Juggling balls suddenly go up in smoke. Shoes grow out of ears. A leg disappears - or becomes more. In Kompani Giraff's performances, magic and the supernatural are almost always present. The person who makes sure that all these inexplicable things happen is Axel Adlercreutz - the man with perhaps Sweden's most imaginative professional title: Magic Consultant.

It all started some 30 years ago when an 8-year-old Axel found a magic box. The hobby became a profession. He competed, and won, both the Swedish and Nordic Championships in magic. He participated in the World Championships and hypnotised audiences on big stages in Hollywood, Las Vegas and London.
But unlike other magicians, Axel then chose to switch tracks - from the spectacular magic shows, into the world of performing arts. His inspiration came from an experience at the Orion Theatre with French multidisciplinary artist James Thiérrée.
- It was an aha moment for me - that you can combine magic, circus, mime and dance in a stage show.
When he got in touch with the other members of Kompani Giraff, circus artist Viktoria Dalborg and fashion designer Sus Soddu, around 20 years ago, the dream finally came true. Since then, the trio has created countless shows such as ”Cloud”, ”Silicon Valley” and ”We are the Queen of the Air”. Always with circus and magic as cornerstones.

Often, the magical elements of the shows are based on fairly classic magic tricks - such as balls unexpectedly disappearing and reappearing. But it's important to Axel that it doesn't become a numbers game. The tricks should always be intertwined with acrobatics or juggling. A bit like transferring trick filming to a stage.
- We want to create a universe where things happen a bit unexpectedly and suddenly. That the magic is built into the story. I don't want to flag that the trick is coming, but the audience should have the feeling that we are creating a peephole where anything can happen. That's why we also try to hide the actual rigging moments and prep things in secret.

The performers in your shows are circus artists. How difficult is it to teach them magic?
- In fact, they always catch on pretty quickly, and it's often a great collaboration - the artists build on the ideas and develop them. It's trickier with actors because it's harder for them to say one thing and do something else with their bodies," he says, laughing.

As well as adding an air of occultism to performances, there are other benefits to using magic in the performing arts.
- At scene changes, and if you want to change the rhythm of a performance, magic is perfect. If an object just appears on stage, it becomes a good flow. Instead of someone going to get a ball, suddenly it's just there.

Magic can also act as a disarming effect.
- Yes, it is possible to use magic as a comic relief in performances, where the audience can relax, and maybe laugh. Many performances would benefit from a little magic.

What is the most difficult challenge you have faced as a magic consultant in a show?
- I think it was when I was working with the Tower Theatre and it had a dead body that would disappear quickly and inexplicably in a performance. It was really important that it turned out well, because the whole story depended on this particular moment. It turned out ok, although the whole scene was a bit chaotic so the trick was still a bit lost in the mess. Fun task, but maybe not the best I've done.

Giraff Company ”The Pile” will have its world premiere at Dansens Hus Studioscen 20 March 2026.

FACTS
In Sweden there are around 30 professional magicians and around 350 amateurs. Want to take your magic further and meet like-minded people? www.svenskmagiskcirkel.se