One of the more unusual features of Ben Hart as a magician is that his Fringe shows are of late designed to be performed in the round. This is an extra challenge in a performance art known for its reliance on angles to execute the effects properly, and in Up Close Hart ups the stakes even further. The intimate venue and minimalist decor and props are cleverly designed to leave Hart with no space to hide. The magic is, as ever, nothing short of a masterclass. The intimacy of the venue also gives Hart a chance to show off his crowd work skills, to great effect. Even his outfit takes advantage of the venue size, with trouser embroidery that adds an extra element of visual interest to watching his perform. Up Close is a mix of routines that Hart has performed before, in his larger scale shows, as well as effects that his fans may not have seen in his prior shows. The more familiar tricks in particular serve Hart in a variety of ways. They are, of course, impressive in their own right for newcomers to his act. There’s also an extra interest for Hart’s fans in seeing him execute these effects flawlessly in such a stripped back environment. And, after watching Hart experiment with ways to bring close up magic to the stage in his larger scale shows over the years to occasionally mixed reactions, it’s satisfying to see him find space to fully showcase a genre of magic that seems like a particular passion. A particularly well formatted bit involves a classic spoon effect, with an extra element of spellcasting that makes it feel distinct to Hart. Hart excels at performing effects that are recognizable classics of magic, adapted so perfectly to his own style that they feel refreshed specifically for his fans. Hart’s Ouija board routine is a recurring success, with two audience participants getting involved who are ready after the show to swear to the others that Hart must have indeed conjured spirits, as there is no other explanation for what they experienced. The intimacy of the Up Close venue works both ways—not only does the audience get a better view of Hart, he gets a better view of them at the same time. This is not as scary as it may sound. The only audience member who got told off at the reviewed show was on her phone, and Hart’s gentle chastising earned him one of the first rounds of applause of the evening. Hart cultivated the community of his audience, sharing the spotlight at every opportunity. One participant’s especially well mixed shuffle got an especially enthusiastic reaction, as the audience was clearly happy to help Hart celebrate one of their own. The already commanding Hart gained power from the communal atmosphere, at one point successfully holding the audience’s attention for a long few seconds while trying to change the sheet of paper in his little notepad—maybe a more true test of sheer charisma than any magic trick. Hart’s audiences have come to expect perfection and he does not disappoint. The casual-witchy Up Close even has a suitably casual-witchy theme, developed by Hart in a suitably cheeky manner that is perfect for this type of show. A perennial Fringe highlight across two continents, Hart had a solid audience at the reviewed Tuesday evening show, a testament to the loyalty of his fans. Always changing, evolving, and experimenting, Hart is a rewarding performer to return to year after year. Up Close will only further cement his role as a trail blazer in the progression of magic as an art form.