Now You See Me Live Review at London Coliseum

From the producers of The Illusionists, and inspired by Lionsgate’s worldwide blockbuster film franchise, comes Now You See Me Live. This acclaimed stage spectacular has amazed audiences around the world with an electrifying blend of cutting-edge illusions, breathtaking solo feats and spectacular large-scale magic. For a strictly limited season, four world-class illusionists unite as The Horsemen. Together, they have performed thousands of shows in hundreds of cities, including sell-out residencies on Broadway, in Las Vegas, and across Australia and Asia. Now, they’re bringing their extraordinary magic to London’s iconic London Coliseum.

Taking on the roles of The Horsemen are four renowned illusionists Enzo Weyne, Andrew Basso, Gabriella Lester and Matthew Pomeroy. Joining them for the London Coliseum run are Britain’s Got Talent favourites Eden Choi, Fraser Parker and Rafferty Coates. Pomeroy serves as compère throughout the evening, introducing each performer, leading moments of audience participation and showcasing his own impressive card manipulation. Both Andrew Basso and Gabriella Lester present their own takes on teleportation, with Basso even offering a brief explanation of how lighting and misdirection help create the effect. Later, he recreates Houdini’s iconic Water Torture Cell escape and the four Horsemen unite for a time-travelling illusion involving objects borrowed from the audience. The Britain’s Got Talent performers also make brief appearances, with Eden Choi particularly impressing through his slick card and sleight-of-hand routines.

While every illusion is executed to a high standard, the evening is at its strongest when the audience becomes part of the magic. Before the show, the audience are invited to collect four playing cards from boxes placed around the foyer and bars. These cards become central to the Act One finale, as the Horsemen guide the entire audience through a collective sleight-of-hand trick that produces genuinely surprising results. The encore is equally engaging, with a balloon launched into the auditorium to select random audience members whose chosen numbers are multiplied together resulting in an ending that leaves many visibly astonished.

As a fan of both stage illusion and the Now You See Me films, I was especially interested to see how the franchise would translate to the stage. I had hoped for an overarching narrative or elaborate heist that would give the illusions greater purpose, but beyond the title and a single screen-based bank robbery sequence, there is little connection to the films. Although the production is visually striking, with an energetic soundtrack and dazzling lighting, the show rarely creates a genuine sense of jeopardy or momentum. Perhaps London audiences have become accustomed to many of the illusions on display, but without stronger dramatic stakes or a cohesive story, the tricks alone don’t always have the impact they deserve.

That said, Now You See Me Live remains an entertaining showcase of classic illusions, performed with confidence, charisma and plenty of spectacle. While it may not fully embrace the clever storytelling that made the films so compelling, it offers an entertaining evening of family-friendly magic. For parents looking to fill the summer holidays, this is a polished, accessible production that will keep audiences of all ages engaged from start to finish.

Now You See Me Live plays at the London Coliseum until 06 September 2026.

Where I Sat

For Now You See Me Live, I was seated in Row B of the Dress Circle, Seat 24. Positioned at the end of the central seating block, I had a completely unobstructed view of the stage. The auditorium, foyer and bars are all air-conditioned, making the venue comfortable throughout the performance. Given the sheer size of the London Coliseum, some of the sleight-of-hand and smaller illusions could have been difficult to appreciate from a distance. Thankfully, live camera footage was projected onto a large screen above the stage, ensuring everyone in the audience could enjoy the magic up close.

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Reviewed by Stuart James for SeatPlan, August 2026