Step into a world where illusion and storytelling intertwine, and magic becomes something far richer than a sequence of tricks. In Rabbits Out of the Hat, performers Christopher Howell and Desireé Kongerød reimagine the traditional magic show, weaving narrative, character, and emotion into every illusion. Drawing on years of international experience, their work invites audiences to be swept up in a theatrical journey, one where the mystery is only part of the magic, and the story takes centre stage.
As long-standing members of The Magic Circle and creative partners since 2006, the duo have developed a distinctive collaborative process grounded in curiosity, experimentation, and a shared passion for performance. In this interview, they reflect on what sets their show apart, the personal inspirations behind key moments, and how audiences around the world continue to shape the way they bring magic to life. We sat down with Christopher and Desireé to discuss their upcoming performance.
1What makes Rabbits Out of the Hat different from a traditional magic performance?
Christopher: Most magic shows are presented in a ‘for my next trick’ sort of way. It’s all about the ‘tricks’ for their own sake. What we think really takes magic to another level though is when you can use it to tell a story. That’s what we do in Rabbits Out of the Hat. We think it’s really exciting when the magic grows organically out of the story you’re watching on stage. You get swept away in the drama of it all and leave having been moved by it rather than just being left wondering how on earth we did the magic (which you’ll get in this show as well!) We hope that wondering about the secrets becomes the least important part of the experience. Probably part of why many magicians choose not to tell stories with their magic is that to do it in a way that feels natural and unforced is very hard work!
Without giving too much away, is there a particular illusion in the show that feels especially meaningful or personal to you?
Desireé: The levitation on the broom scene is a very meaningful moment in the story. We wanted Josephine to be active in this illusion, since most magicians assistants are usually hypnotised while it’s performed. In our case, the assistant is actually the one ‘willing’ herself to levitate. When I was growing up, I always loved watching old episodes of Lucille Ball. She made me laugh and ultimately without me realising, she showed me the blueprint of what you can do as a female performer. It was a joy when we were told by our mentor, the master magician Jeff McBride, that Lucille once did this illusion with Orson Welles and that she was the first assistant to talk all the way through the routine. It all makes sense. That’s why this is one of my favourite moments in the show.
How has being members of the The Magic Circle influenced your approach to performance?
Christopher: The Magic Circle was actually founded the year that this show is set: in 1905. Its founding president was a very influential British magician called David Devant. One of David’s mottos was ‘All done by kindness’. This was something he thought was important when performing magic, rather than ridiculing audience members, making them feel uncomfortable. Kindness and fairness are certainly two themes that we deal with in our story. Also, one of the core values of The Magic Circle is that a magician never reveals their secrets. This is also something we hold true to. In fact every person who works with us in a capacity where they will have to learn our magic secrets has to sign a non-disclosure agreement to ensure they take any magic secrets they learn with them to the grave! Magic is so much better when it leaves the audience in a state of wonder and disbelief.
You’ve worked together since 2006 – how has your creative partnership evolved over time?
Christopher: By now we can read each others’ minds! (Hey, we should put that in the act!) But seriously, our ‘method’ – if we have one – hasn’t really changed over the years. The starting point to a routine or idea is always different. It might be a classic magic effect that needs to be redressed to fit a new sort of situation, so then we brainstorm ways to do it. It might be a story we’re trying to flesh out and looking for magic that could help tell it. We just try things and get on with them. It can be messy, with lots of trial and error. We’re both a couple of work horses and that helps get us through the dark moments!
You’ve performed all over the world – from Hollywood to Berlin – how do different audiences respond to magic and humour?
Desiree: American audiences wonderfully extroverted; they’re rooting for you even before the show begins! British audiences – thanks to the panto tradition – like to play with you and be a part of it. There can be a fun cheeky tension there. Then you go to a Russian audience where they’re intense and observant: they can love your show to bits, but you’ll never know until they rave about it afterwards. It’s always different. But every audience is always different, even in the same theatre! The important thing to remember is that they’re at your show to have a good time, to escape their routines and to dream. So regardless of what ‘temperature’ you might feel in the room, just keep dishing it out. Sometimes a ‘good’ audience is loud and responsive and sometimes a ‘good’ one is very quiet because they’re leaning in to hear a pin drop.
There will be two performance of Rabbits Out The Hat at Jackson Lane on 10th May. Tickets are available here.
