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Mr Swallow - Houdini
Soho Theatre, London
Tuesday 10th January - Saturday 18th February 2017
Reviewed by Ian Keable
I've
always thought that the reason most magicians get into magic is that they have a
desire to perform but don't actually possess any skills. As a generalisation
they can't dance, can't sing, can't act and can't tell jokes. That is why so few
magic routines contain any of these elements. Magicians justify it by saying it
would merely be a distraction, take away from the important part - the impact of
the magic. And that argument certainly has validity.
That is not to say that attempts to merge different disciplines have not been
tried; but often with mixed success. Both Mike Danata in this country and Darren
Romeo in the US combined singing and magic together. Quite a few performers have
written plays that incorporate magic into them. I attempted a couple myself but
can't say that either was a critical (or indeed financial) triumph. Paul Zenon
in Linking Rings had a good go at it recently; as against his enjoyable show,
I've seen a few real turkeys.
In some ways I've always felt a bit sorry for magicians who do have additional
skills - in that they just haven't found an environment in which to showcase
them. What would you do as a performer if you could genuinely sing, dance, act,
tell jokes and do magic? Well I have found my answer. You would do a show called
Mr Swallow - Houdini; the only drawback being that you have to be as talented as
Nick Mohammed.
This genuinely was the best show I've ever seen that seamlessly incorporated so
many diverse performing arts. Admittedly it helped having an ensemble company -
Nick had two assistants and a piano player; but that took nothing away from his
own part. The plot was simple. Mr Swallow, as played by Nick, recreates the life
of Houdini, culminating in his famous water torture escape. Along the way he
learns how to pick locks, attends a séance to contact his mother and sees a
doctor to determine whether he is fit enough to perform the dangerous stunt.
These scenarios provide plenty of opportunities both to perform magic, break
into musical numbers carried out with great gusto by the three performers, and
involve absurdist, but hilarious, set pieces.
Standard magic routines are given a completely fresh look, particularly so his
version of the Chop Cup, a million miles away from Paul Daniels. The quick
release escape from a lock is brilliantly enacted. Throw-away bits of magic,
such as a silk handkerchief to a cane and production of a bunch of flowers, are
done with panache. Big illusions are also in the production. The Sub Trunk is
one such, the swift exchange of one person with another, which was first made
famous by Houdini as Metamorphosis. And the climax of the show, the escape from
the Water Cell, did look genuinely dangerous.
What was also impressive was the fact that we were sitting up in the balcony,
with the worse possible angle for some of the illusions. And yet the staging was
so good that you really couldn't see anything untoward. The sudden, and
unexpected, drop down of a curtain from the ceiling over the Water Cell was both
dramatic and magically satisfying.
The whole production was a tour de force. Still time to see it - you won't
regret it:
www.sohotheatre.com/whats-on/mr-swallow-houdini
©
Ian Keable, February 2017.
www.iankeable.co.uk/blog