Spontaneity and impossibility collide
After sell-out runs in 2013 & 2014 (When Magic & Science Collide), Oliver returns with a unique comedy magic show created at the drop of a (top) hat from audience suggestions. They shape the show - the characters, the music, even the tricks themselves. Flying in the face of hundreds of years of magic dogma, Oliver must rely on fast fingers, quick thinking and a ready wit.
‘My jaw hit the floor’ (BBC).
‘Could rival Derren Brown’ (TheatreWales).
‘Ambitious? Yes. Hilarious? Certainly’ **** (Broadway Baby).
Oliver Meech's Improvised Magic ShowJust The Tonic at The Mash House (Venue 288) 6-17th August, 2.40pm (1 hour)
After sell-out runs in 2013 & 2014 (When Magic & Science Collide), Oliver returns with a unique comedy magic show created at the drop of a (top) hat from audience suggestions. They shape the show - the characters, the music, even the tricks themselves. Flying in the face of hundreds of years of magic dogma, Oliver must rely on fast fingers, quick thinking and a ready wit.
‘My jaw hit the floor’ (BBC).
‘Could rival Derren Brown’ (TheatreWales).
‘Ambitious? Yes. Hilarious? Certainly’ **** (Broadway Baby).
Oliver Meech's Improvised Magic ShowJust The Tonic at The Mash House (Venue 288) 6-17th August, 2.40pm (1 hour)
The Fringe
What inspired this production: did you begin with an idea or a script or an object?
After four years of combining magic and science in my shows, I fancied trying something a bit different.
It all began with a question – how could you combine the art of magic, which is grounded in the principles of controlling every variable, and practicing the same trick over and over until you can do it in your sleep, with the art of improvisation, which actively prevents those things? The paradox intrigued me.
Also, some of the most memorable moments from my previous shows were my spontaneous reactions to things the audience did, so I wanted to embrace that. And to pull everything together, I wanted it to have a story-line too. I like a challenge!
The process of creating this show has been equal parts thrilling and terrifying, but I’ve been really chuffed by the audience feedback so far.
Why bring your work to Edinburgh?
It provides two wonderful things: a big, immovable deadline, which focuses the mind, and the chance to do the show day after day to a wide range of people, which helps make it the best it can be.
What can the audience expect to see and feel - or even think - of your production?
A comedy magic show created at the drop of a (top) hat, from your suggestions. It’s the incredible life story of a fictional magician, illustrated with amazing tricks.
You shape the show – the characters, the music, even the tricks themselves. Discover what happens when spontaneity and impossibility collide. It’s the most playful, joyful, interactive show I’ve done – in previews people have gone out with a big smile on their face.
The Dramaturgy Questions
How would you explain the relevance - or otherwise - of dramaturgy within your work?
To my knowledge, no one has ever made an improvised magic show with a narrative before, so I’ve had to make quite a lot of decisions that define or shape the performance. For example, I’ve had to make sure that the story elements and magic elements work together.
What particular traditions and influences would you acknowledge on your work - have any particular artists, or genres inspired you and do you see yourself within their tradition?
I’ve been inspired by magicians (e.g. Penn & Teller, who never do a standard trick in a standard way), improvisers (e.g. Mischief Theatre’s Lights! Camera! Improvise! and Baby Wants Candy’s Improvised Musical) and screenwriters (e.g. Blake Snyder). That said, I don’t really see myself in their tradition, as I’m combining art forms in a new way.
Do you have a particular process of making that you could describe - where it begins, how you develop it, and whether there is any collaboration in the process?
Every show I’ve created has developed differently. In this case, I started by compiling a huge list of potential magic tricks to cover most eventualities. Next, I developed some story structures that would allow me to add magic to them. And finally I saw which tricks best fitted those structures. Then I did lots of previews to see what worked and to get used to being ready for anything.
What do you feel the role of the audience is, in terms of making the meaning of your work?
The audience are massively important to me. I’ve never liked the idea of a show that would look the same with or without an audience present. I tailor the show to their suggestions, so they literally help make the meaning of it.
Are there any questions that you feel I have missed out that would help me to understand how dramaturgy works for you?
Nope, buy you have missed out this question: where and when is your show on? (shameless plug!):
Venue: Just The Tonic at The Mash House (Venue 288)
Date & Times: 6-17th August, 2.40pm (1 hour)
Tickets: £10 (£9) Family: £34
Discover the incredible life story of a made-up magician, illustrated with amazing tricks. Magic, improvisation and storytelling combine in a way that's never been done before. Always unpredictable, always inexplicable. It's 'brilliant fun' (@MariaSpirova, Oxford Fringe preview).
Oliver studied Psychology at Oxford University, Creativity at top London advertising agencies, and Trickery at The Magic Circle. He combines all three to produce magic that's 'fascinating and different from other magicians' (GWJWTBE blog). He has acted as Magic Consultant for the Discovery Channel and filmed with the people behind E4's Troy.
Ages 7-107.
Showreel (previous show): www.bit.ly/omeech
Oliver studied Psychology at Oxford University, Creativity at top London advertising agencies, and Trickery at The Magic Circle. He combines all three to produce magic that's 'fascinating and different from other magicians' (GWJWTBE blog). He has acted as Magic Consultant for the Discovery Channel and filmed with the people behind E4's Troy.
Ages 7-107.
Showreel (previous show): www.bit.ly/omeech
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