-flavored recollections of his childhood easily hold the audience’s attention, and his creative approach to magic performance leaves them excited to see what he does next. 

JOSH STALEY: FOOL ME ONCE

☆☆☆☆

If the complicated role of a magician could be distilled to just one core job, it would definitely be to fool their audience. The stated premise of Josh Staley’s Fool Me Once is thus in a way the first time of the evening that he fulfills his core duties—he does, in the end, fool his audience more than once. It’s a simple premise and Staley uses it effectively.

Staley uses both sleight of hand magic and mentalism to fool the audience. An early highlight is his coin routine. In fact, at the reviewed show, as he completed this routine a member of the audience audibly whispered to her friends, “I love the coins”, a sentiment that, at that point, was surely shared by everyone else watching, and which Staley confirmed that he shared as well. Staley also read several minds, both from written prompts and from words that existed solely in the minds of his audience members.

Audience participation in Fool Me Once is used thoughtfully and effectively. Several participants are able to get involved from their seats, including for an exciting finale to the above-mentioned beloved coin routine that sees a magical element happen in the hands of an audience member. When audience participants get more involved, whether in coming onstage to have a turn at presenting a reveal or even just completing an impressive shuffle, Staley celebrates their achievements and makes sure they get applause for their contribution to his show.

It’s not always a good sign when the magician has to deal with significant numbers of audience member mistakes and interruptions, but at the reviewed show Staley dealt with several such matters with exemplary professionalism. An early example saw a participant helping Staley with a card trick misunderstand his instructions to hide her chosen card in the deck, instead hiding it under his box of props. On discovering this miscommunication Staley recovered the effect with a joke and a well performed bit of sleight of hand. Staley also had to contend with a gaggle of chatty youngsters, and managed to shut down their side conversations with quick good humor.

The reviewed show of Fool Me Once was nearly if not entirely sold out, on a Saturday evening in Adelaide at a prime time slot with plenty of competition. It’s no surprise, it’s a well staged show and Staley is a charming performer. If any tickets remain for the rest of his Fringe run future audiences will surely have to hurry to nab them.

2 RUBY KNOCKERS, 1 JADED DICK

☆☆☆

Of the professions in which mentalist powers would be most useful in daily life, private detective must be high on the list. The character Dirk Darrow brings that fantasy to life in 2 Ruby Knockers, 1 Jaded Dick. The show had the feel of a comedic one man play with magical elements, certainly a welcome creative angle on the magic scene. It may not be flawless, but it’s undoubtedly a good time.

2 Ruby Knockers is framed as an investigation by Darrow into a series of crimes committed in his vicinity. The overlap in skill set required in creating an effective mystery and performing magic is not insignificant, there’s an element of misdirection required in both. The mystery of 2 Ruby Knockers is both effective and a lot of fun, full of plot twists and surprises. In that respect it’s a fitting tribute to a beloved genre and demonstrative of a level of magic-adjacent skill.

Throughout the investigation, Darrow uses both plenty of intentionally bad jokes and various magical techniques to advance the plot. The magic may seem fairly basic to regular magic show attendees, but it’s performed effectively and deployed sensibly throughout the narrative. As the audience filters in, they see cards on several of the seats to fill in with personal information for Darrow to later magically discover. This segment fits well with the plot and proves entertaining for the audience. A storytelling sequence using a deck of cards is a particular highlight. If some of the bits seem a little forced, it’s easy to forgive—there’s not a whole lot of variety in a standard deck—and it’s a creative use of a classic prop.

As in most magic shows, Darrow frequently utilizes his audience’s assistance. Most of the participation is relaxed, and done without even requiring the participant to go onstage. The occasional audience member is called on to participate a little more significantly in the show, but Darrow chooses well and guides them effectively in fulfilling their roles as he requires them. However, he does occasionally seem to falter when his audience does something unexpected, particularly noticeable at the reviewed show when he receives a funny heckle, although also evident in a couple other instances. Heckling is an often unfortunate aspect of live performance, but in the realm of heckling a funny heckle is the best option. Darrow may benefit from working on reacting more gracefully to interruptions and irregularities—unfortunately he’s in a profession where such a skill is necessary.

2 Ruby Knockers, 1 Jaded Dick appeals primarily as a comedy for those who adore puns. While there may be other performers at this year’s festival who perform magic more slickly and with more creativity in the crafting of their effects, 2 Ruby Knockers has value as a magic show in demonstrating a different type of creativity in presentation. The audience at the reviewed show certainly loved Darrow. His humor and overall performance style is pretty specific, and the right audience seems to have found him.

ROB ELLINGER: HYPNOS

☆☆☆☆

Hypnotism is a fairly niche genre, and in Hypnos Rob Ellinger has created an even more specific niche for himself. His combination of magic with hypnotism—plus a light sprinkling of pop psychology as a stage-appropriate nod to his job as a hypnotherapist—makes for an especially unusual and memorable Fringe show.

The magic that Ellinger employs in creating his hypnotic atmosphere walks the tightrope of the surprise inherent to properly performed magic, and a relaxingly dreamlike vibe as befits a hypnotism show. If that sounds like a contradiction, that’s because it is. Ellinger manages to find that balance with a precision that’s difficult to believe unless you’ve seen it. While he may very occasionally lack that precision in the technique of the magic that he employs—perhaps a pea is momentarily revealed before its cue, or a prop transformation is not quite concealed from the edges of the audience—there is such an abundance of magic performed well that it hardly affects the overall impression of the show. The power of the effect he creates over the course of the show is, after all, perhaps the more unusual “trick” that has attracted his audience.

The heavy use of physical magic makes Hypnos exciting to watch for non-hypnotized participants. Hypnotism requires the consent of the hypnotized, and Ellinger makes that explicit immediately at the start of his show, explaining that he will allow participants to opt in before attempting to hypnotize them and will respect the wishes of those who prefer to watch. Those who do participate are treated with respect, and are asked to do nothing more difficult than the average non-hypnotized participant in any other magic show. 

Of the routines themselves, there are many highlights that are particularly well themed and cleverly executed. While the pea in the shells is a classic, often overlapping significantly with the cup and balls for larger audiences, Ellinger’s hypnotic-themed ending makes it slot neatly in to his theme. Many, like this one, are designed to work wholly in his hands for the seated audience, so no one is called upon to become part of the entertainment. When an eager audience member is invited to experience hypnotism for a card trick, Ellinger similarly crafts the ideal ending to emphasize the imaginative power of his audience. 

While Ellinger himself is a hypnotherapist, and leaves his business cards for the audience to take with them, Hypnos is not a therapy session. As he points out, no one in the audience has paid him enough for that. Most cynically, it could be seen as the flashy trailer for the more serious services that he offers. But that would do the clever craftsmanship of the show a disservice. As a work of performance art it stands up on its own as worthy of time and attention. With a wide ranging appeal to fans of magic, hypnotism, and the intersection of these art forms with psychology, it is not at all surprising that he has all but sold out his run. Hopefully this unique experience will return for future audiences. 

CHRISTIAN LAVEY: ENCHANTING MINDS – A NIGHT OF MAGIC AND MINDREADING

☆☆☆

Hailing all the way from Luxembourg, Christian Lavey presents his Adelaide Fringe debut Enchanting Minds—A Night of Magic and Mindreading in a pleasantly cool room conveniently in the center of town. As far as show structure goes, Lavey keeps it simple and straightforward. With his engaging stage presence and well performed mentalism, it is certainly an entertaining evening.

The magic that Lavey presents is a series of his favorite tricks, organized neatly to provide an escalating degree of impressive reveals. As a non-native speaker of English, one trick involving a reveal of reciting non-linear lists of numbers stands out as especially well performed. The reveal itself is of course innately impressive, but as any language learner will know, listing random numbers in a non-native language is a particularly difficult skill to master. It is commendable that Lavey not only chose to include this trick in his first Adelaide fringe show, but also that at the reviewed show he presented the reveal without a hitch.

The success of this trick was not a unique feature, Lavey’s magic is well performed throughout. His sock card trick was a highlight, with a fun reveal that neatly led in to the next effect in a slick transition. The venue is relatively intimate and Lavey gets the majority of the audience involved in his show. The majority of the participation is completed while staying seated, saving time to pack in more magic and keeping the level of participation required fairly relaxed. Lavey is welcoming to everyone who gets involved in his show, whether from their seats or with him on stage.

Lavey is evidentially a skilled performer, the smooth delivery of both his routines and patter indicate a wealth of experience. However, as with every magic show, the audience participants are still a wildcard. At the reviewed show one in particular adds flair to the segment she participates in—a classic “dangerous item” routine. She eagerly inspected the items that Lavey uses, and, with equal eagerness, selected and deployed them, risking harming Lavey with each choice, all with zero hesitation. This was not due to indifference to Lavey’s potential harm, but, she explained, due to her trust that he knew what he was doing. Her contribution to the act made for an unusually wholesome take on this classic of magic.

Lavey successfully enchants the minds of the audience of Enchanting Minds. Perhaps the best measure of the success of a show is how the audience gossips amongst itself once they are out of earshot of the performer, and following the reviewed performance of Enchanting Minds audience members could be heard extremely pleased to have experienced such a well performed show to kickstart their evening. Despite the central location, the venue is tucked away a bit from the gardens that the Fringe revolves around, giving Enchanting Minds the feel of a hidden gem of a show. With its great tricks and Lavey’s skilled performance, it can only be a success.