☆☆☆☆☆

Busiest magic bee David Alnwick’s midafternoon show Occult Illusionist is as popular as is the norm for him, even on the reviewed weekday afternoon. His fans travelled from as far away as Los Angeles, to visit Edinburgh but also with the specific intention of seeing Alnwick perform. It’s a different kind of show even by the standards of the eclectic range of talent that Alnwick always brings to the Fringe. Here he explores the junction and overlap between magic and mysticism, throughout history and even into the modern era and his own life.

In a show that’s relatively light on distinct magic routines it’s key that the magic included is performed perfectly, and luckily Alnwick handily delivers. One of the more interesting pieces gets the whole audience involved in the set up. It’s notable because this whole-audience involvement element isn’t just set up for an effect, but a genuinely fun and interesting exercise in itself. Each audience member can get something out of the process, in a way that manages to feel personalized even with Alnwick guiding the entire group through the process at once. In the end the output produced is used in a mentalist effect, with dramatic and accurate results. This underlines the “set up” process and makes it feel especially magical and memorable without overshadowing it; both pieces of the puzzle feel key to Alnwick’s point.

In a ritual magic performance participating might feel a little more intimidating, but not so with Alnwick. A veteran magician, he openly values his participants and makes sure they know that he’s on their side. When prompts may make audience members uncomfortable Alnwick gives a clear alternative that would allow them to avoid the discomfort without drawing attention to themselves.

While Alnwick’s Banshee Labyrinth shows have historically been fairly frightening, Occult Illusionist has a calmer, more spiritualist-adjacent energy. Alnwick wants to talk about life, death, and belief, through a magical lens and is appropriately respectful in how he approaches these topics. While naturally the information he chooses to share reflects his own perspective, he does by and large stick to sharing historical examples of the topics that he discusses. It’s a fascinating look at this aspect of the history of magic, from a magician who seems to have thought about it a lot.

Occult Illusionist is ideal for the magic fan looking to dive a little deeper into the backstory of this performance art. Audience members leave with a new appreciation for magicians and even some of their more popular props—and of course for Alnwick himself, who has once again reached into his seemingly endless collection of magical skill sets to create another unusual show.

☆☆☆☆

Igor Lipinski may not be the only magician to combine his skills in magic and music, but the music and magic rarely feel as classy as in his Piano Illusions. The venue is slightly outside the main Fringe center but he’s worth the venture. Notably on the venue front, St Mark’s only charges their acts to rent the space so the full ticket price goes to the performers, making this beautiful space one of the more ethical venues—hopefully this is working out in Lipinski’s favor. Lipinski combines magic and music in increasingly interesting ways throughout the show, making for especially interesting and entertaining viewing.

As many may have realized from the title of the show, Lipinski is a pianist and uses his piano in both setting up and revealing his magic. A highlight in both realms sees his equally musically skilled wife, flautist Anna Chenoweth Lipinski, join him onstage for a lovely duet that also perfectly sets up and accompanies a romantically themed magic trick. While the trick might start in the expected way, the reveal is unusual, with specifics that may even make it unique at this Fringe. Novelty is rare and not required at magic shows, but it’s certainly nice to see when it happens.

While Lipinski is demonstrably hugely talented, he may benefit from adjusting the angles of his magic at times to preserve the illusion for the full audience. This is particularly noticeable from the first couple of rows when he performs his card finding routine. His sleight of hand doesn’t feel clumsy, it just looks like he may be more accustomed to performing it for individuals rather than both performing for a specific participant plus a whole audience at the same time. That being said, the card finding is a great routine that, at the reviewed show, earned specific compliments from the participant, who was evidently trying unsuccessfully to work out how it was done.

Like all magicians, Lipinski uses participants at times to make the magic more magical. Audience participants are obviously a benefit to the magician, but Lipinski particularly excels at making participation feel like a real benefit to the audience members who undertake it as well. Whether it’s a uniquely magical souvenir or a routine that makes the participant feel like they had a hand in making something magical happen, this is an especially positive show to participate in.

A properly mixed bill, there is a significant proportion of music mixed in with the magic. This is not a music review site, but both Lipinskis are definitely pleasant to listen to. Igor Lipinski in particular, as the primary star of the show, demonstrates his musical art in a way that almost feels educational. Those who come to the show more due to the magic may find a new appreciation for the ways that a pianist as skilled as Lipinski can manipulate a tune to his will.

Piano Illusions has something for everyone. It’s a perfect dual ambassador, bringing magic to the music fans and music to the magic fans, while ensuring that it will be a memorable evening for both. Lipinski is an exceptional talent whose Piano Illusions are a worthwhile addition to any Fringe itinerary.