EDINBURGH 2025: ALMOST IMPOSSIBLE 2.0 Martin Brock Q&A

BWW caught up with Martin Brock to chat about bringing Almost Impossible 2.0 to the 2025 Edinburgh Festival Fringe.

Tell us a bit about Almost Impossible 2.0
Last year I brought Almost Impossible to the Fringe for the first time - this year, we've given the show a major update. Each piece has its own story and atmosphere, with original music, sound effects, and video projection. Even though it's a magic show, we try to make it feel more like a full theatrical experience - and I think that's something even magic fans really appreciate.

The title is a nod to the fact that magic, technically, isn't real. I'm not trying to convince The Audience (i) have supernatural powers - no one can read minds, influence free decisions, or tap into some secret psychological force. That's not what this show is about. But if you're watching a piece of theatre and, for a moment, something feels genuinely impossible - that's where the magic happens.

What sets Almost Impossible 2.0 apart from other magic shows at the festival?

If you've seen a few magic shows, you've probably noticed that a lot of tricks are just variations on the same core ideas. With Almost Impossible 2.0, the goal was to break that cycle. The pieces in the show really aren't like anything people have seen before - it's full of original material, new methods, and genuinely fresh ideas. Every trick has its own personality and style, which I'm genuinely proud of.

Having performed at the Fringe before, do you think you know what to expect from the festival?

Yes and no! Last year I was so focused on the show that I didn't get to explore much beyond that. I took one day off - and honestly didn't know what to do with myself! This year, I'm leaning into the full Fringe experience: performing daily, tweaking the show constantly, and hopefully getting to see more of what other artists are doing too.

The real magic of the Fringe - pun slightly intended - is getting to perform every day, make those small but important tweaks, and feel the audience help shape the show throughout the festival.

How long did it take you to perfect the finale?

It took over seven years before it even made it into the show - and I'm still working on it! I actually made a major adjustment to it just this week. I tend to obsess over small details. I love the process of breaking things down, rebuilding them, and constantly finding ways to improve them.

It's worth the effort I think - the finale is one of the best pieces of magic I ever created and seems to be something people connect with emotionally, which is sort of unique in magic.

What would you like audiences to take away from your show?
I hope people leave feeling like they've experienced something genuinely different - something fresh, personal, and surprising that lingers a long time after leaving the theatre. Last year, we had quite a few people come back to see the show a second time, which is always a great sign. It means something clicked, and that's incredibly rewarding.