'Luis Carreon dominates at the Chi_MagicLounge.' | SullivanCatey
This is a magic show that is about more than the illusions, although those are first-rate . And that gorgeous, unabashedly romantic opener aside, this is also a show where Carreon puts his verbal gifts—both as a comedian and a storyteller—to the task of celebrating his Mexican heritage along with his formidable skills at sleight of hand.
Carreon’s rapid-fire patter never falters, even when the audience does. Twice opening night, volunteers blanked on which card they’d selected earlier, temporarily opening what initially felt like a portal to chaos. Carreon breezed through these moments with just the right amount of showmanship, are-you-sure, and oh-my-god-are-you-fucking-kidding-me until in each case, memories corrected themselves and the elusive cards materialized.
There’s a bit toward the finale wherein Carreon finds himself having to pull a gold watch from the hind-end of a tiny donkey piñata. He sighs as he looks at the latter in a moment that borders on performance art, a sort of metaphor for those seemingly impossible situations we all face on occasions when salvation seems about as possible as. When the piñata cracks open to reveal an impossible thing, the moment is as funny as it is weirdly affirming.
This is also a very physical show. Carreon’s finale involves no less than eight volunteers. It could be deadly repetitious, but Carreon gives each of the eight single interactions their own frenetic choreography. All he’s missing is a death drop. As a rule of thumb, I look deeply askance at any man who insists on being called “La Bestia,” especially with a fist-pumping, machismo bravado apropos of a soccer match. But Carreon does it with just enough self-deprecating irony to make you wonder whether this isn’t some satirical posturing. Either way, it’s so ridiculous it’s impossible to get mad at. As for the rest, somewhere Blackstone is smiling.
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