The Magic Show

Have seen the original production and loved the score, imagine my delight at finding "The Magic Show" at my local DVD store. What a waste of money! Although the story is essentially the same, the show that is on this DVD is a poor substitute. Stephen Schwartz, what were you thinking? Solid Silver Platform Shoes, West End Avenue, and Sweet, Sweet, Sweet were all eliminated. Charmin's Lament was rewritten to be an interminably wretched number. Anita Morris was barely in the show. Mostly notably missing was David Ogden Stiers, replaced by someone who resembled Snidely Whiplash on drugs. Save your money!

Let's face facts, fans. The original Broadway production of A MAGIC SHOW was no LES MIS - in fact, it was no PIPPIN or GODSPELL either. But Stephen Schwartz's music and Doug Henning's "denim Dunninger" were new enough in 1974 to be a fun evening at the theatre, especially with orchestra seats priced well under $15. The show even outlasted Henning ("and JOE, our magic man...") and toured extensively.

Filmed in 1981 in Canada, this MAGIC SHOW bears little resemblance to the musical that entranced thousands on Broadway, despite the fact that the essential elements are all basically the same. Cosmetic changes seem to have been made to keep the show fresh - but to no avail. For instance, why change the location from The Passaic Top Hat to Chez Manny (a supposedly seedy club that looks like the set for a cheesy 80's sitcom)? The visiting producer Goldfarb is now named Shumway and the washed up magician Feldman in now called Van Zyskind (or something like that). But these matter very little in light of the more drastic musical and magical alterations. Only half the original score remains, with WEST END AVENUE and GOLDFARB VARIATIONS completely gone and CHARMIN'S LAMENT totally re-written. The new songs are usually lead ins to Doug's new (and bigger) tricks - an elephant, a motorcycle and a huge game of Mouse Trap don't add much spectacle in light David Copperfield's recent accomplishments.

THE MAGIC SHOW is at it's most charming when Doug is doing his staple tricks for the real audience, especially Houdini's metamorphosis. Didi Conn is the right type for Cal, except that she can barely sing the simple songs she's given. Pity, since her "Lion Tamer" is the show's signature. Besides preserving the late Henning's act it is also notable for (the also late) Anita Morris' appearance as the conjured cutie Charmin. Although she spends much of the show bi-sected, Morris is a joy to watch.

All in all, this MAGIC SHOW is better than nothing but strictly fan material. Let the few "magical" moments rekindle memories of the Broadway incarnation and try to ignore the rest.

If you have fond memories of the Broadway show or adored the original score, please do yourself a favor and do not buy the DVD that is available. Do not spoil your memories.

West End Avenue is gone, the Goldfarb Variations are gone, Charmin's Lament has been changed out of all recognition.

The actor who plays Van Zyskind is adequate, I guess. Didi Conn (who I love, btw) is fine, although I don't think her voice really handles Lion Tamer too well. Anita Morris is great, but her performance has been hamstrung by the changes to her character. Doug, well, Doug Henning was a terrific magician...the inspiration of many performance magicians who followed...and it's wonderful to see him perform.

And, if all you want is his magic and not the magic of the original stage production and you don't care that they left in only two songs worth having (Lion Tamer and Up to His Old Tricks (although not arranged as well)), go ahead and buy it...if you can find it cheap.

Doug Henning (1947-2000) made his mark as a magnificent illusionist, who brought the craft to the general public in an unprecedented entertaining manner. He also transformed the image of the magician from the top hat and tails to denim jacket and jeans.

He changed illusionists' formerly austere, mysterious ambiance to one of playfulness, fun and joy. His smile was infectious; he loved what he did and made the audience feel the same way.

It was my privilege to have attended "The Magic Show" on Broadway in 1974. I returned three more times, bringing along friends, who likewise loved it. Make no mistake, though--even though he bounces and jives to the music, like your average kid on the block, this is one awesome, truly great magician.

The only extant recording of his work is this 1981 revised and modified version of "The Magic Show" done at the Queen Elizabeth Theatre in Toronto. For some inexplicable reason, the score and production was drastically tampered with, to the extreme chagrin of the original presentation.

Therefore, its value here lies in the fact that this is the only surviving recorded of Mr. Henning's work. It's also to be remembered that work of illusionists that followed Henning used his work as their yardstick to "surpass." In other words, what Henning did was then history making--taking its heritage directly from Classicists Houdini, Dunninger, Blackstone, et al.

Henning combined all achievements of those greats, then added his own unique contributions. What I adore about Henning is his positive vibration; his smile is genuine, and his love of life's the "real-McCoy."

Thus, this recording of "The Magic Show" becomes a valuable document in the history of magic and illusion, thanks to the work of one of the all-time greats: Henning.

I caught this on TV a few days ago, and as a long time magic fan, had to watch. Unfortunately, I found it painfully dated and uninteresting. Though apparently this "plot" was applied to a successful stage show Mr. Henning had done as well, it was exceedingly annoying and tiresome. And it was a musical, something that rarely works well, and certainly didn't here. And magic acts just don't work in film format.

What is spectacular and interesting in person (or arguably, live TV) feels like just another movie effect when placed in a film, which is unfortunate, because really the only reason to WATCH this is all the signature tricks performed in it. It takes all the mystery out of it.

It's sad that this is the only example of Mr. Henning's work available, because it sucks a lot of the life out of it. Doug's personality does shine, but I cannot imagine his bare-faced wonder and colourfulness would interest modern audiences. Even wanting to like and enjoy this movie, I just couldn't watch most of it.