In a quietly dazzling world premiere, Scottish mentalist Scott Silven invites audiences to lean into uncertainty and wonder in The Lost Things, now casting its spell in the intimate surrounds of the Sydney Opera House’s Playhouse Theatre. In this solo show directed with eerie elegance by Graham McLaren, Silven doesn’t just perform tricks — he peels back layers of memory, suggestion, and human instinct, leaving you suspended somewhere between what you saw and what you felt.

The premise is deceptively simple: a moment from Silven’s childhood, in which he found himself lost, becomes the jumping-off point for a journey through the liminal — that space where past, present, and the uncanny converge. But this isn’t merely autobiographical. It’s theatrical alchemy. Silven doesn’t tell a story to you; he builds it with you, threading audience responses into an ever-shifting tapestry of narrative and illusion.

What follows is a gently immersive experience that blurs the lines between spectator and participant. With little more than soft pools of light, a sparse, evocative soundscape, and a few props that appear almost by accident, Silven creates a space thick with anticipation. One moment, a whispered word from a stranger becomes prophecy; the next, a memory you didn’t know you shared surfaces in the palm of your hand.

The brilliance lies not just in the mentalism itself, which is jaw-dropping in its precision and artistry, but in the way Silven makes the impossible feel personal. He doesn’t command the stage so much as invite you into it. His manner is calm, disarming, and empathetic; his voice, lilting and lyrical, guides you through a maze of recollection and revelation. You feel seen, even as you marvel at how he’s done it.

McLaren’s direction, wisely unobtrusive, allows Silven’s quiet charisma to shine. The pacing is delicate and deliberate, with moments of silence used to great effect. It’s in these spaces — when the mind races to fill the gap — that the show does its most profound work. Is it magic? Is it suggestion? Is it some shared subconscious? Perhaps it’s all three.

What distinguishes The Lost Things from other mentalism shows is its emotional resonance. It’s not just about what Silven can do (though what he can do is remarkable); it’s about how it makes you feel. There is something deeply human at the core of his illusions — a yearning for connection, a recognition of the fragility and wonder of being known.

Ultimately, the question isn’t how he did it. It’s why it mattered. And for that, The Lost Things lingers long after the final curtain, like a memory half-remembered, half-invented — but entirely yours.

– The other Daniel Craig

Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin. Follow him on all the socials @talldancraig

The Lost Things runs for 75 minutes (with no interval) and plays at The Playhouse, Sydney Opera House, through 29 June 2025. Tickets are available through the Sydney Opera House.

Disclosure: The Plus Ones were guests of Sydney Opera House
Image credit: Daniel Boud