Reviewing the magic show Impossible in the West End this summer, I observed “The basic repertoire consists of the same long-familiar bunch of vanishing tricks, cabinet work, mentalism and close-up sleight-of-hand.” The Illusionists, an international offering spun off from the brand which has enjoyed success on Broadway and North American tour, both confirms and in part rebuts that claim.

Some of the tricks here are indeed indistinguishable from those in that other show: Andrew Basso from Italy performs Houdini’s Water Torture Cell escape, albeit without covering the water-filled tank from our view (and also admits that he takes a paper clip in with him to work the locks), and some of Ben Blaque’s crossbow work reproduces Jonathan Goodwin’s performance a few months ago (but then trumps it by setting off a six-bow chain reaction). Once again, a large video screen is used for close-up work, allowing Kevin James to perform a routine with a crumpled-up piece of paper in the aisle and, for no good reason, facing away from us and towards the stage.

Japanese sleight-of-hand artist Den Den performs with grace and poise, appearing to wipe designs on and off playing cards and producing a succession of origami cranes instead of live doves, and also disguising his switch-twitches as part of the choreography. David Williamson cultivates a Catskills image to peddle some fairly corny Catskills material. In some ways the most surprising aspect of the show is the extent to which audience volunteers are required. Put it this way: so many are called for that on press night their ranks included one reviewer colleague and, on separate occasions, another’s two daughters.

The stand-out acts in this turn-and-turn-about show (with a gratuitous steampunk dance chorus) are Scottish mentalist Colin Cloud, partly because he explains as he goes along that he is reading bodily cues rather than minds, and the aforementioned James, dubbed “The Inventor” for this package. Even conventional tricks are made new by him: the sawing-in-half trick is hack (no pun intended), but James’s mileage is in the continuing movements of the entirely separated top half for some minutes. I am still not persuaded of stage magic’s charms, but I now think I could be.

Written for the Financial Times.