STAGE REVIEW : SEE ‘IT’S MAGIC’ BEFORE IT DISAPPEARS

Why does a theater critic go to a magic show? First, because magic is pure theater--pure illusion. Second, because the level of craft is so high. Third, because a magic show is so wonderfully definite. An illusion either works or it does not. There is no such thing as a trick-in-progress.

The best magic show in town is Milt Larsen’s annual “It’s Magic” at the Variety Arts Center. That’s true this year as well, although this is the smallest “It’s Magic” we’ve ever seen. Larsen has moved the show upstairs from the mainstage to the 99-seat Masquers Theatre, and eliminated the big Las Vegas-style acts. No smokebombs or disappearing tigers.

Rather the emphasis is on under-your-nose magic, the kind seen every night at Larsen’s Magic Castle. To my mind this is an improvement. Disappearing tigers always imply some kind of machinery backstage. The close-up magician has his mechanisms, too, but basically he’s alone out there, relying on his hands and his patter to make us see what he wants us to see. It’s a purer demonstration of the art.

Another change in this year’s “It’s Magic” show is that there’ll be a new bill from week to week. (The show will run through the holidays.) But the skill level won’t change, given Larsen’s big bag of magicians, jugglers, acrobats, hypnotists, etc. Last week’s bill was exemplary, running the classic magic of Scott Cervine to the comic juggling of Charlie Frye.

The most baffling act was that of the veteran mentalist, Glenn Falkenstein. With next to no cues, Falkenstein comes up with people’s Social Security numbers, the names of their mothers and even the things that are worrying them. If his subjects the other night were “plants,” they were even better fakers than Falkenstein.

Less amazing is the trick where medium Frances Willard falls into a trance and is invaded by mischievous spirits from the netherworld. We don’t have a clue as to why those pie plates are suddenly zipping around behind the curtain, but because there is a curtain, we sense a gimmick.

Charlie Frye does it all out in the open. He’s a dextrous young juggler, but his act goes way beyond that. He makes his juggler a great comic character, with an underlay of tragedy. Rather than make juggling look easy, this poor guy makes it look desperately difficult, fraught with the risk of public humiliation. He juggles for his life.

His worst humiliation is the boredom--nay, the contempt--of his female assistant (Diane Sherryl.) In the midst of his hardest trick, she’ll yawn or light a cigarette. It’s clear that in her mind, he’s the stooge in this act. Frye and Co. hilariously capture one of the saddest sights in the world--a man trying to please a woman who couldn’t care less. This is classic comedy as well as classic juggling.

Our emcee was Michael Ammar, who can make a $100 bill disappear at 9 p.m. and reappear two hours later, wrapped up in a lemon that a patron thinks he’s been holding the whole time. But Ammar’s sleight of hand isn’t so important as his quick wit and his friendliness, taxed rather severely the other night by a little girl in the audience who could have become a real pain.

Ammar brought her on stage, made a balloon animal for her and sent her back to her seat with no more need to be the center of attraction. That’s real magic.

This week’s bill: Dale Salwak, Larry Clarke, Whitey Roberts, Piet Paalo & Co. and a Swiss act, United Artists. “It’s Magic” plays at 8:30 p.m. Wednesdays-Saturdays, with an extra Saturday night show at 11. Tickets are $10 ($6 for members of the Variety Arts Center.) (213) 623-9100. 940 S. Figueroa St.