Front of house .

This refinement process is perpetual . Harary likens it to George Lucas ’ s philosophy : “ You never finish a movie . You simply decide to stop working on it .” Continuous improvement is evident in even the smallest details . For instance , after performing an illusion involving a card appearing from an LED screen for ten years , Harary recently realized that presenting the card face-up instead of face-down elicited a stronger audience reaction . Similarly , revisiting a shadow box illusion he designed in 1991 , he altered his approach to better convey the emotional narrative , enhancing its impact after over three decades of performances .

INCLUSIVITY

One of the standout features of this production is Harary ’ s commitment to inclusivity and community . “ Anytime we do a contract , I make sure that I own some of the shows . In this case , I kept six performances for myself that I can do whatever I want with ”. Harary explains . This autonomy allows him to give back in meaningful ways . Recently , he dedicated four of these shows to underprivileged children , individuals with disabilities , and 150 magicians from Guangzhou . “ It was packed — with about 200 magicians , underprivileged people , and handicapped children . It was chaotic but incredibly rewarding .”

Harary ’ s philosophy extends beyond the stage . He frequently offers backstage tours , giving fans and fellow magicians a glimpse into the mechanics of his illusions . “ My stuff is bulletproof . You can look at it , and you ’ re not going to see any gimmicks or methods . But bringing people backstage makes them feel special , like they ’ re part of it all ,” he shares . This transparency fosters a deeper connection with his audience , transforming mere spectators into participants .