Review: UNBELIEVABLE, Criterion Theatre

Derren Brown calls his new production, Unbelievable, "the magic show I've always wanted to see". It's not only a show without Brown himself, but crucially (with the exception of Simon Lipkin) it is a magic show not performed by professional magicians. In fact, many members of their cast are making their West End debuts.

Does it work? Mainly yes and sometimes no.

Directed by Brown and his longtime collaborators Andrew O’Connor and Andy Nyman, the show is a co-production with The Mercury Theatre Colchester. There'll be no spoilers here, as most of the joy of Brown's shows lies in the element of surprise and wonder, but this is a show based on the idea that everyone performs their own magic trick by presenting parts of themselves that they want the public to see and hiding the parts that they do not. It's a nebulous concept.

There is clearly an incredible amount of talent in the cast; with no real leading roles, many are given an opportunity to show off their skills, celebrating traditional methods of sleight of hand, mind-reading and illusion. There are displays of astral projection, musical telepathy (a highlight) and even turning water into wine, beer and gin.

Music is a new element, with a funky and atmospheric jazz-based soundtrack played throughout. There are wonderful performances from many of the cast, but particular mention should go to Hannah Price's saxophone, piano and hair-raising vocals, Laura Andresen Guimarâes' bass sax and Alexander Bean and his brilliant mobile drum kit.

Simon Lipkin, the most experienced cast member, gets to show off both his acting and singing chops, with a very genial and slick performance. Sam Creasey channels a cheeky James Corden persona and is hugely likeable. However, there is a lingering feeling that something, or someone, is missing.

Audience participation is a large element in the show; encouraged but not enforced. This is undoubtedly a brilliant experience for these people, but inevitably leaves some of the audience with an element of F.O.M.O. 

Frequent use of a string curtain to project live action from the stage may be a deliberate choice to blur the vision of the audience, but feels like a challenge to clearly appreciate some of the more remarkable close-up illusions. A nice addition is a projected interval roll call of underappreciated ‘assistants’ from the last 200 years who made the male magicians look good.

If you are new to Brown's live shows you will be very impressed. If you have seen some of his live work before, you will see several tricks and illusions that look rather familiar. This doesn't make them less impressive, but dulls the element of wonder in the novelty.

Perhaps the issue is that Derren Brown has set his own bar so high that expectations of his new material are unachievable. Brown and his team have painstakingly trained up this talented cast and the show provides some jaw-dropping moments, but the absense of Brown himself makes the production feel a bit disjointed and therefore lacks some of the wow-factor of his previous shows.

Read our feature inside rehearsals for the show here.

Unbelievable is at the Criterion Theatre until April 7 2024

Photo Credit: Marc Brenner

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