Harry Milas is a master manipulator of cards. There may be secrets within secrets of the acts we see in his hour long show now playing at the Sydney Harbour Bridge Pylon during the Vivid Festival – but as a performer he is well known, most recently playing a very long season at the Steppenwolf Theatre in Chicago, with highly complimentary reviews. The Sydney show combines views of Vivid Sydney from the Pylon lookout – a place to be entranced by the spectacle of the city by the harbour at any time of day.
The program factors in time (40 minutes) to climb stated 200 stairs, sign a confidentiality agreement, have a drink, watch the city, before the actual card performance. The stage, as Harry says, in a green topped card table, surrounded by 25 chairs in two rows and heights, all very close, in a little cleared room on the very top of the pylon. There is no doubt the lights outside add a frisson oF initial excitement to the evening, as do the proxemics – we are all a few feet from the display of cards.
The confidentiality agreement both aims and feigns to protect Harry from anyone thinking of using his techniques for untoward purposes (=gambling). Harry says he has not gambled since age 18 – he is now a dapper accomplished 33 year old – but he has been employed at casinos in security checks of cheating. Watching Harry’s sleight of hand and dealing is like watching a virtuoso violinist – it is something to be admired but inconceivable to copy. Harry reminds me of the longevity of the learning curves involves – 10 years to get card mnemonics 100% reliable in a public space.
Part of the pleasure of the evening was watching, close at hand, the gasps and smiles of the audience close at hand, as one trick or act after another was revealed. Often we were told the secret – but then we were more impressed at the skills involved and the illusions produced. These three skills – dealing, shuffling and card mnemonics – were the backbone of most of the tricks – although there was a deft four coin piece.
The card magic or tricks would involve a very high level of concentration, yet Harry delivers them with a smooth patter. The pauses, non verbal expression, rhetoric and audience interactions are all seamless. Indeed he invited audience responses, although occasionally can be abrupt when they occur – that is understandable given the intense attention his work involves. He says what he says is not scripted, but varies show by show – all the more impressive. Harry would make a very good actor if he ever decides to vary his performance skills.
As a theatrical producer I am interested in the use of plein air setting, and fondly remember Sydney Philharmonic Choirs use of the Luna Park at this year’s Sydney Festival. The choice of the Pylon worked well – it was as if the rules of every life were suspended in this elevated capsule – but venues don’t always come cheap, and the ticket prices for this show would prohibit many audiences who would undoubtedly love to see it.
