Review of ‘Now You See Me Live’ (2026, London Coliseum): “Charming magic show does the trick, but it isn’t that spellbinding”

Maybe it’s because I grew up watching Val Valentino dig his own professional grave on TV by doing the unthinkable. If you were a kid in the 90s or early 2000s and liked to perform a few illusions (nerd), you probably know what I’m talking about. And chances are you’ll think the same upon attending the Hollywood franchise-inspired stage production Now You See Me Live, which ironically shows little inspiration in pushing the boundaries of this art form.

I’m not trying to play the tough cookie. In all fairness, it’s still an enjoyable piece. But there’s nothing special, jaw-dropping, or even enchanting about it. In the end, it’s nothing more than a rehash of extremely common numbers anyone regular to this type of entertainment has already watched ad nauseam.

It doesn’t matter if it involves curtain-drop transfiguration, escaping from an explosive-filled safe, or time-travelling alongside a few personal belongings from ‘randomly’ chosen spectators — to be used as evidence of their supernatural powers. Nothing is shocking about them. Simply because we know exactly what to expect, and all their twists are insignificant and, ultimately, irrelevant to the final feel.

On the whole, there’s no denial about the quality of its execution. That is, as long as they don’t invite the entire house to participate. Despite his adroit hosting skills, Matthew Pomeroy’s inability to guess the animal half of the viewers had pictured in their minds- I guarantee my plus-one and I followed his instructions to the letter -is sloppy at best and embarrassing at worst. And that’s not the only example of a large portion of the audience reacting incredulously to another failed attempt at group divination, although that concerned one of his associates.

Some sections are genuinely nail-biting. Witnessing Andrew Basso putting a live scorpion in his mouth while trying to unchain himself is dangerously exciting. And the same applies to his remarkable breakout- once again manacled -from a padlocked water tank as a tribute to Houdini’s legacy. Both are closer to daredevil acts, but they require exceptional precision and technique. And the fact that he did both with extraordinary composure deserves every praise.

As for the rest, there’s nothing that comes across as truly original or groundbreaking. Enzo Wayne makes a fleeting exception with a refreshing take on the classic vanishing trick — this time featuring a bulb and a paper bag and culminating in a mind-blowing finale. Unfortunately, the second number doesn’t match his previous standards. And although he spices it up with compelling showmanship and storytelling, his jaunting from a cloth-covered chair to a corner of the stage isn’t that surprising — especially when the fabric ripples give away part of the illusion.

We could also discuss how fake the assistant’s silhouette looked before she was turned into a helicopter (her uncanny valley movements and somewhat pixelated figure ruined the anticipation). Yet, I believe all the necessary points have been made. Albeit amusing and generally well put together, this compilation of conventional illusions isn’t a strong enough rival to other similar shows currently on offer across the London scene. And although families and magic enthusiasts are likely to have a fun time, there’s nothing in Now You See Me that you haven’t seen by now.

All pictures credit to Johan Persson.

Now You See Me plays at the London Coliseum until 6 September. Tickets are available on the following link.

By Guillermo Nazara