Interview With…Rufus Hound

(c) Ross Kernahan, DMLK Video

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 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’s 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.

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 relatives belongings and not see the ties that bind that one may, hitherto, have been blind to or ignorant of.

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/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 Jerusalem, Gough in People Places 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.

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”!

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.

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.

This is the theatre that my Granddad tried his show out in over forty years ago. It’d feel wrong performing it lethally anywhere else!

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.