This comeback isn’t just about applause or making it back to the big time. It is about the fragile relationship with his son, Harry. They share secrets, old tricks, and unfinished business, the show blurb tells us. Their reunion sparks hope, rivalry, and the possibility of something extraordinary as Barry puts together a new show with the help of a new manager, Isha, and a younger, flashier, social-media savvy magician, Presto.
The writing and pace feel very much like a high-quality TV drama series and that is no bad thing. It makes the piece accessible, with natural dialogue that feels authentic to its coastal Essex setting. What works particularly well on stage, however, is how the illusions and magic tricks weave neatly into the narrative. They are not forced; they are part of the core family makeup between Barry (Bazza), Wendy, and Harry.
The illusions add a distinct flavor to the piece, although the close-up sleight-of-hand, such as the card and coin tricks, gets a bit lost in a venue as large as the Queen’s Theatre unless you are seated near the front. Still, they work as a narrative device, giving us extra insight into how this family operates. I particularly liked the younger magician, Presto (Kadell Herida). The attention to detail around his social media obsession and the realities of being a modern illusionist is sharp and believable. I was less convinced by the manager character, Isha (Courtney George) - not so much a fault of the actor and more that I was not fully buying into why she would stick around with an aging, washed-up magician. But that’s a small gripe about dramatic licence and one I can put aside. There are also some plot twists in Act 2 that are a lot darker than I was expecting. No plot spoilers here but you have been warned.
From a production standpoint, Sarah Beaton’s set design is strong, functional, and versatile. It supports smooth transitions across multiple locations without overcomplicating the space. We even get a real-looking bed with an actual mattress on stage rather than the usual wooden box! Matt Haskins’ lighting design works effectively alongside it, particularly during the theatre sequences, though some projected visual media might have helped smooth out some of the transitions.
Where the staging stumbles slightly is in the movement and acoustics. Anne-Lunette Deakin-Foster’s movement direction attempts to stylize scene shifts with choreographed set moves by the actors. However, this is undermined by inconsistency: stylised actor movements contrast awkwardly with standard (but effective), unchoreographed scene shifts by the stage crew. Director Alex Thorpe also keeps much of the action mid-to-rear stage. Because the show runs without vocal amplification, the female cast members (Debra Baker and Courtney George) are harder to hear at times, especially from further back in the auditorium. Making better use of the downstage edge would have helped both acoustic clarity and visibility for the close-up magic.
The ensemble acting is consistently solid across the board and merging stage magic with domestic drama makes for an engaging, accessible night out. While it may lack the cohesive resolution needed for a West End transfer, it is a solid piece of regional new writing that makes great use of the live stage experience.
Rating: 3.5 Stars
Cast: Matt Bardock, Debra Baker, David Angland, Courtney George, Kadell Herida
Creatives: Kenny Emson (Writer), Alex Thorpe (Director), Sarah Beaton (Set/Costumes), John Bulleid & Gareth Kalyan (Illusion Designers), Anne-Lunette Deakin-Foster (Movement Director), Matt Haskins (Lighting Designer), Ella Wahlstrom (Sound Designer)
The play is heading to Blackpool, Guildford and Peterborough. Details and booking links here https://hightide.org.uk/event/the-disappearing-man/
