Play review : Magic at Chichester Festival Theatre

Yesterday, I went to see Magic by David Haig at Chichester Festival Theatre. I went with some concerns. 

Whenever a dramatisation takes place which covers Conan Doyle's interest in fairies or spiritualism, I am always concerned as to the angle it will take.

I don't believe in either but I do object when plays make Conan Doyle out as little more than a moron for choosing to do so. He was taken in, yes. He believed strongly, but I no more ridicule him for that than I would anyone of any faith. I disagree, but I try to avoid mockery.

David Haig gives a creditable Conan Doyle where he straddles this tricky situation. Sometimes he presents ACD as credulous and other times more rational. But Haig made changes to real life clearly designed to suit himself. I must presume that he cannot sustain a Scottish accent and excuses its absence by suggesting Conan Doyle's accent was trained out of him at boarding school. Nonsense, as any radio broadcast or television interview with Conan Doyle will show you.

He also implies that ACD's son, Kingsley, dies in World War One from a bullet wound to the throat. Kingsley was indeed shot in the neck but survived the war, just, dying during the flu pandemic that shortly followed it. It served no purpose to change the facts for one scene.

Hadley Fraser presents a good, if too tall, Houdini. The arrogance comes off as does his frustration at having a friend, in Conan Doyle, whom he admires for his work and intelligence, being, as he might say, suckered in by obvious frauds.

The ladies playing Bess Houdini and Jean Conan Doyle are good supports but, let's be honest, this a play about Doyle and Houdini. Even the lady who plays a wonderfully over the top "medium" Mina Crandon (with more than a nod to the Exorcist) is mainly a vehicle for Conan Doyle to illustrate his beliefs and Houdini's lack of them.

It ends, not in the levels of distrust that happened in real life but with a slightly more upbeat state. With the two men lamenting how their positions have damaged a friendship that they both clearly valued.

I don't know if this transfers to any other theatres after its run but I hope so.

Running time approximately 2.5 hours with a 20 minute interval.

Written by Alistair Duncan