Rufus Hound stars in the world premiere of The Mesmerista new production blending illusion, theatricality and a gripping family mystery. The show marks a bold moment in Watford Palace Theatre’s 2026 season.
Directed by Steve Marmion, The Mesmerist resurrects long‑forgotten magical routines to explore identity, legacy and the emotional power of performance.
The Mesmerist runs from Monday 2 March to Saturday 21 March 2026 at Watford Palace Theatre. Tickets are available here.
 
 
 
 
You’ve worked across comedy, drama, presenting and now you’re performing magic. What is it like learning a new skill for The Mesmerist?
I’m not sleeping much, put it that way!
The thing with magic is that there’s no room for error – a trick either works or it doesn’t. There’s no talking your way out of it.
In that way, it’s the closest thing I’ve done to stand‑up. If a joke doesn’t land, there’s no point pretending it did. Audiences have incredibly attuned nonsense detectors, so the pressure to get it not just ‘good’ but ‘great’ is enormous.
The Mesmerist was inspired by discovering your estranged grandfather’s boxes filled with magic and performance material. What was it like opening those up?
The man smoked like a chimney, so the first thing that hit me was the smell.
I was only really going through everything to see what I could sell on to other magicians, and realising it all reeked of cigarettes made my heart sink a bit.
However, once it had been aired for a few days and I’d seen what was there, the realisation dawned on me that rather than just “a few magic props”, he’d accumulated more than enough gear to build an entire show around.
 
 
 
 
That’s when it started getting exciting.
You’ve said that you didn’t really know your grandfather. Did creating The Mesmerist feel like a way of starting a conversation with that part of your family history?
I’m largely avoiding answering this question, because I’m worried that it makes me sound like I’m on an episode of The X Factor.
Let’s just say that it’s hard to go through an estranged relative’s belongings and not see the ties that bind that one may, hitherto, have been blind to or ignorant of.
You’ve spent years working across theatre, TV and live performance. What keeps theatre exciting for you at this stage of your career?
In 2026, what keeps me excited is the prospect of getting to actually do any. The industry has been absolutely hammered since 2020, so trying to make a living treading the boards is becoming nigh on impossible.
That said, every play, musical or show is an opportunity to give an audience a night they’ll never forget, and that’s a drug that’s hard to put aside.
When I saw Rylance in JerusalemGough in People, Places and Things, Matilda, Groundhog Day the Musical… those are gifts from the universe that I was given.
The idea of being part of that gifting for someone else? Unquittable.
When audiences leave The Mesmeristwhat do you hope they take away from the show?
I want them to keep saying “Wow!” all the way home. And to think: “I bet he was better at this than his Grandad was”!
You’ve worked with Steve Marmion, Chief Executive and Director of Programming for Watford Palace Theatre, on a show at Soho Theatre before. What is it like reuniting fourteen years later to work on The Mesmerist?
We drink a lot more tea than we used to, and our knees make louder noises when we stand up, but other than that, no real difference.
Steve still has the sense of humour of a twelve‑year‑old boy.
The show mixes storytelling, theatre and magic. How did you work together to find the right balance between performance and illusion?
Trial and error.
We’ve probably written and rewritten the script six times since we started, and I don’t think that’ll stop even once we’re open.
What does Watford Palace Theatre offer as a place for magic, and why does it feel like the right home for a show like The Mesmerist?
This is the theatre that my Granddad tried his show out in over forty years ago.
It’d feel wrong performing it anywhere else!
Family lies at the heart of the story. Why do you think this theme is particularly relevant to audiences today?
What we want to feel is that we belong – especially in a social‑media‑driven world that’s forever highlighting our differences.
My Grandad was family that I never really knew, so do I feel that I owe him something?
You’ll have to come and see the show to find that out.
