Archive for Magic

Dusty Limits Leads a Wild, Joyous Burlesque Night at the Liquid Rooms

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★★★★★ Burlesque nights at the Fringe can be hit‑and‑miss, but the Liquid Rooms delivered one of those gloriously chaotic evenings that reminds you why cabaret survives every cultural cycle. Hosted by Fringe stalwart Dusty Limits, whose sly crowd work and razor‑edged asides are well‑documented in his cabaret appearances at The Voodoo Rooms , the night had that unmistakable mix of glamour, grit and mischief that marks out proper burlesque from the pretenders.

Limits is a natural ringmaster — sardonic, warm, and just dangerous enough to keep the room alert. His genuine love of performance, noted in reviews of his Bowie‑themed cabaret work , carries over effortlessly here. He knows how to hold a crowd, tease it, and then hand it over to the performers at exactly the right moment.

The acts themselves were a lively blend of classic strip‑tease, comic burlesque, and magic. The Liquid Rooms — usually a nightclub and live‑music venue  — proved surprisingly intimate for burlesque, helped by tight lighting and a crowd that arrived ready to play along.

What made the night work wasn’t polish but personality. The performers were bold, funny, and gloriously unafraid of leaning into the absurd. One moment you’re watching a sultry slow‑burn strip, the next you’re hit with a comic number that breaks the room open. It’s the kind of cabaret chaos that feels alive — messy in the right ways, sharp in the right moments, and carried by performers who know exactly what they’re doing.

If you wandered in expecting a tidy, packaged Fringe show, you’d be in the wrong place. But if you wanted a late‑night hit of queer joy, camp theatricality, great dance performances and a host who knows how to work a room, this burlesque night more than earned its applause.

Reviewed by Pat Harrington

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Fringe Review: The Telepath and the Conjuror

Four black stars representing a rating.

Marc Oberon and Emily Yarrow—performing as The Oberons—don’t just present illusions; they craft a duet of mystery and music that feels like a shared hallucination. The Telepath and the Conjuror, staged at theSpace@Surgeon’s Hall for the 2025 Edinburgh Fringe, is a polished, emotionally resonant spectacle that blends sleight of hand, operatic vocals, and mind-reading with theatrical finesse.

Black and white portrait of a man and woman, side by side, blending their faces to create a mysterious effect.

Their origin story is pure Fringe romance: Oberon, a world champion magician with accolades from the Magic Castle, met Yarrow, a classically trained soprano with TV and film credits, while performing on a cruise ship. Spellbound by her voice, he proposed. Together, they created a show that’s equal parts cabaret, conjuring, and connection.

The performance opens with a levitating wand—twirling mid-air, untouched—before vanishing in a puff of disbelief. Silver balls multiply and vanish, cards appear on cue, and roses bloom from nowhere as Yarrow sings “La Vie en Rose” with haunting clarity. But it’s her mentalism that truly astonishes: blindfolded and upstage, she identifies audience members’ possessions with uncanny precision, predicting choices and revealing thoughts as if plucking them from the ether.

This is magic with narrative weight. Their chemistry—onstage and off—is palpable, and the structure mirrors their story: two soloists becoming a duo, each elevating the other. Yarrow’s vocals add emotional depth to Oberon’s illusions, while his tricks frame her telepathy as something transcendent. It’s not just “how did she do that?”—it’s “how did they make us feel this way?”

Accessible, family-friendly, and rich with audience participation, The Telepath and the Conjuror is a Fringe gem that invites you to suspend disbelief and lean into wonder. Whether you’re a seasoned magic fan or simply curious, this show delivers astonishment with elegance and heart.

Reviewed by Jacqueline Sharp

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