Houdini's Reappearing Act: A Theatrical Clash of Beliefs
In a fascinating exploration of history and human nature, actor-playwright David Haig brings to life the unlikely friendship and subsequent conflict between two iconic figures: escapologist Harry Houdini and Sherlock Holmes author Arthur Conan Doyle. Haig's new play, titled Magic, premiering at Chichester Festival Theatre this month, delves into their shared interest in spiritualism that initially drew them together, only to throw them into bitter dispute.
The Unlikely Bond That Fractured
The genesis of this theatrical production came from what Haig describes as a surprisingly mundane source. "I mundanely Googled 'interesting unusual relationships in British history'," Haig reveals, showcasing his rational approach to creativity. "And that's what came up." This discovery led to a deep dive into the complex dynamic between Conan Doyle, a fervent believer in communicating with the dead, and Houdini, a staunch rationalist determined to expose spiritualist frauds.
Haig, celebrated for both his acting roles in productions like Killing Eve and The Thin Blue Line and his playwright achievements including My Boy Jack, found himself captivated by what he calls "a chemical bonding" between these dissimilar men. "For these two dissimilar men to meld together when they meet, it was like a chemical bonding, then to find this critical element that tests and challenges their relationship, I thought that was absolutely fascinating," he explains.
Faith Versus Fakery on Stage
The play stages their dramatic coming together and eventual splitting apart as Conan Doyle and his wife Jean seek contact with their son Kingsley, killed in World War I, through spirit medium Mina Crandon. Meanwhile, Houdini assembles what Haig describes as "an army of debunkers" to expose Crandon's methods as fraudulent. "Having gone to so many seances himself, pursuing the spirit of his own mother, [Houdini] became viscerally angry and perceived them as abuse of the grieving," says Haig.
Directed by Lucy Bailey, the production promises to deliver gasp-inducing illusions alongside its dramatic narrative, creating a multisensory theatrical experience. Yet Haig emphasizes that the play's core explores profound questions about belief and deception. "That's another theme of the play: how do you define the word 'magic'? What do you mean by it? Is a spiritual faith a form of magic? Or does it require deception and fakery to be magic?"
Sympathy for the Believer
In a surprising casting choice, Haig himself portrays Conan Doyle, bringing his considerable acting talents to a character he insists must not become an object of ridicule. "He was seeking a religion that was scientifically based," Haig explains of Conan Doyle's spiritualist pursuits. "At the time, it was thought that electromagnetism might absolutely be a means to contact the spirits of the dead. That may now seem ludicrous, but the energy of Conan Doyle's optimism was always engaging."
Haig approaches the material from what he describes as a position of lifelong rationalism, identifying as "a profound atheist" while portraying someone with profound faith. This tension between certainty and doubt forms a central theme of the production. "When people are at their most certain, they're also suspect, aren't they?" he muses.
Personal Connections and Career Reflections
The playwright reveals personal connections to the material, noting that his grandmother attended "a huge number" of seances, though he himself has never attended one. He also acknowledges an enduring interest in bereavement and the lingering presence of the dead throughout his work, including his earlier play My Boy Jack about a son killed in World War I—a theme he connects to the death of his own sister at age 22.
At 70 years old, Haig contemplates the future of his career with characteristic English understatement. "I think this may be [my last play]," he says uncertainly. "How long do you go on for? How secure is it as you move through your 70s?" Yet he expresses satisfaction with his distinctive career, having mastered both acting and playwriting. "I would be very, very reassured that things have, on the whole, been fulfilling," he concludes.
Magic runs at Chichester Festival Theatre from April 24 to May 16, offering audiences a thought-provoking examination of belief, deception, and the complex relationship between two of history's most fascinating figures.
