★★★★

“packed with spectacular illusions and cinematic showmanship”

From the producers of ‘The Illusionists’, ‘Now You See Me Live’ brings its hit international tour to London before heading to Las Vegas. Inspired by the Lionsgate film franchise, this slick mix of illusion, mind games and cutting edge tech lands with a real wow factor even if a couple of elements could use tightening.

Loosely inspired by the ‘Now You See Me’ films, the four Horsemen – Enzo Weyne, Andrew Basso, Gabriella Lester and Matthew Pomeroy – tear through increasingly jaw dropping feats. From lightning-fast sleight of hand and psychological mind games, to time bending illusions and death defying escapology, this show has it all!

Pomeroy emcees with easy charm, weaving the night together with sharp mentalism and sleight of hand work. Weyne delivers clever escapes that tease a reveal before hitting you with an even bigger trick. Lester builds momentum with a team trick you think you’ve cracked until somehow everyone’s stepped out of the box. Basso ups the ante with increasingly death-defying escapes and real danger. They’re supported by guest appearances from Eden Choi’s boundary pushing manipulations, Fraser Penman’s spot on psychological force, and Rafferty Coope’s blink and you miss him appearances. Though one of my favourite tricks involves the audience ripping up and shuffling cards you’re given as you enter – deceptively simple yet no less mind boggling! Though the acting and diction don’t always match the magic’s polish, the company still turns out an impressive set of acts.

Co creator Adam Trent, drawing on characters by Boaz Yakin and Edward Ricourt, shapes an evening of spectacle with genuine heart, creating a family focused show anchored with positivity and self-affirmation. The acts are well structured, building momentum and tension throughout, though the encore feels a touch anticlimactic after the space and time bending teleportation sequence. Creative Director Ash Jacks McCready, Illusion Director Weyne, Resident Director Todd Hampton and Technical Director Isaac Ogilvie deliver a seamless fusion of stagecraft and technology, bringing magic straight into 2026. High resolution screens allow crisp close ups across the vast auditorium, and a futuristic video sequence channels cinematic drama, even if the video somewhat outshines the physical work. Handheld footage blended with pre recorded segments sells the illusions in real time – the tech team deserves huge applause for their effortless execution. That said, a couple of moments are visible if you’re paying attention – such as a pre recorded shadow and pre-recorded sound – but that doesn’t undermine how incredibly well the departments collaborate.

Evan Duffy’s score is modern and electric, expertly driving and releasing tension, and wrapping the show in cinematic scale. Hugo Mericer Bosseny’s lighting is a standout, with a complex rig creating mesmerising patterns, colours and shapes, balanced expertly with pitch darkness. Eugene Titus’ costumes lean into heist edginess with lots of black leather, yet each character feels distinct. The sound mix could use a touch more clarity; diction occasionally slips and music sometimes overpowers dialogue, but it’s an easy fix in an otherwise polished package.

‘Now You See Me Live’ is packed with spectacular illusions and cinematic showmanship, and a few smart tweaks would take it from impressive to unmissable.

ASIAN PIRATE MUSICAL

Upstairs at the Gatehouse

★★

“Individual songs show real promise and the design team delivers imaginative work”

An early Camden Fringe entry, ‘Asian Pirate Musical’ is currently as nebulous as its title. Despite starting development in 2019, the piece is still finding its footing – though individual elements do show promise.

A futuristic pirate vessel cuts through post apocalyptic Asian seas, where a mysterious storm flings sailors from different eras together. As they navigate a ravaged world, they’re forced to find new meaning and friendships.

The book – co-authored by Zhui Ning Chang, Frey Kwa Hawking, Jade Leamcharaskul, Sarita Lewis, Nemo Martin and XANA, with dramaturgy by Hawking – aims high but lacks cohesion. Premises and stakes are hazy, characters and motivations aren’t fully developed, and subplots fizzle before they find momentum. If anything, the plot feels secondary to the score rather than driving it. Future iterations could swap a couple of songs for dialogue to sharpen key moments and give the narrative clearer purpose. As it stands, the two hour show lacks a strong sense of direction.

The music and lyrics – also by Chang, Hawking, Leamcharaskul, Lewis, Martin and XANA, with Leamcharaskul leading on composition – is another area still in development. The orchestrations are solid, blending traditional and modern styles with real beauty, and individual songs have merit. However, there are too many and they don’t all connect cleanly to the storytelling. The result is more song cycle than musical, breaking up the narrative rather the driving it. There’s also wide variation in tone and style which doesn’t always feel intentional, and some numbers feel musically and lyrically jumpy. The standout number, ‘Without You’, is well produced and genuinely entertaining, but its wildly different tone ultimately feels out of place.

Zhui Ning Chang’s direction is more assured. The blocking and level of movement serve the piece well, though more could be done to draw out the relationships. The projected surtitles help address some sound issues – which I’ll come to – but they sit so high up you’re forced to choose between reading them and watching the action. Wenning Wang’s choreography lifts the production with considered movement and a confident physical language – though the final scenes feel unusually static for a finale.

The design elements land strongly. Scamp Niemz’s set evokes a futuristic sailing vessel with flair, though paring it back a touch would leave a cleaner overall impression. Their costumes are also striking – individually tailored and giving Asian influences a steampunk twist. John Chan’s lighting and Jeffrey Choy’s projections deliver bold washes and sharp dramatic moments. The only element that lands less well is the cast operated roving spot: movement during freeze frames breaks the illusion, even if the music video aesthetic it creates is intriguing. Vincci Chung’s mix is slightly muffled, losing lyrics and plot. However, the ambient and specific effects are both atmospheric and detailed. Mikayla Teodoro’s props fit seamlessly into the futuristic yet familiar world.

The five strong ensemble cast – Yñaqui Tuason-Inocian as Zheng He, Amanda Maud as Sek Yeong, Ashley Goh as Nazar, Rai Endah as Keliling, and Nabilah Hamid as Riang – do a solid job of carrying the nebulous narrative. Maud brings strong stage presence and cheeky twinkle, while Tuason Inocian’s fitting inner calm charmingly dissolves in the upbeat K pop number. However projection is inconsistent, ultimately contributing to the wider sound issues, and vocal technique varies – though Tuason Inocian’s baritone is warm and grounded, and Endah demonstrates a confident mix/belt.

‘Asian Pirate Musical’ currently feels a little adrift. Individual songs show real promise and the design team delivers imaginative work, but the book and score need further refinement to let those strengths shine.

Tag Archives: Hannah Bothelton

NOW YOU SEE ME LIVE

★★★★

London Coliseum

NOW YOU SEE ME LIVE

London Coliseum

★★★★

“packed with spectacular illusions and cinematic showmanship”

NOW YOU SEE ME LIVE

London Coliseum

Reviewed on 2nd August 2026

by Hannah Bothelton

Photography by Johan Persson

NOW YOU SEE ME LIVE

NOW YOU SEE ME LIVE

NOW YOU SEE ME LIVE

ASIAN PIRATE MUSICAL

★★

Upstairs at the Gatehouse

ASIAN PIRATE MUSICAL

Upstairs at the Gatehouse

★★

“Individual songs show real promise and the design team delivers imaginative work”