The remarkable Ben Hart returns to the Fringe this summer with his latest show – called, well, ‘The Remarkable Ben Hart’ – in which the award-winning magician promises a “mind-bending theatrical experience”.

A member of the Inner Magic Circle, Ben has got lots of TV work and film projects – and a stint on ‘Britain’s Got Talent’ – on his resume, though it’s probably his live shows where the most exciting stuff happens.

I caught up with Ben to talk about his career in magic and performance, and find out more about what we can expect from ‘The Remarkable Ben Hart’.

CC: You’re bringing a “mind-bending theatrical experience” to the Fringe this year. What can people expect from the show?
BH: They can expect to see something they’ve never seen before – and will never see again in quite the same way.

It’s a magic show, but not in the traditional sense. It blends psychological illusion, visual theatre and dark comedy. But what makes it different is that it’s built around the people in the room.

Their choices, their presence, their thoughts – whether they know it or not – shape what happens. The show isn’t just a scripted piece. It’s something alive. Every night feels different, because it is.

CC: The official blurb talks about your “newly discovered uncanny mental abilities”. What are those? How did you discover them?
BH: That line is tongue-in-cheek – but not entirely inaccurate. I’ve developed techniques over years that allow me to create the illusion of real mind reading. It’s a mixture of psychology, suggestion, observation and performance.

The result is that I seem to know things I shouldn’t – sometimes very specific things. It’s funny, it’s theatrical and occasionally it’s unnerving. That tension – between entertainment and something genuinely strange – is where the show lives.

CC: When devising new shows, do you begin with the tricks or the narrative?
BH: Neither. I usually begin with an idea or a question – something I’m curious about. The tricks and the structure evolve from that.

I don’t treat narrative as an afterthought or window dressing. I want the storytelling to surprise the audience – to arrive in ways they weren’t expecting.

In a magic show, people are used to punchlines. I want to give them a story that unfolds in a way that feels inevitable, but only in hindsight.

CC: What does devising a new magic trick involve? Can you truly devise something new – or are you usually reworking a classic?
BH: Completely new methods are rare – but new experiences are very possible.

Sometimes I build from classic techniques, but the presentation, the delivery, the context – that’s where the originality happens.

I might rework a hundred-year-old idea, but make it feel like something no one’s seen before. That’s the real challenge: making it feel alive.

CC: Who are your influences as a performer? Do they influence your magic – or more the way you perform it?
BH: Most of my influences are outside of magic. I’m drawn to artists who use precision and ambiguity in equal measure – people like David Lynch, Philip Ridley and Pina Bausch.

In the world of magic, I’ve learned a huge amount from Juan Tamariz – Spain’s most famous magician – whose approach to structure and psychology is masterful.

I’m also fascinated by Theodore Annemann, who in the 1930s laid the groundwork for what we now call psychological illusion.

And of course, Penn & Teller have been a huge influence – not just in terms of technique, but in how they redefined what a magic act could be, with intelligence, irreverence and complete originality.

I try not to borrow tone or material from anyone. What I take from all of them is the sense that magic can be personal, theatrical and emotionally complex – even when it’s presented with humour.

CC: What made you decide to do a full Edinburgh Fringe run of this show?
BH: Because the Fringe is the only environment where a show like this can evolve properly.

This version is more theatrical, riskier and more interactive than anything I’ve done before. It’s not about participation in the traditional sense – but it does depend on the audience. Their energy, their attention, even their subconscious choices all shape how the evening unfolds.

Every show is different and that’s what makes performing it here so exciting. No two nights are the same.

It also benefits from the structure of the Fringe itself – the pressure, the rhythm, the ability to test and refine something over dozens of consecutive nights.

This is my eleventh Fringe and I always debut new work here. It’s the only place I trust to really interrogate an idea – and to show it to the kind of audience that’s hungry for something original.

CC: You’ve done a number of TV projects over the years. How does devising and performing magic on TV differ to performing live on stage?
BH: TV is about control – framing, timing, editing. The magic is created for the lens.

On stage, everything is exposed. You’re dealing with atmosphere, with silence, with the feeling in the room. It’s more fragile and more alive. I prefer it. The pressure makes the magic land harder – because everyone knows there’s nowhere to hide.

CC: You also competed in ‘Britain’s Got Talent’. Was that a positive experience? Do you think shows like that are a good way for performers to grow their audience?
BH: Yes, it gave me a huge platform and a lot of people discovered my work through it.

But it’s a very specific environment and it works best if you already know who you are as a performer. If you let it define you, you’ll be chasing something that was never really yours. Used wisely, it’s a great tool.

But it’s not a career – you have to continue to evolve and to challenge yourself and the audience. It was a fantastic platform for me and I’m hugely grateful for it.

CC: You’ve designed magic tricks for other performers and companies, and even consulted on Hollywood movies. What does that kind of work usually involve?
BH: It varies. Sometimes it’s about creating a moment that looks magical on camera. Sometimes it’s about helping an actor move or think like a magician. Sometimes it’s about solving a storytelling problem using illusion or misdirection.

I like that work because it’s collaborative and often invisible. You’re supporting something larger than the trick itself. That’s very satisfying.

I’ve worked on huge mega-stunts right down to helping to control tiny insects under a magnifying lens – it can be very diverse and each problem leads me down a rabbit hole of research and I love that it forces me to maintain a wide range of knowledge and interests.

CC: We all know about The Magic Circle, but don’t necessarily know what it does! Is it just a club for magicians?
BH: It’s much more than a club. The Magic Circle was founded in 1905 and exists to preserve, promote and develop the art of magic. It houses an extraordinary archive of books, props, posters and manuscripts – and it includes a working theatre where performances and experiments take place regularly.

I’m a member of the Inner Magic Circle with Gold Star, which is the highest level awarded for performance. But more important than the title is the community and history it represents. It’s a place where magic is taken seriously – not as a novelty, but as an artform.

CC: What are you planning on doing in Edinburgh when you’re not performing this August?
BH: Sleeping. And watching shows that surprise me. I love work that doesn’t announce what it is – shows that change tone halfway through or leave you unsure how to feel.

Some of the most meaningful performances I’ve seen have been in the smallest rooms, with no set and no press. That’s what I’ll be looking for.

CC: What plans have you got for after the Festival this year?
BH: We’re touring the show across the UK and beyond – but even on tour, it stays flexible. It’s never exactly the same twice, because it’s always about that group of people, that night.

Beyond that, I’m developing other projects for stage and screen – but live performance will always be the heart of it. That shared, unrepeatable experience is where the real magic happens.

That’s the goal. To make something truly remarkable.

‘The Remarkable Ben Hart’ was performed at Assembly George Square Gardens at Edinburgh Festival 2025.

LINKS: benhartmagic.com

Photo: Matt Crockett