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Derren Brown: Secret opened on Sunday, September 15th at the Cort Theater!
Written by Andy Nyman, Derren Brown and Andrew O Connor and led by Andrew O & Connor and Andy Nyman, the show will play a strictly limited commitment until Saturday, January 4, 2020.
Derren Brown, a two-time recipient of the Olivier Award, has captivated millions of people around the world with his unique style of reading thoughts, persuasion and psychological illusion. For the first time in its history, this British phenomenon and this Netflix star bring their talents to Broadway.
After a sold-out and critically acclaimed tour of the Atlantic Theater Company, Derren Brown: The secret comes back with a haunting experience that dares us – in the most breathtaking way – to take a closer look at the stories and beliefs that guide our lives.
Let's see what the critics say …
Ben Brantley, The New York Times: And what about this extraordinary finale in which six members of the public help Mr. Brown finally reveal the secret that gives title to this show? Like the final scene of a Shakespearian novel, she interweaves a variety of disparate and disparate elements into the appearance of cosmic harmony. And God help me, I found myself in tears of joy at a magic show.
Michael Dale, BroadwayWorld: What I am going to say is that it's a very enjoyable evening with a very friendly and twisted humor based on the notion that a gifted person in the Power of suggestion can use vocal inflections, the use of words and a total distraction to influence behavior. Observation powers can also be used to locate clues that may strongly suggest what someone thinks.
Tim Teeman, The Daily Beast: Of course, it is impossible to write about the Derren Brown show without writing about the Derren Brown show. He would smile at that. He is a wonderfully dry host for this evening of surprises, a clever supervisor of magic and illusion (he emphatically denies that he is a medium). He plays with people, but not badly. He is charming, twisted, lively.
Greg Evans, deadline: The descriptors, all precise, will have to suffice. Stunning. Captivating. Completely entertaining from start to finish. Etc. Even his previous Netflix specials fail to capture the vertigo of watching him do what he does in person.
Frank Scheck, Hollywood Reporter: The series, directed by Andy Nyman and Andrew O 'Connor, who co-wrote the film with Brown, is imbued with a theatrical polish that lets spin his considerable time. By the end of the evening, you will be delighted to have been so oblivious to the devilish machinations of the evening that you would not have seen a man in a gorilla costume grab a banana on a podium on the stage. Not once, but twice.
Elysa Gardner, New York Stage Review: In fact, it was suspected that Brown, whose credits also include Netflix's specials, was not attracted to his current calling, he might have applied his powers of persuasion to a more infamous, become a cult leader, perhaps, or a marketing director for an oil company. Let's be happy that he chose the path that he chose, the one that brought him on stage, because Brown is such a natural and charismatic artist that it is likely that we will see in any capacity this season, combining a keen wit and an exuberant finesse of improvisation and Despite the various gifts he unfolds here – which extend to the sketch of art, apparently – to a disarming sense of wonder.
Steven Suskin, New York Stage Review: What you get is mental magic, slips after slips after slips. Because Brown is a master of the show, he does not surprise you only. It begins little by little, letting you turn your seat towards your companion to whisper to him: "How did he do that?" In the middle of the series (two very specific hours, plus a break for customers to climb onto the stage), you cordially invite your neighbor to ask, "How did he do that?" At the end of the evening, you practically shout the question on the sidewalk.
Adam Feldman, Time Out New York: The secret of SecretIts success does not lie in the revealing tentpoles of the act (which are extremely skilful variants of classical mentalist routines), but in the partly improvised model that covers them with real risks and spontaneity. When things do not go perfectly well, when Brown, good-natured and confident, scoffs at a prediction or two, the snags only add to the tension and strength of what he's doing, like when the ball dropped from a juggler reminding you are still in the air. The show leaves you in a state of joyous perplexity. Can you believe it? You do not have to, and it's fun. It's a scam game and Brown is an accomplished professional.
Frank Rizzo, Variety: It's a simple but attractive show with an apparently bare-bones scene, set in a blue-black emptiness (Takeshi Kata's stage elements) and dreamily illuminated by Ben Stanton. There is no show in Vegas here even though the urge to visit a casino after the show may exist. (Old habits die hard.)
Robert Hofler, The Wrap: The meaning of Brown's show is never more evident than in the second act when it reveals that we are going to be entitled to a short film. It is not really a movie. But Brown's accumulation regarding the effect that this movie might have on us is very much like these warnings at the end of a TV commercial for the latest cholesterol or diabetes medication. His list of possible serious symptoms you dares to watch. No doubt about it: Brown is the William Castle of illusionists.
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