The Fame Reporter interviewed internationally award-winning magician and illusionist from South Africa, Gabriella Lester, starring in ‘Now You See Me LIVE’. Now You See Me Live will make its Australian premiere this summer, playing at the Sydney Opera House (Now Playing – 4 January), QPAC, Brisbane (8 – 18 January) and Crown Theatre Perth (23 January – 1 February).
Inspired by Lionsgate’s worldwide blockbuster film franchise, Now You See Me Live is a stage illusion spectacular taking over QPAC this summer with an explosive mix of high-tech illusions, solo stunts and jaw-dropping spectacles.
Four world-class illusionists – Adam Trent (USA), Pablo Cánovas (ESP), Andrew Basso (ITL) and Gabriella Lester (CAN) – unite as The Horsemen, transforming the magic of the films into a live stage spectacle with never-before-seen feats of wonder.
From the creators behind Broadway’s record-breaking hit The Illusionists, Now You See Me Live delivers a breathtaking blockbuster experience for the whole family, which has to be seen to be believed.
We talked to Gabriella about how her love for magic started, her career achievements, what excites her about joining ‘Now You See Me LIVE’ and more.
You’re joining Now You See Me Live at just 21, yet you’ve already achieved more than many magicians do in a lifetime. What first pulled you into the world of magic growing up in Johannesburg?
I fell in love with magic when I was just a kid. A magician named Shawn Farquhar performed at my school, and watching him completely changed my life.
By the next day, I was ready to pursue magic full force – and I’ve been doing that ever since. I finished high school at 16 so I could chase my dreams, and I’m fortunate to feel like I’m living them now.
When I found magic, every light turned green and the universe yelled, “GO.” I had no choice but to pursue my passion and I’m so glad I knew that at an early age – doubts would’ve only been delays.
Your style is described as quick-witted and sardonic. How did you develop this signature performance voice, and when did you realize it set you apart in the industry?
I think my favourite thing about performing is that I’m completely myself on stage. If anything, I’m even more myself.
Over time I started to realize that there was an interesting and unexpected captivation when you put a young girl on stage who was completely in charge of everyone and everything that was going on. The humour and sarcasm were natural, but the way it was presented and the acts that were chosen were just as important.
Being a woman in magic is rare, but it’s not a talent or a skill. It’s surface level. I want my audience to go, “Wow who was that??” because I’m a strong and captivating performer, not just because I’m a girl or attractive.
Humour and quick wit have always been a great tool for making the audience feel like I’m “seasoned” on stage. Everything else comes from flight time, confidence, experience, and lots of failure.
At 14, you became one of the youngest performers to execute Houdini’s suspended straitjacket escape. What do you remember most vividly from that moment?
The straitjacket escape was my first career “child.” It was something I decided I wanted to do when I was around 13 years old. Not one person in the industry wanted to help. I was encouraged to stay “young and cute” and focus on smaller things – but it didn’t matter.
This was one of the first times in my life that I learned to put blinders on and not care about the background noise. It taught me that success comes from a balance of caring deeply and not caring at all.
Six months later, I was suspended upside down 60 feet in the air, performing for 1,400 people. The audience was full of kids from my school – teachers, parents, friends, everyone.
I remember one clear moment from that performance. I was upside down, doing the escape to perfectly choreographed lights and music, when I suddenly heard kids in the audience laughing. It cut through me like a knife. Of course it did- but I still knew what I was doing, and that I had to do it.
That act led to my first-ever television appearance and had booked me all over the world. These things happen: what starts as “you can’t do that when you’re a kid” turns into “it’s so impressive you did that when you were a kid.” The only way to get to the second is to risk the first.
You’ve performed in Vegas, headlined at the Magic Castle, and toured through Europe and North America. How have those diverse audiences shaped you as a performer?
As a performer, nothing matters more than getting your 10,000 hours. Reps, reps, reps – especially when you’re starting out. The most important practice is performance. You have to do as many shows, as often as you can, in as many places as possible.
The best thing I’ve ever done for my career is doing a million shows I did between the ages of 10 and 20. It was – and still is – the only way to truly get better.
Your appearance on Penn & Teller: Fool Us and your feature in The New York Times introduced you to an even wider audience. How did those experiences impact your career trajectory?
Having those opportunities at such a young age was extraordinary. They gave me a level of exposure and credibility that would have taken years to build otherwise. They also served as a great launching pad to get to where I am now.
Both Fool Us and The New York Times were bucket list goals – neither of which I imagined I’d accomplish as a teenager, but I feel extremely fortunate that I did
You returned to Fool Us in a different capacity – as an associate producer. What was it like stepping behind the curtain to shape a show you once performed on?
Stepping behind the curtain as a producer was a completely different experience from performing on the show.
As a performer, you focus on your own act and the audience’s reaction – but as a producer, you see the bigger picture: how acts are selected and structured, and how every element contributes to the show as a whole.
Having an eye for magic made my notes far more specific to the acts, and being new to the show made the tedious aspects of V post-production exciting.
This show was a perfect introduction to the behind-the-scenes side of film and television. I quickly fell in love with this world and definitely feel like in another life, I’d be a producer rather than a performer.
You’ve also worked as a magic consultant for Hallmark and Disney, including on We Need a Little Christmas and Descendants. What does consulting allow you to explore creatively that performing doesn’t?
Working on someone else’s act is completely different from working on your own. When you’re not directly attached to the product, it’s a lot easier to polish and perfect. It can be hard to step back and see what’s working and what’s not when the thing you’re critiquing is yourself.
There’s a different kind of creativity that comes from consulting, and it’s something I really enjoy experiencing. I hope it’s something I get to do more of in the future.
Now You See Me Live is known for high-impact illusions inspired by the blockbuster films. What excites you most about joining this production?
I was nine when the first movie came out – which was the same age I was getting into magic.
It was completely game-changing for me to be inspired by the films, especially with such a strong female lead (Henley Reeves played by Aussie Isla Fisher).
Fast forward 10+ years – I feel so honoured to be part of the Now You See Me brand and to perform alongside the best magicians in the world.
Not to mention, aside from the incredible cast, we also have the best production team out there. Every single person involved in this show is – without question – the best in the business.
Australian audiences are famously enthusiastic. What can they expect from you – and what are you hoping to experience from them in return?
I am so excited to perform for Australian audiences. I’ve been fortunate enough to travel all over the world, but I’ve never made it over here! I’ve spent the last few years hearing about how amazing the crowds are, so I can’t wait to get started.
I’m a little worried that Aussie audiences will be so fun they’ll ruin all future crowds once I leave.
Are there any illusions or styles of magic you still dream of mastering?
I love every single element of magic and want to spend time learning them all. Luckily, this show is the perfect way to do that.
We have a little bit of everything – from sleight of hand to grand illusion, from mentalism to close-up magic in the audience, to deadly escapes.
It’s the best possible way to showcase magic to an audience. I wish I could experience this show from the audience’s perspective. I’m really looking forward to falling in love with every aspect and style of magic while touring with this show, and I can’t wait to watch the world do the same.
Quick-Fire Questions
Sleight of hand or grand illusion?
Sleight of hand
Favourite prop to work with?
The audience
Worst trick someone has ever asked you to do at a party?
Making their wife/husband/friend/boss disappear… it’s not as funny as you think
If you could perform magic for any historical figure, who would it be?
Robert Houdini
Most magical city you’ve performed in so far?
Sydney… Brisbane…. and Perth! I just don’t know it yet
Thank-you for joining us at The Fame Reporter Gabirella. We wish you all the best for NOW YOU SEE ME LIVE!
TICKETS
Sydney Opera House (19 December – 4 January)
QPAC, Brisbane (8 – 18 January)
Crown Theatre Perth (23 January – 1 February).
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