When it comes to magic, a rose is a rose is a rose.
To channel Gertrude Stein, there are many ways to look at the magic in The Conjuror.
At first glance, they are archetypes of magic, some of the most mystifying feats in the history of the craft.
Second, they are also period pieces, using the actual techniques of master mystifiers, many of which were reconstructed, forensically, over the course of several decades.
Third, they are metatheatrical, giving you, the audience, the opportunity of laughing at us while feeling somewhat empathetic as we bend reality with imagination.
Most of all, they enable us to do what theatre does best, that is, to create a sense of community where we care not about the characters on stage – real and imaginary – but also everyone in the space.
Now that’s real magic!