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A CurtainUp Review
Nothing to Hide
Helder Guimaraes & Derek Delgaudio (Photo: Michael Lamont
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I honestly can't figure out how the card that I shouted out would miraculously end up in my possession tucked in the pages of my program. I will keep it as a souvenir in my program as a reminder of the many awesome illusions and clever deceptions put into play by these two talented men using numerous decks of cards.
The production, as designed by Dave Spafford, is a stunning illusion in itself as the mirrored floor reflects ten shelves that fill the stage on which are seven hundred and twenty identical very small bottles (I counted), each just large enough to hold one complete deck of cards (think about the ship-in-a-bottle) all with the same design. That Guimaraes and Delgaudio are eager to share the mystery of just how those decks get into those bottles did not in any way bring me any closer to uncovering any secrets of the trade.
Add some dazzling dealing on a card table and some nifty lighting effects by Adam Blumenthal, and what more do you need? Of course, we know that the hand (or in this case hands) is quicker than the eye, but there is the sheer fun in seeing something disappear from view and reappear in a most extraordinary way, like the locked box that a member of the audience is asked to take (as fast as he could run) to the lobby and hide it only to see it returned by rope from the rafters with the same contents it had when it left. This may not be a show for those who do not care for interactive entertainment, but every minute appeared to be relished by the audience at the performance I attended.
Much of the performance's pleasure comes from the rapidly fired repartee that is gingerly tossed about by Guimaraes (described by his partner as a "Portuguese Muppet") and Delgaudio (referring to himself as the "human Bob's Big Boy"), the latter responsible for the flippant and witty script. Credit goes to Delgaudio for the "Magical Choreography" which I am assuming accounts for the showy displays of cardology, particularly something called "the Portuguese Shuffle."
A friendly informality defines the rapport between these two who, nevertheless, play off their different personalities. Evidently both favorites of the Academy of Magical Arts, Delgaudio was twice named "Close Up Magician of the Year" and the bespectacled, Portuguese-born Guimaraes was twice named "Parlor Magician of the Year." Together they make a well-dressed, slickly compatible team that prove you don't need a saw, a rabbit, a bouquet of flowers or a scantily-clad assistant to get the oohs and aahs and the well deserved appreciation. . . although a stuffed monkey gets laughs and earns applause for the manner in which he makes his way through the audience. Suspicious as you have every right to be, I would be hard pressed to insinuate that any "human" plants were used, especially considering the number of randomly picked participants who get involved.
Nothing to Hide has been briskly directed by actor-director Neil Patrick Harris, who is not only the President of the Academy of Magical Arts, a fraternity for magicians in Hollywood, California, but also helmed the premiere at the Geffen Playhouse in Los Angeles. Nothing to Hide may not prove anything more than that there is plenty to keep hidden especially from smarty New Yorkers; it is demonstrated here with great flair and finesse. Harris will be returning to Broadway this spring but as an actor as the title character in the revival of Hedwig and the Angry Inch.
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Nothing to Hide Featuring and Created by Helder Guimaraes & Derek Delgaudio Directed by Neil Patrick Harris Original Production Design: Dave Spafford Lighting Design: Adam Blumenthal Artistic Direction: Glenn Kaino Original Music: Pedro Marques Running Time: 1 hour 10 minutes no intermission The Pershing Square Signature Center, 480 W. 42nd Street 212.244.7529 Tickets: $76.50 - $86.50 Performances: Week of December 23 (Christmas): added performances Monday at 7:30pm, Friday at 4pm & 10pm; no performance Wednesday, no 2pm Saturday. Week of December 30 (New Year's): added performances Wednesday at 4pm, Friday at 10pm; no 2pm Saturday From 10/23/13 Opened 11/06/13 Ends 01/19/14 Review by Simon Saltzman based on performance 12/21/13 |
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