EVERYONE YOU MEET IS PERFORMING A KIND OF MAGIC TRICK – PRESENTING THE PARTS OF THEMSELVES THEY WANT YOU TO SEE, THEIR ‘EFFECT’ AND HIDING THE PARTS THEY DON’T, THEIR ‘METHOD’
Listen, let’s get this straight from the offset: I am not the biggest of magic fans. If anything, I merely recall David Blaine’s antics atop a perspex glass-cube over the Thames when I was 9-years-old. I also remember Derren Brown’s How to Control the Nation show when we used to be glued around a television to watch “a show” instead o’ streaming everything – like we do now, eh!
Anyhow, I wasn’t sure what to expect when asked to pop by the Criterion Theatre (which I hadn’t done pre-C*vid and the show that was playing was titled Comedy of a Bank Robbery) so this production intrigued me – namely as the marquee has an illusion that does make your eyes go quite funny…
It’s also quite nice to walk in to the auditorium – bearing in mind that this is one of the smaller theatres in our beloved West End with 588 seats across the Stalls, Dress and Upper Circle – and hear live music as one enters. I’ve been noticing that quite a lot recently, and to begin with it did seem somewhat a random and eclectic choice of songs including ‘Ain’t No Body’ by Chaka Khan (later covered by Liberty X – the iteration I knew it from, being a 90’s kid). There are roving front of house staff, ready to get to know who’s sat the audience: oh, and boy do they get to know them! A live camera is shone onto the stage so that those who are in the upper and dress circle seats can see the action at the back of the stalls and vice-versa.
From the very offset, there’s a lot of stage management that is present. If you don’t like a bit of audience participation, then I’d steer clear of the first two rows but otherwise you’re asked if you want to partake to which you are allowed to say no. There’s also still a chance to be selected at later points in the show, so do know that if you’re not up for joining in at that moment, then you’re best sitting this one out. To be very clear, it’s all about the audience on the night, as to whether I believe this will be a great evening. Perhaps also the company, and you all expect that it will be very frenetic as the show progresses.
Thankfully, the audiences were pretty responsive on the night I popped in to see this show, and one particular highlight was the audience member for the night I attended involved a special Rainbow Cube segment (the faces he made in a segment where participants are photographed did. make me chuckle). You will be reminded on several occasions that you too can purchase the cube, which start to irritate ever-so-slightly.
Now, on to the content (without any spoilers, of course), there’s a writing trio at the heart of this piece: Derren Brown, Andrew O’Connor and Andy Nyman. Admittedly I only know of the former, but the material is somewhat stronger in the second half given the direction we take (as mentioned, no spoilers). Given it has three writers, it could have been somewhat tweaked some more and felt a little disconnected at times. However, the cast are what really bring the “oomph!” to this piece as there’s some great singing from Simon Lipkin (of Elf, fame), as well as Laura Andresen Guimarães who wows in her number. Finally, the last remarkable performance is on a piano and by Hannah Price (whose segment I wish I knew exactly how it’d been done). I would have like to have sene more of these more musical-theatre-inspired numbers, as that’s when Unbelievable was at its elevated best.
Gasp-out-loud moments occur in equal measures as joy the cast are having on stage seeps into the audience; though there were some tricks that I felt I was able to “see through”(Come on, if you didn’t know, I’m the biggest Ghost the Musical fan and Paul Kieve’s tricks are superb and a hard act to follow…).
However, I do heartily recommend this for a family and young people. It will set off, and ignite a flame for the next generation of magicians. It’s a piece that’ll keep you thinking about the questions such as “how on EARTH did they do that?”, and those who revel in the believability of magic on stage – and things not being what they seem – will truly marvel in this production.
The second act really felt like it was where the tremendous cast really got into their own and the pace picked up. There are, a few too many men celebrated for my liking (in 2023, that is well and truly a choice) and I wish we got to see more of the magicians who weren’t entirely homogenous by demographic i.e. pale, male, and stale; I also eagerly await the day the can move beyond the magician’s assistant being a woman. The scenes of the woman being split in half, felt like it truly jarred, and felt unnecessary. The point of having the past showcased could have been made in a more sensitive manner. Having said that, the context was really useful to those not as au fait with the world of magic, and kept me on the edge of my seat throughout the latter half of this deft piece.
What I will say about Unbelievable is that it sure provided an entertaining night, complete with live music and a finale that sparkles. If you’re wanting a few hours for a little it of trickery in an escapism scenario then this is it. I will only wish that I was able to get up to partake in the interval activities (more of that when you’re at the theatre, so I’m not spilling anything else), but I did in essence forget.
There’s something for everyone in his show, and I felt it is a win for the extroverted types amongst us – it’s a great affirming show to bring you into the heart of the action. One reveller got his phone out to take a picture of the crowd. This is a show that has high production value (the set pieces in the second act alone are quite nice, and I wish we had more in act one) and it’s one to take the family to. If you’re looking to be entertained, this show heaps it in by the magician’s hatful in the very heart of Piccadilly Circus.
Booking until 7 April 2024: https://unbelievablelive.com/
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