LUMINATO 2013

The only thing I knew was that somehow Benatar was going to combine Baroque music and magic in one show.

The main topic of conversation revolved around the similarities between planning a meticulous and seamless meal that chefs study passionately, and the hours of deliberate and countless practice spent on delivering a flawless magical feat in front of an audience.

The setting proved an apt backdrop for Cohen’s act, which owes a considerable debt to Johann Hofzinser, the 19th-century Austrian known as the father of card magic.

We pay good money to people who can trick us. We long for the impossible, and what Miguel Puga does is impossible, but there it is.

t’s a short, sweet magic show where the assistant doesn’t mutely stand at the magician’s side in a sequined suit but plays a grand piano instead.

The piano gets equal billing in Miguel Puga and Miguel Aparicio’s show Concerto for Piano & Pasteboards, being presented in the opening days of Luminato. But this is really all about 90 minutes of Puga’s magic tricks, not the art of the keyboard.