As the house lights went down at the Clark Center on Saturday, the sunny Arroyo Grande day was transformed into a dreamscape of shadows, flickering firelight and music that awakened the darker side of consciousness. The compelling, spoken coda to the Moody Blues/ "Nights in White Satin" filled the theatre. A cat-like dancer lit the moon with a torch. Tiny white lights slithered on a black drape, gradually revealing an emerging human form. Small gasps of anticipation were heard throughout the theater. Clearly, something special was about to happen.

It was Mysterium, a two-hour journey of the mind and senses with Jonathan and Charlotte Pendragon, world-famous magicians and long-time residents of Arroyo Grande. From the first hushed excitement to the last round of thunderous applause, the show was a masterpiece of theatrical magic 77 magic that is as much about presentation as it is about prestidigitation.

Jonathan/s physical grace, flying blond hair and intimate, captivating voice gave him a mysterious, larger-than-life appearance. His trademark long black coat added to the image, although he joked, "I feel like a refugee from the Matrix!"

Charlotte/s physical beauty, amazing fitness and "great clothes" (Jonathan/s admiring description) added a compelling, dangerous feel to their illusions.

Oh, those illusions! Opening with a fast-paced transposition set to Jefferson Airplane/s song "White Rabbit," Charlotte vanished down into a collapsible box half the size of a footlocker. Jonathan followed her in, then drew a long scarf through the bottom of the box; Charlotte reappeared with the last flick of the scarf. Mind you, the box was sitting on a tabletop, with the space underneath the table clearly visible. How did they do that? That question became a favorite as the show continued.

Throughout, in a series of short commentaries on history and mystery, Jonathan Pendragon achieved a fascinating balance of fact, legend and humor as he told the origin and development of their various works. On a serious note, he spoke about the expos/ shows on television that claim to unlock the secrets of magic. With charming openness, Jonathan noted that even when the "secrets" are right, they/re wrong 77 since presentation and interpretation are key to the impact of "grand illusion, (which uses) the whole physique to create mystery," adding slyly, "Charlotte/s physique!"

He demonstrated that principle in his first solo act, a reworking of the classic linking rings trick. Pendragon/s interpretation, "Concerto for Orchestra and Rings," used four large rings. Synchronizing moves with the phrasing in orchestral music, he did every variation imaginable on linking rings tricks. He linked two, three and four rings together, unlinked them two at a time and individually, and linked them in mid-air as well as just under the noses of audience volunteers. He unlinked them in a split second and 77 much more difficult 77 unlinked them ever so slowly and fluidly.

With balletic grace and economy of movement, Jonathan Pendragon had us in his thrall, believing in the mystery and the magic. The Pendragons renewed that belief again and again during the performance, all the way to the final act, their amazing Metamorphosis for which they hold the record for speed.

"Mysterium" is Latin for mystery, defined in one dictionary as "simultaneously arousing wonder and inquisitiveness, and eluding explanation or comprehension." And that/s just how it was. This visually and intellectually rich show included levitation, a balancing-on-a-wicked-spike illusion, transformations of objects and people, sleight of hand with cards and more, and a myth-debunking glass-box version of the lady sawn in half.

What made the whole thing so satisfying, however, was the detail. Patter was so well scripted that it seemed to be both effortless and spontaneous while closely complementing the stage action. Humor and sizzle between the partners was a consistent enhancement to their physical and verbal performance. Small visual treats (rose leaves that changed to a fake-fuzz creepy crawly, subtle changes in lighting, careful placement of performers and props) kept the audience engaged and delighted.

Good comedians include throwaway lines in their acts 77 if you catch them, it/s a bonus; if not, they are the invisible glue that holds everything together. To the Pendragons/ credit and our delight, Mysterium included a healthy dose of throwaway magic, to coin a phrase.

Judicious use of the "gotcha" added to the fun as well. Just when you were sure you knew how Charlotte had produced their pet Samoyed from an empty box, you found out that she had magically turned into Jonathan. When you were thinking of excuses why Jonathan might have dropped the cards he had picked out of a deck, he picked the last one out of a shower of cards in mid-air … with a sword.

At intermission, the theatre buzzed with discussions of the performance. Blake, 11, and his brother Alec, 6, of Nipomo, had brought their mother to the show for her birthday. The boys shared their theories about how the illusions worked (Alec voted for giant magnets for the levitations) and their mom said they were all "totally thrilled" with the show.

Rich Ferguson, winner of the 2004 gold medal from the Academy of Magical Arts and a SLO County native, attended the show with some friends. After the show he said, "I think it/s phenomenal that people have the opportunity to see the most televised, most award-winning magicians in history in such a personal setting."

One young member of the audience summed up what we were all feeling in this concise way: "Omigosh!"

For information about the Pendragons and their tour dates, visit www.thependragons.com.

Nov. 13, 2004