scotland

AVA BEAUX: THE MYSTERIOUS TALES OF POE

☆☆☆☆

As the audience enters her venue, Ava Beaux appears to be incredibly sweet and welcoming, pulling over extra chairs to ensure that the sizable crowd who wish to see her show all manage to fit in the room. This is a comforting memory to cling to as The Mysterious Tales of Poe begins and Beaux’s eerie performance persona becomes increasingly unsettling.  Beaux holds the audience’s attention from the moment she silently starts cutting up a balloon string.  Her mesmerizing performance ensures that no one looks away even as the tricks get more macabre.
 

Nevertheless the audience feels a degree of safety, as all of Beaux’s creepiest effects and destructive impulses are focused on herself.  She is kinder to the participants who she calls upon to help throughout the show.  The magic itself is largely well performed.  If the odd prop is visible before it is meant to be the audience hardly notice or care as they are caught up in the flow of Beaux’s interpretations of Poe’s stories.
 

This is where Beaux truly excels, in the interweaving her storytelling with her magic.  Every trick supports the Poe stories that she narrates.  Likewise, each story is perfectly chosen as being suitable to be told through magic and further her theme, so the magic never feels forced.  The finale of her show is, however, entirely storytelling, and Beaux invites her audience to close their eyes to better appreciate Poe’s words, even at the expense of making her final reveal slightly anticlimactic.  Seeing the majority of the audience follow this advice is a testament to the degree of trust that Beaux manages to build in spite of the frightening nature of her performance.
 

The theatricality of The Mysterious Tales of Poe broadens its appeal; audience members certainly don’t have to be fans of magic to enjoy it.  On the other hand, those who are used to seeing magic performed as trick after trick with no unifying theme might gain a greater appreciation for the potential of magic when performed with Beaux’s creativity.
 

More information on Ava Beaux and her performance dates can be found here.

JOHN ACCARDO: METHOD TO THE MAGIC

☆☆☆☆

Magic can be many things, based on everything from the taste of the performer to the perception of the spectator. Magic can be challenging, exciting, classic, smug, one or any or none of the above but something else. But in John Accardo’s Method to the Magic, above all else, magic is joy.

Accardo is a wellspring of effusive, infectious enthusiasm. It is abundantly apparent just how much passion he has for magic, and how much delight he takes in sharing it. This devotion transfers more and more strongly to his audience the longer he spends with them.

Method the the Magic is a very casual show. Accardo chats with his crowd as they come in, banters easily, and makes no attempt to restore order when certain moments of audience participation dissolve into farcical levels of confusion and self consciousness. Rather, he leans into it, letting every moment develop naturally. This cannot and should not be mistaken for lack of control. Accardo is a sharper and more skilful magician than he’s willing to let his audience think he is. The silliness inspires goodwill for him in his spectators, and thus Accardo has won the crowd.

Accardo uses classic magic effects very well integrated into his narrative for the show- explaining what it’s like to be a magician and (almost, sort of) what it’s like to do the tricks. He jumps from mind reading to card tricks and beyond with equal and impressive mastery, and every part is- there’s this word again- a joy – to watch.

This is John Accardo’s first time at the Edinburgh Fringe, but hopefully the first of many. Because it won’t be long before the crowds of Fringe goers discover that in a bunker plopped down in George Square is a hidden gem of the Fringe magic world.

More information on John Accardo can be found here.

LUKE JERMAY: STRANGE POWER

☆☆☆☆

Predicting the future is indeed a strange power. Who even, really, wants to know what comes next? Wouldn’t that take the fun out of it? But for those who have gotten to experience Luke Jermay, the fun of it is undeniable.

Strange Power is not a pretentious show, despite the teeming grandiose of Jermay. It is a thing exactly of itself- a man will come onstage, answer the deepest questions his audience members have of their futures and, sixty minutes later, leave. It is one single act done identically, but it is one single act done incredibly well.

Jermay is an exceptionally powerful performer. From the moment he steps onstage he radiates such a strong sense of presence- despite not saying a word for the first several minutes- that the audience is held in his thrall and wait in their own silent, excited anticipation, so as not to risk missing a word. When he does speak, Jermay is commanding and sharp, but not without genuine warmth. He is the portrait of a man who Knows What He Is Doing, and his onlookers cannot help but be desperate to know too.

Most importantly, Jermay is right, and not just right but exhaustively so. Jermay does not just get a read on each of his chosen audience members, but does so with compelling, intimate depth. Unlike some of his profession, he does not shy away from giving actual advice on the paths that can be taken. He does not fear overstepping- after all, we did ask. His decision to engage so thoroughly allows him to be invested into the futures he predicts, and allows the rest of the audience to be as well. Jermay makes the lives of random strangers who happened to go to the same Fringe show as you as interesting as your own.

Luke Jermay does have a strange power, and few could predict the future as well as he. But one prediction can be made with total confidence by anyone who sees his show: Luke Jermay is only going to build on his already prodigious strengths, and be a household name before long.

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

MANDY MUDEN: IS NOT THE INVISIBLE WOMAN

☆☆

With her bold style and even bolder personality, Mandy Muden is anything but invisible.  Muden’s premise for “Is not the Invisible Woman” is that women “of a certain age” are overlooked often enough to feel invisible, and she has set out to prove that she, at least, still commands attention.

However, Muden is let down by her magic, which is often basic and clumsy.  Her tricks are at their best when she incorporates them into her overall performance, as this marginally raises the audience’s emotional investment.  A section illustrating a romantic relationship ending poorly using several bits of string shifts Muden’s performance to an unexpectedly melancholic tone, despite the maintenance of her playful character, but is a highlight in how she uses magic.

Perhaps ironically, Muden’s many jokes about and references to being a woman “of a certain age” get old fast, especially as they start to sound repetitive.  It is possible that viewers who feel like they fit in to the category that she describes would appreciate this element of her show a bit more, and that she intentionally caters to this audience.  She is at least consistent in maintaining her theme.

Muden develops a patchy relationship with her audience, teasing her participants  slightly more than necessary, even when the participant in question was visibly uncomfortable. She was lucky in that the majority of her participants responded well to this approach.  Her repeated instructions to get her male participants to weigh themselves to contribute numbers for part of her final reveal could be construed as commentary on social pressures on women’s bodies.  However, it is left to the audience to decide whether her method of making this point is too neglectful of the similar pressures on men’s bodies that may be relevant in the lives of her participants.

Muden has a solid goal in her show in demonstrating to the audience and perhaps also to herself that she is not limited by her age and gender.  Her execution may have a more niche appeal.  Nevertheless she certainly succeeds in her aim—in fact, it is difficult to imagine Muden ever being overlooked.

 

More information on Mandy Muden and her performance dates can be found here.

BILLY REID: WATCH CLOSELY

☆☆

It takes a good magician to entice a busy Edinburgher to Glasgow on a Wednesday evening. Luckily, Billy Reid is worth the trip.  Reid makes his audience for Watch Closely feel welcome as soon as they step through the door, taking the time to learn as many people’s names as possible.  This allows him to address many of his participants by name when inviting them to take part in his show, giving the entire performance a pleasantly intimate and relaxed atmosphere.

The majority of Watch Closely is close-up card tricks, which Reid performs with neatness and style.  Reid lists the awards that he has received for his magic at the beginning of his performance, but he does not really need to, as his evident skill speaks for itself.  Reid’s card tricks set the standard for precisely performed magic, and his storytelling and comedy are executed with the same dexterity, ensuring that the energy of his performance remains constant as he transitions between tricks.  Watch Closely is narratively and thematically cohesive, as Reid uses stories from his life to gradually guide the audience toward the inspiring message with which he ends the show.

If you are a magic fan, you’ve probably seen some of the same tricks repeated often, especially if you see the same magician more than once. But Reid’s tricks are so visually beautiful that watching them again is a joy more similar to that of revisiting a piece of art at a museum.  The use of color in a trick themed on childhood memories of outdoor adventures sets this tone, and it is epitomized in Reid’s incredible illustrated deck that is always a highlight.

Every so often the right performer at the right time is more than entertainment, but also an inspiration to their audience to view the world differently, or the medium to help them process emotions that they might not have even known needed processing.  Reid conveys all of this intensity with his trademark artistry, in what is still unmistakably and unapologetically a magic trick.  The title of his show initially sounds like standard magician bravado, challenging his audience to catch his sleight of hand.  By the end of the evening the double meaning becomes clear, that Reid uses his magical skills to encourage his audience to pay closer attention to their own lives.

 

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

MICHAEL RAJASINGAM: AN AWKWARD MAGICIAN WITH A LEMON

☆☆

As he admits in the title of his show, Michael Rajasingam is awkward in An Awkward Magician with a Lemon.  Luckily for the audience, it is a relatable, humorous type of awkwardness that adds charm to Rajasingam’s performance.  Rajasignam spends plenty of time in his show allowing this humor to take center stage.  His magic tricks are entertaining as well, although perhaps not so consistently, and he does occasionally have trouble combining the comic and magic aspects of his performance.

There are several points in the show in which Rajasingam successfully combines his magic tricks with his performance.  The recurring motif of the lemon is a fun acknowledgement of the title of his show.  In an unrelated moment, Rajasingam takes the time to tell a sweet story about his family as he performs a coin trick.  This unexpectedly heartwarming routine is a break from the overall awkward humor that nevertheless harmonizes well with the rest of the show.

Unfortunately, Rajasingam’s performance of his other tricks is not always so impressive.  There are a few times that he is noticeably distracted from the thread of his show to focus on getting a trick right.  At other times, his sleight of hand is lacking, and his props might be visible at the wrong times.  Both of these flaws simply require more practice to perfect his skills and integrate them with his performance.

The awkwardness of Rajasingam’s performance allows his relationship with his audience participants to develop a little bit more easily, as it is difficult to feel conspicuously awkward when standing on stage beside Rajasingam.  Audience participants quickly feel at ease.  Rajasingam is kind to those who he invites to join him, using them to demonstrate his tricks while still ensuring that they get to see the full extent of the magic.

While Rajasingam’s performance is not perfect, he is dependably entertaining and fun to watch.  He uses his awkwardness as a character quirk rather than allowing it to hinder his performance.  Rajasingam’s mistakes are only momentary, the overall effect of his show is delightful.

 

 

More information on Michael Rajasingam and his performance dates can be found here

DINO DORADO: EXPERIENCE

Dino Dorado welcomes his audience to Experience himself and his mind reading tricks in this show.  Incredibly enough he is even performing in his non-native language—Dorado is Austrian but his English is strong enough for an entire mind reading show.  This is extraordinary enough from a monolingual English perspective.  Dorado’s mind reading itself, however, is patchy.  He has difficulty recovering from a rough start, although he does, in the end, get himself back on track.

The rough patch hit Dorado at the very start of his show.  Dorado mis-read his participants’ minds on his first few attempted effects.  This is understandable, mistakes do happen.  Magicians are people too.  However, as a performer Dorado could have dealt with the situation a bit better.  He was visibly dispirited at each miscalculation, and seemed to lose a bit more of his performance persona at every misstep.  Dorado would have been better off keeping his performance energy high and keeping the audience engaged in watching him.

That being said, Dorado’s mind reading skills picked up as the show went on.  His spirits and energy picked up in direct correlation as his effects began to have more successful results.  By the time he managed to correctly determine two pieces of meaningful information thought up by two different participants, he had fully regained his enthusiastic energy and the audience’s wonder.  His early errors did have the beneficial side effect of making his later successes appear that little bit more impressive in contrast.

Once Dorado had gotten his mind reading back on track, his exuberant stage presence was able to shine.  All of Dorado’s audience participants—although perhaps especially his later participants, who he was better able to read—were made to feel welcome on his stage.  Dorado likes to get physically close with his participants of all genders, but his mannerisms make this playful and nonthreatening.

Dorado’s show was a mixed Experience on the evening that it was reviewed.  He could not consistently back up his requests for applause from the audience with solid magic, or even consistent showmanship.  However, if the latter half of his show is any indication, he does have the potential for a much better performance.

 

More information on Dino Dorado and his performance dates can be found here