When Mat Franco: Magic Reinvented Nightly reopened on the Las Vegas Strip in the spring, it wasn’t just back to business as usual. The affable illusionist and his crew made some significant changes to the show and renovations to the Mat Franco Theater, expanding the stage and modernizing the space with new lights, projections on the walls and other enhancements. There’s plenty of fresh material in the show as well, and all the extra effort is in the name of welcoming visitors back to Las Vegas and creating a live entertainment experience that’s more vibrant and memorable than ever before. We spoke with Franco about the creative approach to his momentous comeback.

You returned to the stage at The Linq in late April. What was that like?

The first night back was surreal. I know I had to hold back tears before entering the stage (area) and some of our crew members did as well. The audience, I think, was very appreciative to be seeing a show again, and for many of them it was their first time back. Surreal is probably the best word I can use to describe it after 411 days of not doing what I probably need to be doing.

You made several significant changes and upgrades to the show, some of which didn’t have anything to do with restrictions that were in place when it reopened. How did you go about making those changes and decisions?

It was a moving goalpost throughout the pandemic to see what we were going to be able to do, so I really tried to focus on the things I could control. I had a lot of new material I was working on and I was anxious to get that into the show, and I don’t know if it was an accident or if it was in the back of my mind and happening intentionally, but I was working on material that was a little more hands-off and socially distant. Some of that has certainly found its way into the show. But (the process) was really about using any constraints as a creative challenge. We’ve enjoyed five amazing years at the Linq and having signed on for five more, it seemed like the perfect time to refresh things.

Since Las Vegas is the destination for magic, it feels significant and important to have your show back and other magic-based shows operating on the Strip again. Have you felt that kind of feedback so far from the audience?

One of my goals in the revamp of the show is to bring more color and positivity than what was already there. Everybody is talking about light at the end of the tunnel and I think we’re seeing that now and I want to be a part of that. I’m hoping it’s not just in the magic but that the overall energy, vibe and positivity will bleed through in how the show looks and feels.

Is there a particular new segment that you’re really happy about right now?

Absolutely. There’s a few new segments in the show but the one I might have had the least faith in is the one audiences have been responding to the most. It’s required the least amount of refinement so far and has been the most fun to perform. It involves balloons and a really quirky, subtle idea involving helium in a balloon and blowing up another balloon manually. Since the summertime, I’ve worked on several different methods to get this to happen and it finally clicked right before the opening. It’s just really enjoyable to do.

Your performance is really centered in making a strong connection with the audience, and that’s the one thing that felt so impossible over the last year. Did all that time away from the stage change the way you think about connecting with the audience?

It did, and more specifically for me, it became clear to me now that I’m servicing the audience, providing something for them. I don’t want the show to be about me. I want the show to be about them. I want to give them a piece of me, but I want the show to really be for them. When I sit in a theater, I enjoy performances that are not so much ego-driven but really driven toward that connection, and I try to live up to that every night.

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