Continued from parts one and
two, where we learned about Load-In, the Technical Run, The Run, Pre-show, and
the show, "Champions of Magic: Holiday Spectacular."
A Week in the Life of Champions (of Magic) -- part 3 of 3
Behind the Scenes (Toronto, Dec 2025)
Every company member maintained
hyper-focus during performances. The cast and stagehands, for obvious
reasons. Technicians made real-time updates to the video based on volunteer
input. In addition to being responsible for the atmosphere of the show,
Sound, Lighting, and Automation, were also integral to making the magic
happen. Losing focus is not an option. Twice I observed the crews’
hypervigilance come to the rescue.
Champions Of Magic now runs through September 2 — but that's it! There just
isn't enough confetti left in the Midwest for the show to run any longer than
that.
Welcome to readers of Duncan Trillo's excellent publication, MagicWeek! We hope you enjoy your stay!
--
Continued from
Part 1
where we learned about Load-In, the Technical Run, The Run, and Pre-show activities.
A Week in the Life of Champions (of Magic) -- part 2 of 3
The Show - Champions of Magic: Holiday Spectacular (Toronto, Dec 2025)
I have
seen five iterations of Champions of Magic including their 2018 Toronto
debut. Fernando Velasco, Richard Young and Sam Strange (as Young &
Strange) were part of the 2018 cast. Only three carryovers from that
show remain.
Yesterday, we ventured to the Aki Studio
in Toronto.
This was our first visit to this theatre which is located in the
Daniels Spectrum
building. According to the Aki Studio website, they are fully
accessible for both patrons and performers.
The theatre is a cozy space, with a capacity of 120 seats (with raked
seating). The seating goes about 6 rows deep. Every seat has a
great view of the action and Keith has cameras setup to make the small
details clearly visible to all. There are seats reserved in the front
row, for audience members who have accessibility issues.
The theatre is air-conditioned (very welcome with the current heat wave).
The show is approximately an hour in length, with no intermissions.
Pre-show:
Keithis Fringe veteran. (He mentioned that this was his 60th (!!) Fringe festival.) He hosts a pre-show segment designed to make the
audience feel at ease. In it he discusses:
audience participation and
what to do if you don't feel comfortable volunteering (this is the
first time we can remember a performer proactively giving
the audience a method by which they can decline volunteering), and
what it means to be in his 'relaxed performance' show (sensory friendly,
house-lights on the majority of the time, in and out privileges, etc).
It's also worth noting that Keith made this showing a Pay What You
Can performance, in the hopes of making live shows more accessible to everyone.
On with the show:
In a theatre this size, you get a good view from every seat.
(Especially with the camera's Keith has setup.)
The show was nearly, if not completely sold out.
As Keith mentioned in his interview, 110% Wizard is a brand new show.
Without giving too much away, the show did involve gift bags, money, cards, cell phone (audience supplied), luggage tags, water fowl, drinks, and family photos (his).
There is plenty of audience participation. By our count there were well over dozen volunteers (including one not even at the show)!
The show is very family friendly and kept the children in the audience engaged.
Keith shared with us, what is was like working his first ever cruise contract earlier this year. He punctuated his tales with effects that directly related to his experiences.
If you've seen one of Keith's shows, you'll know that he's an expert
at making lemonade out of the lemons he is dealt. We're happy to that
he continues to do so in 110% Wizard!
"110% Wizard"
is a very refreshing lemonade!
Don't just take our word for it, read what the press at the Orlando Fringe had
to say about this show:
From the May 13th article "Orlando Fringe 2026 review: ‘110% Wizard’" by Seth Kubersky at
Orlando Weekly: If you have any doubts that Orlando Fringe changes lives, look no
further than illusionist Keith Brown. A fixture of the Festival for over a
decade, Brown landed an agent as a result of his 2024 show here, and is now an
in-demand guest artist aboard Norwegian and Virgin cruise ships. Read more.
From the May 15th article "2026 Orlando Fringe Review: 110% Wizard" by Jimbo Wood at
Orlando Shine: Brown, a familiar face to Orlando Fringe audiences and a three-time
Critic’s Choice winner for Best Magic Show, returns with what he jokingly
describes as the “same wizard, now 10% better.” The framing device for this
year’s show centers around a cruise ship residency thrown into chaos after an
airline loses the costumes and props intended for the run. Read more.
For more information about the Toronto Fringe, visit
FringeToronto.com
This was our first visit to this theatre which is located in the
Artscape Youngplace. According to the Youngplace website, they are "Fully accessible by
Ontario standards."
The internet suggested parking in the area was scarce (roughly Dundas
St. West and Ossington) so we braved the TTC. The Ossington 63 south
takes you to within a 4 minute walk of the theatre.
As James revealed in his
June 5th interview with us, the theatre is a cozy space, with a capacity of 46 seats (with raked
seating). Every seat has a great view of the action. There are seats
reserved in the front row, for audience members who have accessibility
issues.
The theatre is air-conditioned (very welcome with the current heat wave).
The show is approximately an hour in length, with no intermissions.
On with the show:
In a theatre this size, you get a good view from every seat. The
closer you sit, however, the greater the astonishment!
As teased in his interview, Mysteries and Lies is completely different from any of James'
other shows we've had the pleasure to attend.
Much to our dismay, there was no wine bottle nor were there citrus-y 'arts
and crafts.'
Without giving too much away, the show did involve glassware, coins, cards,
cups, balls, jewellery, envelopes, and a condiment.
There was plenty of audience participation. Four lucky audience
members were able to sit at the table with James, scoring better-than-front
row seating. (It should be noted that consent was obtained, and no one
was forced to sit at the table.) In addition to those four, another
seven or eight people from the audience contributed to the uniqueness of the
show.
The show touched on history, astronomy, astrology, biology, physics, and pop
culture. There was even a
Browser's Den of Magic
Easter egg, if you were paying attention. (This was possibly unique to
opening night.)
While we have seen more than our share of Cups and Balls routines, we have
never seen anything quite like the one in this show!
Last week we saw a sneak peek of James performing one of the card effects,
and we had no idea how he did it. At the show we were sitting roughly
4.5 metres (~15 feet) away and are no closer to determining the
method.
James performed excellent sleight of hand with a wide variety of
objects. This was so much more than a 'card magic' show. (But
the card magic in it, is excellent!)
"Mysteries and Lies" is our favourite James Alan production to date!
Disclosure: We were guests at this show. The opinions expressed above
are entirely our own. We did not receive compensation for the writing or the
publishing of this article.
Don't just take our word for it, read what Teena in Toronto had to say about
it in her
June 30th Instagram post.
For more information about the Toronto Fringe, visit
FringeToronto.com
“Explorer 2 continues the structured training from Explorer 1, focusing on rarely-mastered sleights and advanced routining. You'll refine your technique, learn Michael's deceptive new handling of a popular stand-up effect, and develop the skills that separate hobbyists from performers.”
Michael Close has decades of experience performing and has authored fifteen books of original material for magicians, including the highly regarded “Workers” series. He is a sought-after magic consultant, notably consulting for “Penn & Teller: Fool Us.”
Last Fall, I had an overwhelmingly positive experience auditing Michael’s six week online course, Explorer 1: Transform Your Magic. In level one, Michael introduces a dozen foundational sleights (with cards and coins), more than a half-dozen tricks that incorporate the sleights, theory, critique, and insights on practise, finding your style, construction, routining, and presentation.
It goes without saying that I was eager to discover what Michael had in store for the next series of classes in Explorer 2.
The classes build directly on the material presented in Explorer 1. Michael methodically expands our knowledge base on foundational sleights with both cards and coins. In these classes there is a focus on some card and coin techniques that are often poorly executed by magicians in general. Guided by Michael’s extensive real-world experience observing what can go wrong in their execution, he teaches the skills in easy to digest layers (including the assignment of preparatory exercises), as well as alerting the students how to both mitigate and circumnavigate potential issues.
The format for Explorer 2 is similar to level 1 of the course. The online classes are about an hour in length, delivered weekly, and run for 6 weeks. The class size is capped at twelve students, which allows students to participate in discussions, ask questions, and receive personal attention. The classes are recorded, which means if you are absent for a class, you can watch the recording on your own time before the next class. (It’s a tremendous gift if you’re having difficulty mastering a move because you can slow down the video!)
Michael provides many opportunities to ask questions both during and between classes. While there is no requirement for students to perform during classes, he encourages them to submit videos of their progress for him to provide feedback. He is also available by email to answer questions between classes.
One huge advantage to learning this material from Michael is his ability to draw on his considerable knowledge and experience to suggest alternative handlings if one’s skill set or dexterity aren’t quite up to the material as initially presented. He can tell you the “why, when, and how” of the technique creation and point you to suitable workarounds if required.
In contrast to Explorer 1, where it was recommended to practise fifteen minutes a day to achieve mastery by the next class, many of the techniques presented in Explorer 2 require greater daily effort and may take longer than a week to truly master. It is recommended that you set aside at least thirty to forty-five minutes a day for practise.
With respect to teaching effects and routines, Michael provides insights into an effect’s construction. Theory is interspersed with the card and coin technique. He shares his thoughts about the routining and what can be done to elevate the experience of the spectator. Michael offers constructive criticisms and encourages his students to do the same. Thought is given to the optimal way to present the effect and reading material is assigned to provide context regarding an effect’s creation and subsequent evolution.
Similar to Explorer 1, Michael has both assigned and supplemental reading, sharing wisdom from magicians such as Stewart James, Roberto Giobbi, Arturo De Ascanio, Jon Racherbaumer, Frank Garcia, Johnny Thompson, Martin Gardner, and John Carney. (We also received the notes to Michael’s fantastic 2017 lecture "Magic Theory, or Magic Fact? Let's Find Out.") The reading material serves to frame the lessons by reinforcing critical thinking skills, walking through the history and refinement of effects, and expanding on the opinions and observations of notable figures in magic.
As with Explorer 1, most of the class materials for Explorer 2 continue to be available to the students beyond the six week course enrolment.
I had a fantastic time and learned an incredible amount participating in Explorers 1 and 2! If you’re looking for a way to refine your technique and elevate the impact of your performances, the Explorer series is for you!
For more information about the Explorer series of classes, visit MichaelClose.com.
---
Disclosure: I audited the classes as a guest.
The opinions expressed above are entirely my own. I did not receive
compensation for the writing or the publishing of this article.
Welcome to readers of Duncan Trillo's excellent publication, MagicWeek! We hope you enjoy your stay!
--
Wherein we share some trivia about a cast member, take a good look at the behind the scenes effort involved in putting on the show, and take a bit of a tangent in order to drop Alan Hudson's name.
A Week in the Life of Champions (of Magic) -- part 1 of 3
On a cold and grey December day, I met up with the Champions of Magic crew at the Bluma Appel Theatre in downtown Toronto.
My mission: to shadow the company from load-in to load-out, for their 13 day Toronto stay.
I was unable to attend two of the days and four of the days were statutory holidays. Allow me to take some liberties with the timeline and present to you what I learned spending A Week in the Life of Champions (of Magic).
Michael Close's Explorer 1 Teaching the magic beyond the tricks
Has your magic has plateaued in spite of owning shelves of magic books, a hard
drive full of instructional downloads, and drawers full of magic
effects? Enter Explorer 1: Transform Your Magic a 6 week online course
offered by Michael Close.
As you are likely aware, Michael is well known in the magic community for his
excellence as an author, a creator, a performer, and a consultant. For
those unfamiliar with Michael’s work, I encourage you to read Jamy Ian Swiss’
2018 article “The Paradigm Shift – Volume One & Volume Two by Michael
Close” at Magicana.
I participated in the beta testing of these classes, in addition to
auditing the first run of the course. The classes methodically cover
foundational sleights with both cards and coins. One of the biggest
benefits to learning from Michael, a performer with decades of experience
under his belt, is that he teaches fundamental material with an
awareness as to how the skills will be applied as one advances their
ability. In other words, the foundational sleights are taught in a
versatile manner, ready for use in more sophisticated situations. This
approach results in accelerated learning – you only have to learn a skill
once!
Michael’s approach to teaching magic, mirrors in many respects, The Royal
Conservatory of Music's approach to the method and practise of teaching
music. (This comes as no surprise given Michael’s Masters Degree in
Music Theory and Composition.)
What do I mean by this? A music teacher will introduce their student
music theory concepts (such as a key signature, and rhythm), and provide them
with a piece of music to practise which incorporates these ideas. As
music students practise with the goal of performance in mind, the teacher will
discuss musical technique, as well as introduce critical analysis of their
student’s efforts.
On the surface, Micheal teaches foundational sleights, along with tricks which
incorporate these fundamental skills. While the tricks are logical a
vehicle to demonstrate the use of the newfound technical expertise, they more
importantly serve as case studies for broader theoretical concepts important
to maximizing the entertainment value of magic performance.
Simply put, the tricks are not the lesson. They are the
springboards that permit Michael to introduce theory that elevates the performance of magic.
Michael presents his well crafted lessons in a manner which is clear and
easy to follow. Nuggets of wisdom gleaned from years of performance and
consulting pepper every session. The classes are a safe and nurturing
environment that puts the students at ease. In these classes, questions
in search of understanding are always welcome.
Michael provides a manageable amount of assigned and supplemental reading,
invoking wisdom from magicians such as Jamy Ian Swiss, Juan Tamariz, Larry
Hass, Jon Racherbaumer, and of course Dai Vernon.
As an added bonus, course enrollment includes exclusive, limited-time access
to the Ask Alexander Digital Library, provided
by the Conjuring Arts Research Center.
In keeping with the music class analogy, during the course Michael said this
about foundational sleights:
“... one of the good things about developing a toolbox of techniques of
sleights that you are competent at, is it makes reading magic books a lot
easier. You're almost like musicians when they sight read a piece. If I
have all my scales and my arpeggios and all these things under my fingers to a
reasonable degree, then as I look at a new piece of music, I can get a sense
of what that piece of music is as I sight read.”
Similarly, if you embrace the theoretical concepts, while also developing your
analytical and critiquing muscles, you will be able to utilize this knowledge
to enhance any magic performance, from close-up to stage.
I
had an overwhelmingly positive experience participating in these
classes. If you’re looking for a way to shore up your sleights, and
elevate your presentation skills, this is the course for you!
To
register, or for more information, visit Micheal's website at MichaelClose.com.
Disclosure: I beta tested and audited the classes as a guest.
The opinions expressed above are entirely my own. I did not receive
compensation for the writing or the publishing of this article.
This was our second trip to this location. Just over a year ago we
saw Alex McAleer - Mind Reader in this space. (If you were at the McAleer show, please note
that you need to use the West entrance for The Enigmatist.)
The performance space is one flight of stairs up from the main level.
Contact the venue if you require accommodations.
The show is about two hours long, with one 15 minute intermission.
While there is nothing inappropriate for young children in the show, this is
not a show designed for young children. The
Starvox website states
"The show is appropriate for children aged 6+." However, we're not
sure that Kidlet would have enjoyed it much before the age of 8.
"Hearts" ticket holders have general admission seats closest to the
stage. The seats are all on the floor. "Spades" and "Clubs"
ticket holders are on risers in the back half of the house.
Plan to arrive early. There is a preshow activity in The Puzzle
Garden. From the
Starvox website: "The doors to the bar/lounge will open 60 minutes before curtain.
"The
Puzzle Garden will open 60 minutes before curtain for Hearts ticket holders,
and 30 minutes before the show for Spades and Clubs ticket holders.
"We
recommend that you arrive early to solve the four puzzle walls, which will
be located in the lobby area. Please plan to spend 20 to 30 minutes (in
total) solving the puzzles before taking your seat inside.
While not mandatory to gain entry to the performance, completing the
puzzles will enhance your overall experience of the show." [Emphasis added.]
There is time to complete unfinished puzzles during the intermission.
Puzzle tip: Some of the puzzles have a poster with important reference
information on it. Use your phone to take a photo of the
poster. Then you can review the details without blocking others from seeing the clues.
The performance space is
intimate. Due to the general admission seating, arrive early if you
wish to sit close to the stage.
There are so many dimensions to the show, it's hard to know where to
start!
We were a little nervous about attending. The promotional material mentions of "brain twisting riddles," "cracking
ciphers," and "puzzle solving" were somewhat intimidating. (This did not
sound like an evening of passive entertainment.)
All our worries were for naught!
Yes, there are plenty of activities where the entire audience can rise to
the challenge and participate!
No, you don't have to participate if you don't want to. (But we're
pretty sure you'll want to.)
Puzzle solvers were consistently celebrated!
Right off the bat, as David mentioned
in his interview with us, a young audience member solved the first puzzle before any of the adults!
David treated everyone with the utmost respect.
He is incredibly knowledgeable, has a fantastic memory, and
demonstrates impressive sleight of hand.
It is very clear that David, when designing his show, took to heart Will Shortz's quote "... a good puzzle makes the solver feel smart." The show is carefully constructed in the same fashion.
David never made the audience
feel "less than" in any way.
The show is highly interactive. We counted around thirty volunteers
in addition to multiple whole audience participation opportunities. The majority of
the time, people were able to volunteer from their seats.
This is legitimately the first time we've seen (heard?) Tom Lehrer
invoked in a magic show. We approve! (Doubly so given the subject matter and the method of delivery.)
David has an engaging stage presence, well-honed audience management
skills, and excellent technical abilities! (As evidenced by a few perfect Faros, a one-handed rotational pivot
cut, and some card lovely manipulation.)
The Enigmatist is magic, inside a puzzle, wrapped in
pure entertainment!*
* With apologies to Sir Winston Churchill
The show has a solid throughline, inspired by historical figures and events,
providing an intriguing narrative.
It is clear to the magicians in the audience, that a extraordinary amount of thought, planning, and attention to detail went into this show. (Pay close
attention. There are a surprising number of callbacks in the second
half!)
With few exceptions, the "magic" done in the show is presented in a very
customized way, obfuscating the "trick" part of the performance while
highlighting the awe and wonder of the presentation. David's use of surrogates for traditional magic props, gives the show a unique and truly personal feel.
We tried desperately to keep up while David created an impromptu crossword puzzle. At some point we just gave in and let his spectacular vocabulary and puzzle building expertise wash over us. (And he incorporated a word we shouted out!) It was absolutely amazing to witness in real time!
The Enigmatist is a masterclass in using magic principles as a tools to create entertainment in delightfully novel
ways!
Disclosure: KOP and I were guests at this show. The opinions
expressed above are entirely our own. We did not receive compensation for
the writing or the publishing of this article.
With thanks to Erica Feeand Starvox Entertainment for the tickets.
Continued from parts 
