Category: Magic

image Credit: Declan Blackhall

IN CONVERSATION WITH: Harry Milas

Published on by Antonia ConstantinLeave a comment

This summer at Edinburgh Fringe, Australia’s foremost sleight-of-hand artist and former casino consultant Harry Milas lifts the curtain on the forbidden world of card cheating, deception, and psychological manipulation, for just 30 people at a time in a theatrical experience unlike any other. We sat down with Harry to discuss his upcoming performances at the Fringe.

Your show, “The Unfair Advantage,” invites only 30 people at a time. What inspired this intimate, high-stakes format, and how does it change the audience’s role in the performance?

Because that’s where real magic can happen. It’s like sitting around the campfire telling stories again. And good magic happening right in front of your eyes is a rare delight. It’s a wonderful challenge to perform some insanely difficult sleight of hand when you’re surrounded at close quarters, and I want my audience to bring everything they’ve got to my table.

As a former casino consultant and someone who now helps expose gambling rings, where do you draw the line between performance and real-life deception? Have you ever had moments where the two worlds blurred?

Absolutely and I talk about it in the show! I talk about the journey I took with this skill set, from using it to cheat to using it to teach. There’s an old joke that magicians are the only honest profession, because we tell you in advance we’re going to lie to you. Probably not a great idea to say that at the poker table though. 

Audiences have to legally agree not to reveal what they’ve seen in your show. Without breaking that pact, what can you tell us about why secrecy is so crucial to the experience?

Because keeping a secret is what a great magician does! But also I literally tell you how to cheat at cards and that is definitely dicey terrain. Some of this information is kept very much under wraps. The NDA allows me to speak completely openly and answer any and all questions you will have.

After a sold-out U.S. tour, you’re bringing this production to the Edinburgh Fringe. How has international reaction shaped the way you perform or think about the show?

Everywhere I go I see the same thing: audiences sitting together in a small group sharing in something they’ve never seen before is an uplifting, joyful experience. It’s more valuable and important than ever before. Every city has been so different from the last, but people really are the same the world over. They want to be a part of something bigger than themselves.

You’ve been praised by critics across the globe—from Time Out to The Guardian. But what’s the most surprising reaction you’ve had from an audience member, either during or after the show?

The thing that has most surprised me is how many people tell me the show moved them to tears. The show has all the fireworks and delights of a magic show, but it’s message is what people come back to the most. And that makes me very happy. I’m very proud of this show and it’s an honour to bring it to the best theatre festival in the world. I can’t wait!

REVIEW: Heka

Published on by annieyezhoua29f00172fLeave a comment

Rating: 5 out of 5.

Incredible concept that is beautifully executed by a brilliant cast

Heka is the latest mind-blowing production by Gandini Juggling, creatively blending juggling, magic and dance to captivate and surprise the audience at every turn. Founded in 1992 by Sean Gandini and Kati Ylä-Hokkala, Gandini Juggling is a pioneering force in contemporary circus, renowned for its innovative and boundary-pushing performances around the world.

Gandini Juggling cites a diverse range of influences, including “composers, ballet choreographers, fashion designers, computer programmers, sound designers, set makers, and mathematicians”. While this may seem unexpected and perhaps far-fetched, it becomes entirely apparent when immersed in their performance. In Heka, the influences of fashion, ballet, and mathematics are particularly striking. The cast is impeccably dressed, complementing a set that is sleek, ensuring the audience’s attention remains on the visual spectacle. The intentional use of props, combined with the mesmerising patterns and shapes formed through movement and synchronised with the rhythm of the music, creates a truly captivating experience.

I am particularly impressed with the choreography of this show. Heka challenges the perceptions of reality as it seamlessly blends reality with illusion. The show deserves praise for its use of relatively simple movements that, in the hands of such a talented cast, are transformed into something otherworldly. A standout moment for me was the dance number towards the end featuring three differently sized rings as props led by Yu-Hsien Wu. Wu’s precise movements and undeniable charisma made her a highlight throughout the performance, and her solo was nothing short of breathtaking.

Every member of the cast deserves praise, they each excelled individually but really shone when they came together as a team. The production also celebrates its culturally and linguistically diverse cast, leveraging their unique backgrounds to add depth to the show in the most effective way possible. The stories Gandini tells about each cast member, whether rooted in reality or fiction, add a layer of intrigue and depth and enriches our connection to the performers.

Don’t miss this extraordinary production at The Place. Whether you’re drawn to magic, dance, juggling, or simply looking for an unforgettable experience, Heka will deliver on all fronts!

REVIEW: Jamie Allen’s Amaze

Published on by nancynewberryLeave a comment

Rating: 3.5 out of 5.

Exciting magic, but lacked theatricality to live up to its name and West End status

Telling stories of his 80s childhood, Jamie Allen presented a nostalgic narrative interwoven with impressive illusions and sleight of hand. 

With the stage set up as his attic room above the pub that his parents owned when he was a child, Jamie Allen packed away bits and pieces into boxes, reminiscing on how magic came into his life. It all started with the fisher price magic box and went on to involve all sorts of other books and toys. The first trick involved a Rubik’s cube, playing into the 80s theme and brought surprise and delight to all. Whilst Jamie Allen is a pleasant to watch, I felt this first trick could have had more excitement built up around it, to really entice the audience into the show. It was impressive to see, but I felt there could have been more done with music and staging to make it more shocking as magic is expected to be. 

Throughout the show various audience members were brought up on stage, but there were also tricks that involved the audience as a whole, which did well to engage everyone without needing to submit them to the limelight. Allen’s narrative around the audience was interesting, acknowledging that some people watch magic so that they can try to figure out how it works, the ‘sceptics’ as he called them. It was a clever way to engage the audience, and the magic trick that accompanied this revelation had an enjoyable tongue in cheek element to it. 

After a lot of the scene setting with interspersed tricks, the first half ended with a trick that emulated the sort of bravado you would expect from a west end magic show. As the second half got going, it was clear there was going to be more of the theatricality that I was expecting. One card trick in particular which Allen had cleverly timed to its accompanying song really brought the style and panache that I had been looking for in the first half. The remainder of the magic in the second half brought the impressive stagecraft that I would expect of a West End show. Allen’s sleight of hand demonstrated in this half was truly a testament to his skill as a magician. 

Adverts for this show frequently remarked that Jamie Allen was following in the footsteps of Derren Brown and Dynamo with an extended West End run, and throughout the performance Allen regularly commented that this was the show he dreamed of doing. I therefore felt a little let down by the theatricality and storytelling. The magic itself was impressive enough, but a lot of the tricks, particularly in the first half, lacked build up and excitement. I also felt there was more to be done with the lighting, music and staging to make this really engaging. When performing to a big theatre, some of the more basic tricks were not as impressive as they could have been with slightly better build up. The narrative was a sweet idea, but the script lacked heart in order to provide the emotive response that they were trying to achieve. Perhaps if I had gone in without the expectations that had come with the advertising, I would have felt more engaged, but the staging and storyline lacked for me, which meant the impressive magic, whilst impressive, did not always fulfil the special feeling of the West End. 

FEATURE: The Pleasance has announced the 2024 ‘Best of Edinburgh’ autumn season for their Islington home 

Published on by Tabitha JamesLeave a comment

If you didn’t manage to catch the Pleasance’s sold-out shows in the Scottish capital this Summer,  you’re in for a treat! After the success of their 40th anniversary Edinburgh Festival Fringe, the  Pleasance Theatre Trust is bringing an exciting and diverse season of Fringe favourites with theatre,  comedy, cabaret, magic and children’s shows to London this Autumn. With 50 shows, there’s  something for everyone at Pleasance London, with all performances now on sale.  Settle in for a wild ride below as we give you highlights on each show – or go straight to buying your tickets here: www.pleasance.co.uk

Joe Sellman-Leava will kick off the season with two of his sell-outs; Fanboy (14th – 16th October) is a love-hate letter to pop culture and nostalgia, while It’s The Economy, Stupid (14th – 16th October)  will embark on a quest to uncover how the economy wins elections, and why the force that  dominates our lives is so complicated! Hughie Shepherd-Cross’ sixth Fringe play, Gang Bang (17th – 18th October) tells the story of one man by the name of Don Lambrini who in 1945, when Sicilians  were pouring onto boats for America, accidentally boarded an all-inclusive Thomas Cook cruise to  Blackpool. Bebe Cave’s The Screen Test (17th – 19th October) is a one-woman dark comedy about  delusion, desperation and dreams following an aspiring actress in 1930s Hollywood, so desperate to  become a star that she might just sacrifice herself along the way. 

Using just a single deck of cards, one of the best card magicians in the world, Andrew Frost will  enrapture audiences with Andrew Frost: Cards on the Table (19th October), delving into the  mechanics of sleight of hand, the level of discipline needed to become a card cheat, and how  feigning good fortune can bring about genuine luck. Award-winning writer Emma-Louise Howell  (BBC Writer’s Room Finalist)’s arresting debut play I Really Do Think This Will Change Your Life (21st – 23rd October) is a hair-pulling, fake-nail scratching, catfight against what it means to be a  #GirlBoss. 

Two of Pleasance’s Charlie Hartill Fund winners will return to London as part of the season. Sweet  Beef Theatre’s Crying Shame (23rd October) is a cabaret-show-cum-wellness-journey all about  loneliness; you might be lonely, but you’re definitely not alone. Sierra Sevilla’s For the Love of Spam (7th – 9th November) is a comedic, multi-sensory, participatory one-woman show dedicated to two  things: canned meat and colonialism. 

Lubna Kerr’s Chatterbox (24th – 25th October) recalls the labels we are given in primary school and  looks at the impact they have for the rest of your life. Ethereal artist LULA.XYZ presents her brand  new show I AM – A Walking Universe (25th October), spotlighting overt medical racism prevalent in  the UK alongside the first episode in the series OommoO (25th October), which considers what  happens when you’ve left everything behind for the promise of something better and the something  ‘better’ isn’t ‘better’. 

Shows from the Pleasance Edinburgh National Partnerships scheme are heading to London too.  From multi award-winning Documental Theatre, Scaffolding (26th – 27th October) is an explosive  show about strength, love and community. Winner of The Debut Award at this year’s Besties Òran (11th – 13th November) is a thrilling story of a man on a journey to rescue his best friend from the  Underworld. 

Following his previous smash hit successes, Luke Wright returns with a new set of poems that get to  grips with the idea of JOY (26th October). In her debut storytelling show 16 Postcodes (29th – 31st October), Jessica Regan (BBC, Channel 4, Guilty Feminist) shares lessons lived and learned from a life  as she moves North, South, East and West, finding out which is best. How a Jellyfish Saved the  World (30th – 31st October) is a heart-warming, tentacle-tapping, puppetry musical from Jam Jar  Theatre. Inspired by real events, 2024 Untapped Award winner Drum (4th – 6th November) is a joyful  and poignant play fusing storytelling, music and dance; capturing a unique snapshot of the swinging  sixties. 

Award-winning drag king and London’s loveable nature boy, Bi-Curious George, invites you into a  raucous celebration of queerness and the animal kingdom in the love letter to nature that is Queer Planet (14th – 16th November). Sorry (I Broke Your Arms And Legs) (18th – 20th November) is a  riotous debut PowerPoint presentation combining the thrills of World Book Day with the hilarity of  the Maths Olympiad from Maybe You Like It. And, rounding off the theatre programme, Jake  Roche: Neporrhoids! (21st – 23rd November) is a (mostly) true story following the meteoric rise and  devastating fall of chart-topping boyband member Jake Roche. 

In the comedy programme, Fringe legend award winning John-Luke Roberts will launch the season  in style with John-Luke-a-Palooza (13th and 20th October) as he does all 10 of the solo comedy shows he’s ever done in a row across two days! Named ‘the rock’n’roll star of British Comedy’ by Rolling  Stone, Rachel Fairburn is back with seven deadly characters, in Rachel Fairburn: Side Eye (6th November). Most Outstanding Show nominee at MICF 2022 and 2023, Laura Davis returns with  Albatross (13th and 14th November), rapid-fire stand-up that journeys through nature, empires,  lighthouse keeping, existentialism, birdwatching and haunted microwaves. 

After an encounter with a wildlife enthusiast, Funny Women Award finalist Amy Mason explores  what it means to be a human animal in Free Mason (16th November). What a year it has been for Freya Mallard, with a baby, a Fringe debut and now a London transfer; The Bounce Back (27th November) proves that being a new mum and performing a smash-hit stand-up hour can go hand in  hand. With uproarious anecdotes and sharp wit, Rosco McLelland takes audiences on a rollercoaster  ride in Sudden Death (29th November) through the highs and lows of day-to-day life, peppered with  Scottish charm and unexpected twists. 

Holly Stars in Justice for Holly (18th October) tells the story of how she got there to the Superdrug  security office, with a handbag full of shoplifted lipsticks. After 2023’s successful debut, the wonky  and worried award-winning comedian, and Stoke-on-Trent urchin Adam Flood returns with Back Of  The Spoon (14th November). Join UK-based Japanese comedian Yuriko Kotani, one of The Times’ Top  Three Rising Stars of the Fringe, in Meanings of Life (23rd and 28th November). 

The debut hour from Nerine Skinner, Funny Women Content Creator 2023 Runner Up and Britain’s  Got Talent Semi-Finalist – The Exorcism of Liz Truss (21st October) comes to London. Join magician,  comedian and charlatan Pete Heat on a surreal journey into your own brain in Bogus (21st November). Indo-Kiwo-Ausso comedian Runi Talwar presents his award-nominated debut hour with  Runi Talwar as ‘Runi Talwar’ in Runi Talwar: The Runi Talwar (20th November), in this incredible  story of a guy who was once told he should ‘get his name out there more’ and took it far too  literally. 

John Meagher, the Host of Radio 4’s The Divil’s Own is coming to London with his debut show Big  Year (26th October). Isobel Rogers: will ask modern life’s essential questions in How To Be Content (9th November), looking at baby fever, polyamory, living at home and even moving into your mum’s  house (with your boyfriend). André de Freitas will bring Work in Progress show Makuma (18th October) that tells the story of how, upon turning 30, he discovered he was under a Brazilian curse  from his ex called Makumba. 

Think Taylor Swift…on acid; Pop princess and multi-award-winning musical comedian Katie Pritchard  has mastered up to and including 12 instruments, to bring you the era-defining bonanza, I Kiss The  Music (19th November). Pleasance audiences can enjoy a gift of a show from a 2x BBC New Comedy  Award nominee, Alfie Packham in My Gift To You (15th November). After over a decade as a critically  acclaimed stand-up, Ollie Horn is at the business end of his late-20s, and he’s decided he’d like a  wife; get ready for the comedian’s toxic rebrand with Comedy For Toxic People (And Their Friends) (27th October).  

This November, Sasha Ellen brings us My Milf-Shake Brings All The Boys To The Yard (4th November), a stand-up show about all the things that hit you like a ton of bricks in your thirties.  Expect group meditation, an effective technique to deal with annoying people, the magic of velvet  sofas all mingled with a semi-intellectual demeanour from German based Libyan stand-up Mustafa Algayadi in Almost Legal Alien (19th October). On eBay there is only one winner in a sea of losers,  but in Ruby Carr’s eBae (8th November) everyone is a winner. 

Mandeep Singh Presents Singhin’ In The Rain (28th November) is a silly, joyous, comedy show from Mandeep Singh about cracking on regardless of the circumstances. Prepare to get spiritual at  Bishops’ exploration of love, death and a third general theme in Farewell Bruce Porcelain (16th November), an anarchic hour of surreal sketch comedy, all set at Bruce’s funeral. Expect a lot of  props, accents, music, an existential crisis and plenty of artistic self-doubt from Chris East in My  Brain Is Soup, Your Hands Are The Spoons (9th November).  

Michael Kunze is superstar actor Mitch Cooney in his Hollywood Odyssey Infinity Mirror (7th November). After sold-out runs at Camden Fringe and VAULT Festival, former journalist and ex professional doomscroller Suchandrika Chakrabarti tries to explain the news to her 5-year-old niece, through character comedy and props, then speculates about the future with Doomscrolling (21st November). Award nominated character comedian and failed wiseguy Ben Goldsmith welcomes audiences to CrimeLandTown (7th November), playing every character in a ‘hilarious’ and  ‘one of a kind’ screwball comedy. 

Rich Spalding offers audiences a stand-up comedy show about life, death and what happens after  that in Gather Your Skeletons (25th October). The Awkward Silence present a kaleidoscope of  characters in their hallucinatory sketch comedy feast Mind Milk (5th and 6th November). Mischievous  balding duo Aram Balakjian & Alexy Walexy transfer their sell-out Edinburgh fringe show Shiny  Things (29th October) to London, promising a night of pure silliness and uncomplicated delight! 

Finally, in the 20th year of the Comedy Reserve, the Pleasance are bringing The Pleasance Comedy  Reserve (12th November) back to London for the first time ever. After a sold out run at this year’s  Fringe, the UK capital can catch four of the hottest new comics; Marty Gleeson, Rohan Sharma, Sam  Williams and Sharon Wanjohi.  

It’s a season not to be missed this Autumn at The Pleasance – get your tickets while you still can! Tickets are available at http://www.pleasance.co.uk. 

REVIEW: Asi Wind: Incredibly Human

Published on by micaandersonLeave a comment

Rating: 4 out of 5.

Wind has the audience in the palm of his hand

What is it about magic shows that audiences find so compelling? Is it the flashy presentation, the sparkling costumes, the smart misdirection? Asi Wind thinks that it’s all of the above – and so his latest show, ‘Incredibly Human’, endeavours to compel us without any of the usual magician’s tricks. He intends not only to dazzle us, but to make us think about exactly why we are dazzled. 

Entering an almost bare stage (save for some props which we know will be used to confuse and delight us later), Wind has a comfortable and dry relationship with his audience. He drops pithy remarks about the acts of magic he is pulling off while he is doing them, taking care to express, at each applause, that what he is doing is not extraordinary – indeed, we could all do it. 

There is a real meta undertone to this piece – it would be impossible to have a show dedicated to unmasking the human side of magic without touching on the fact that we are all aware, despite not being members of the Magic Circle, that there is thorough calculation behind what appears to be spontaneous magic. Wind takes care to include some social commentary – which comes across as underdeveloped, and, at some points, clumsily done. From his set-ups to the thrilling conclusions of his tricks, there is an attempt by Wind and director Seth Barrish to  connect what is happening with some greater emotional point, but they don’t often hit that mark. What seems most obvious about human nature to me by the end of the show, is that we are all more susceptible than we might like to let on. 

All the other marks are hit, however – Wind is a naturally charming performer, has the audience in the palm of his hand. Volunteers from the crowd burst into applause and have genuine shock on their face – and I have to admit, despite my scepticism, I’m left impressed. 

REVIEW: The Dreamer – Live

Published on by Claire McArthur1 Comment

Rating: 4 out of 5.

An intriguing and magical performance

We’re all dreamers, so we’re told by James Phelan, and in this sold-out show he demonstrated the power of our imaginations, and the power of dreams. 

Having been told as a young child he would never make it as a magician, he took his through stories of his past, with the associated magic tricks – the first one he learned at 2.5 years old, and one he showcased in an interview for a marketing role. 

From the beginning, the audience were rapt as James could not only guess cards picked by audience members, but also described the fascinating underlying psychology, about why people tend to pick the cards that they do. I have no doubt that attendees will be trying this on friends and family, showing off that new-found knowledge at parties to come. Neatly balancing crowdwork with few audience members (and a keen eye to spot those with a lesser imagination, shall we say) with elements that the whole crowd can enjoy, and engagement was very high.   

Today’s show was the first of the run, so naturally there are some refinements to the use of space in the venue. The Beauty is circular, with a raised stage, and it might have added some fluidity to the performance if crowd members were brought onto the stage as quite a lot of James’ time seemed to be spent running back and forth between 6 people on the floor, and this would have improved the view point for many in the audience too. There was also a slightly awkward moment when geeing up the crowd at the start which was very gender-split, and it would have been more inclusive to continue splitting the cheering by location. 

This is not to detract from what was, overall, an informative as well as entertaining experience and a great time for those looking to understand the power of imagination as well as those who just enjoy being stunned by some well performed and seemingly inexplicable magic. 

https://tickets.edfringe.com/whats-on/dreamer-live

REVIEW: Adults Only Magic Show

Published on by libartowritesLeave a comment

Rating: 4 out of 5.

This show is exactly what you think it is.

The Fringe Stage welcomed Australian throuple Sam, Magnus and Justin with their internationally acclaimed Adults Only Magic Show. The title really paints a picture of their act, so viewers, please consider what “Adults only” means to you before attending. Starting off strong with some incredible crowd work, Magnus brilliantly set the tone for the whole evening with jokes that heated the cheeks and inspired clutching the pearls early on. Providing excellent comedic backing and some well-placed diversion tactics throughout the show, his command of the stage was consistent and sometimes downright shocking.

            Sam and Justin demonstrated an abundance of passion for their craft while also latching on to the comedic elements inherent in their premise. The whole show was a masterclass in the marketability of sex as a tool for sleight of hand and a means for exploring some very expertly done illusions. This cross genre exhibition is a textbook example of art evolving to maintain relevance, to great effect. Remarkably funny and downright raunchy at times, this show is an enigma from beginning to end with puzzling feats of magic, raucous comedy, and jockstraps held together with a puff of smoke and a prayer.

            This show is not for the faint of heart or easily shocked. Every interaction is drenched in innuendo from the moment you walk into the room until you follow the scantily-clad Sam and Justin out of the venue. The appeal of this show is obvious and exactly what you expect. If you are looking for something that has you laughing until you feel unwell, this is the show for you. Just remember “No” is a full sentence and bring hand sanitizer if you plan to touch anything. 

https://tickets.edfringe.com/whats-on/adults-only-magic-show

REVIEW: Ben Hart

Published on by Lula VerLeave a comment

Rating: 4 out of 5.

Ben Hart’s astonishing performance is a must-see that will have you on the edge of your seat from beginning to end!

Set in the historic Wilton’s Music Hall, Ben Hart offers a captivating show where he performs many old and new tricks, which seem modern but are inspired by the past, as he says.

The experience begins before you even enter the venue, as you walk along an alley and encounter the entrance of a unique building that undoubtedly holds many stories within its walls. Back in the 1860s, it functioned as an alehouse that welcomed Scandinavian sea captains and wealthy merchants. Adjacent to it, the grand music hall was constructed. Over the centuries, the entire building suffered considerable damage and decay, but it has since been meticulously reconstructed, transforming it into a spectacular venue. These historical facts play a significant role in Hart’s experience because upon arrival, you are immediately enveloped in a mysterious atmosphere, prompting you to ponder where you are and whether the magic is already unfolding around you.

As you make your way to the grand hall, you immediately sense a mysterious vibe, enhanced by the lighting, music, and décor. This atmosphere sets the stage for a unique magic show, far removed from the stereotypes you may know.

The show itself is very dynamic, comprising a wide variety of magic acts such as sleight of hand, mind reading, close-up, and large-scale illusions, among others. With a varied selection of props, he delivers his acts and illusions, making it seem effortless.

Hart’s presence captivates every single soul in the audience from the beginning to the very end of the performance. He manages to take everyone on a journey where you feel like a child again, filled with wonder by his tricks and tales. He allows our imagination to flourish and makes us feel all sorts of emotions and sensations. Another key element during the performance is humour, which Hart uses very boldly, giving the whole piece a very dynamic rhythm.

Hart does a very good job of creating a welcoming environment, engaging everyone and making them part of the show. In fact, the audience becomes an active part of the spectacle, which is highly engaging. The production, however, could explore a bit more cohesion within the acts, so that it gives a sense of continuity and development throughout the whole show.

The leitmotif that resonates in your head when you see his work is, “How does he do that?” (with a face full of amazement, of course). And when you think you have deciphered how, no, you haven’t.

Anyone wanting to have a nice evening out must definitely attend Ben Hart’s spectacular show. This fresh and dynamic show is an excellent option if you are willing to awaken your imagination, curiosity, and inner child all in one go! Although the age guidance for this show is 12 and up, there were a few younger kids who were absolutely enchanted with every trick.

This show leaves you in a special state where you believe anything is possible, and you can be a part of it. There is one question that will keep resonating in your head even after you arrive home… what if magic DOES exist?