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Full text of "Abracadabra Vol 1 N 1 5
"
See other formats
aoe
- 41, Inverness Ave., ENFIELD, Middx.
Vampire FINGER CHOPPER
The finest on the market. Made in glaaming solid
aluminium, A cigarette is chopped‘ and. then ‘the
magician causes blade to pass THROUGH: HIS
FINGER ! Cannot go wrong. Self-working,. No
sleights. A stage illusion for the pocket. =
; , Price 10/- Post 4d.
‘Have-you had “ THE MAGICIAN’S ORACLE." ?
Our New Catalogue No. t, ready NOW. Four
issuęs per year for 2/6 post free.
“STAR MAGICAL MANUFACTURING CO.
‘We ara cut to serve those who want “the. best.
Shoyid you be dissatisfied with anything purchased
‘om us your purchase price will be re-funded in
fr
full, :
s SEND: STAMP FOR CATALOGUE
Only Address: 50, St. Mary’s Row,
= . Moseley, Birmingham 13.
A NEW ROUTINE FOR
EVAPORATED MILK
Put the milk back into the same jug in a kum-
orous and mystifying manner. A smashing
conclusion to this’ well-known effect. Full in-
structions and patter: 8g, 6d. from if,
KEN BURROWS, . ii
Woodford Road, Hucknall, Notts.
HAPPY BIRTHDAY — ae
‘ parcel ope | to reveal’ ty"
ren ae te ves ia te
Rees
OAD of FLOWERS, mailed complete for 8/6
SPRİNG FLOWERS ALWAYS IN STOCK
HARRY BOSWORTH, '34, Carrfiëld Avenue
o TOTON, Notts, England, 1.
| QUALITY, NÒT `
` QUANTITY
We do not yet have a big selection as
caré is taken over the few items we
make. Stocks will grow and catalogues
will be printed. So watch it grow.: In
the meantime remember Snooper appar-
atus at 17/6; Fine Squared Circles at
I F—tIt is new unusual
Tricks that work and `|
are sure fire hits— `
You are looking for .
— Better get on our.
mailing List. © à
Send in- your tiame and we »
will send you our catalog and J
an 8-page printed. circular ‘
each .month—All FREE of '
chatige. i
We are leaders iii 3 g
GOOD—NEW--MAGIC.. d
0 U. F. GRANT.
Box853, HILLTOP STATION, .
CoLumeus 4, On10, U.S.A. ¥
3
Conjuring Books for Sale- |
: 50/- ; Shepherd’s WHO DONE IT and
LIST FREE FOR STAMPED ENVELOPE: LESSON IN CARD MAGIC 7/6 each, ete.
MAGIKRAFT STUDIOS
32, Vernon St., NORTHAMPTON
GEORGE JENNESS,
Oe
r
Sil, HIGH HOLBORN, LONDON
- PRICE SIXPENCE
SEND PENNY S?
IN TELEGRAPH’ AMPLE S/XPENC
SUBS:
APRIL 13th, 1946.
‘‘ Showmanship and Presentation, ia work which we personally consider
to be of tremendous value.
—and possibly heartily ‘‘ slammed ’’—in these pages. They will not be
reviewed by the authors, or their: friends, or by any member of the
‘Abracadabra staff. An independent critic will be found, and whatever
he writes will be printed. We meañ to show that ‘‘ we can take i it.”
GAG DEPARTMENT*
RTICLES of general utility which always get a laugh in a magical
performance, and which might well be in every entertainer’s
‘kit, include: The Breakaway Fan, Breakaway Wand ‘‘ Bang ”
Pistol, and the new Breakaway Pistol (when fired, the barrel collapses
a lathe Breakaway Wand).
as effective, is the. Disinfectant’ Spray—
“ Flit ”-style.
filled—just have it empty on your table.
It need not be
When the time comes to use it, borrow a hat, look it over, put it
down (misdirection for easy load here), pick up the spray and operate
it on the hat. Another idea: A boy assistant is up from the audience.
Ask him to hold something, look ‘at. his hand, hastily withdraw the
the article, seize the spray and spray his hand—then give him the article
to hold. (Excellent chance to make a switch here.)
For the Chopper—any sort of Chopper—expose the part to be
chopped, look closely at it, and with some remark about ‘‘ having things
surgically clean,” wield your spray. Result: Certain laugh.
There’s nothing the matter with you, madam ;
Doctor : all you
need is a rest. `
Patient :- But look at my tongue, Doctor !
Doctor: Yes, that needs a rest, too !
C urtain.
* “ Gags” suitable for Magical, Ventriloquial or Compere work will be welcomed.
All those published will be paid for at our usual rates.
We hear ffom Harry Bosworth that the final settlement of the
Chris Van Bern Fund is being delayed by the failure of some societies,
etc., to forward the money collected. During the progress of the appeal,
a total of £25 was handed over to Chris, and a cheque for {150 sent on
April 4th. When the accounts are complete, all the remaining money
will be made over to Chris—a sum rather over £200. :
4
These books, as they appear, will be reviewed |
Another item, less costly, less used, but just .
SS ie a aomi ae RS
wis iai e
SIRS" TROUPER
THE RICE AND FOUNTAIN TRICK.
S far as I can recall, I first performed this trick in 1912, when it
was given to me by Mr. Burdin, of Coventry, for my exclusive
use. During the 1914-18 War, however, when I was in France
someone sent all the details to Hamley’s, I understand at a fee, and that
firm put the trick on the market. I gathered sybsequently that the
apparatus was made of metal which was much too thin to stand the strain
of compressed air, and, in consequence, the trick did not prove a best-
seller. The trick deserved a better fate, for as a Garden Party or Circus
effect it cannot be equalled, and it can be performed with an audience
all round the conjurer and nothing can be discovered during the working.
Effect: A hollow cylinder of 6in. diameter and a canister of 5}in.
diameter stood on a tray on the performer’s table. The canister had the
word ‘‘ Rice ” painted on it and, like the cylinder, stood about twelve
inches high. First the cylinder was shown to be empty, and the canister,
which contained rice, was pushed up through the bottom end, to further
convince the audience. The canister was lowered again and removed
from the tube, which was then put over a celery or sweet glass into which
was poured the rice. When the tube was removed the glass was found
overflowing with rice. The top of the rice was smoothed off level and
at once a fountain of water shot up in a spray, playing for fully a minute.
Preparation : Hanging inside the canister was a tank which will be
described later. A cord was attached to the tank, and at the opposite
end of the cord was a hook which was engaged to the top edge of the
canister. The tank was covered with rice. During the process of
showing the tube empty the hook was automatically transferred to the
edge of the tube and the tank was ready to be placed in the celery or
sweet glass. Once in the glass, it was an easy matter to flick the hook
over the top, letting it drop into the glass where it was soon covered
with the rice.
The tank was. made of brass or copper, a good one-sixteenth of an inch
thick, and the whole about the size of a half-pint glass. At the sides of
the tank, both near the top and the bottom, three pieces of bent wire
were soldered at equal distances to keep the space clear between the tank
and glass, so that when the rice was poured in it easily covered all traces
(E3
of any extra ‘“‘ingredient.” A small tap or valve, such as used in toy
locomotives, was soldered to a piece of thin brass or copper tubing which
reached to the bottom of the tank. The lower end of this tube was cut,
as shown in the illustration, to admit of the entry and passage of the
water. At the upper end the brass tap had a small cap which was
5
aes
perforated several times like the noggle of a watering can. It must be
added that the tube was. placed infø the dead centre of the top of the
tank. At one side of the top was # screw plug, by means of which the
tank was filled with water to within half an inch of the top’. On the
opposite side of the top’ was a bicyéle valve, also soldered in securely to
“i pérmit air to be pumped in under pressure. As my readers will have
. realised, the principle is that usedyin the disinfecting sprays employed
in cinemas and theatres. For my,Spray I used a .22 empty cartridge
case, in which I was able to drill the necessary holes. `
I need hardly emphasise the fact that all the soldering must be
perfect to stand the strain of the compressed air. If the pressure inside
the tank is too great the valve rubber will burst and let the performer
down. This rubber should be changed occasionally to prevent just this
accident happening. The pressure required is rather a matter of experi-
ment. One further safeguard can be made by sticking a thick piece of
rubber to the bottom of the tank so that no tell-tale noise occurs when
it is lowered into the glass.
Cross section of the tank showing :
A-—Valve through which the air
is pumped.
` B—-Spray. ‘B?’ cut to allow
' water to enter.
C—Arm which is pushed over
when. the rice is smoothed
and so permits the water to
escape.
D—Plug for inserting the water.
E-—-Wires which keep. the tank
away from the sides of the
glass and so allow the rice to
cover it.
Plan of the top of the tank. The
letters refer as in Fig. above.
H-—Is the ring to which.the cord
and hook are fastened.
continued from following page
formula, several times employed, of bringing his effects right up to the
climax and then holding the audience in suspense before the denouement.
Harold Taylor, of the classical profile and coiffure and the ultra-
modern gags, held the show together by his nonchalant compering, and
Guy Condie was more than efficient at the piano. Thanks to the stage-
management of Geoffrey Cooper, everything went smoothly, without
waits and without hitch.
In his response to the Toast of the Society, the President paid a
tribute to the work which the Secretary, Geoffrey Robinson, had put in
to ensure the success of the event—a tribute which everyone who was
present will echo. Ft was largely due to his activities that their first
Annual Dinner was a triumph, and (to quote Col. Ling Soo) ‘‘ may I be
invited—many, many years hence—to the last.”
6
pe eon pm i if
i
re
THE LONDON SOCIETY OF MAGICIANS’ FIRST ANNUAL DINNER
“ Chez Auguste,” Logdon, 7th April, 1946
By FABIAN.
TS victim of an unholy bargain between Geoffrey Robinson and
Goodliffe, we travelled to London last week-end to report on
the London Society of Magicians’ first Annual Dinner and to
assist in the subsequent entertainment. We feared that the roles of
reporter and entertainer would go illitogether.. Adverse criticism of any
act (we feared, before the event) would inevitably lead to a comparison
between the criticised act and the» critic’s. Fortunately, this. test of
reportorial conscience did not arise.: The show was good throughout—
as good as the cuisine of the Chez Auguste ; and that, we give you our
assurance, is GOOD. - . ;
The speeches were few and brief. Herbert J. Collings called on the
shades of Noah and many of his offspring to support him in toasting the
Society. The President, Capt. The-Lord Auckland, M.B.E. (who was
accompanied by the Hon. Elizabeth Eden, his daughter, making her
first public appearance) responded pithily. ‘‘ The Ladies. and Visitors ”
was proposed by Edward G. Love, scoring neatly off Geoff. Robinson,
who filled a similar capacity recently, and witty and well-turned responses
came from Mrs. Marjorie Robinson and Eric Williams respectively.
Even Capt. Stone came inside the stipulated time-limit for speeches
when he proposed the toast of The Press, and George Armstrong of the
Magic Wand, responding on short notice, struck a pleasantly sincere note.
The show was notable for its: general appeal. There was little of
conjuring for conjurers, and a complete absence of magical specialists.
For Eric Williams the going was easy, for he followed your reporter, and
with his wonderful flair for comedy; he quickly had the audience in an
excellent humour. Assisted as ever by his Ma, he scored heavily with his
Wonder Box presentation and brought the house down with The Rat.
Joyce Helbing followed with some: pleasantly-rendered soprano solos.
Then the incomparable Col. Ling So with Chinese Tricks and Celestial
Wisecracks. His card trick in which the selection was found in a medicine
bottle had novelty, and the divination of a chosen card’s identity on a
smoked plate (which he declared he performed in the first year of the
Magic Circle’s existence) proved a strong closer.
Frank Fewings, another Metropolitan, made a quiet appeal, working
through Wonder Box, Plumes, Diminishing Cards and the Tubes, Silks
and Liquids. Theo Malcolm presented another kind of magic. After
having regaled us with a number óf good (and new !) stories, he offered
to provide a brief verse on any subject submitted by a member of the
audience. To be frank, we felt that his work was too polished and too
apt to be strictly impromptu. There was no delay for cogitation ;
immediately his subject was given, the rhyme began. Clearly; we felt,
such a performer would prepare verses for all likely topics. But when
at the close he asked for three unrelated subjects (Houses, Ships and
The National were given) and proved just as witty, we put our unworthy
doubts to rest and gave him the hand he deserved.
Jack Parker of The Order of the Magi wound up the bill, proving
once more the value of new dressings to old effects. We thought his
ending to the Joss Sticks unfortunate, but congratulate him on his
continued on preceding page 7
~The Homing Cards
By G. C. ALYN JONES.
A PACK of cards is shuffled and freely cut. Three members of the
audience each choose a card, and these cards are placed out
: in a stand as at A. The performer then takes an envelope, and
having one of the three displayed cards chosen, places this in the envelope
and the envelope in a clip as at B. Another envelope, shown empty,
examined and sealed by a member of the audience, is placed in the stand
in the spot from which the chosen card was taken. A lighted match is
now applied to the first envelope (see C and D), until the envelope and
contents are completely destroyed.” The second envelope is then taken
from the stand, opened, and the chosen and destroyed card removed from
it. To quote the catalogues, no threads, wires, wax or springs, no skill,
no practice, no nothing but a good clean effect accomplished by a novel
method, with no strings attached.
LOWDOWN.
The diagrams go a long way to explaining the secret of the working.
The stand is placed on the table with the lugs open. Three cards,
duplicates of those to be forced, are placed face upwards on the lugs. The
force is a matter of choice. In this effect, a three-bank deck, the three
cards running in series through the deck, could quite conveniently be
used. The three chosen cards are placed in: position on the stand (in
the slot A), each in front of its duplicate.
Retaining the pack in his left hand, the performer asks that ‘one of
the three cards shall be named. Meanwhile, an envelope is taken in the
right hand and rested, flap upwards, on the pack. The chosen card is
taken from the stand, placed in the envelope—going part way through
the slit—and the envelope sealed... The envelope is then taken again in
the right hand, the card being left behind on top: of the pack.
When this envelope has been placed in the clip, the second, unfaked,
envelope is taken; displayed, sealed; and placed in the stand in slot B
at the point from which the chosen card was taken. The duplicate card,
as shown in Fig. 5, overlaps the lug for the width of the slot, so that the
very action of placing the envelope in position brings the card into a
vertical position, flush with the back of the envelope.
i The first envelope is now burnt, together with its supposed contents.
The second envelope and the concealed card are taken as one. The top
of the envelope is cut with a pair of scissors, and, the fingers going inside
and the thumb behind, the card is withdrawn.
FLASH GLOVES.
By DEXTEROUS DEXTER.
ERE’S an idea for those who open their programme with the usual
Top Hat, Stick and Gloves. Have you ever tried making `
your gloves from flash-paper? I agree that the effect is costly
in these days, but if that is no objection, you will find them very simple
tomake. Just cut out the pattern and lightly glue the two sides together.
From a very short distance, they look exactly like an ordinary pair of
white kid gloves—and what an effect when you ignite them! Try it
some time, when you have a very special show.
8
TUE HOMING (wh
~ LUGS CLOSE FOR PACKING.
—PLAN—
SLOT 'B'
SLOT ‘A’
| Oe pwose m
DENNÎS
ATMOSPHERE .
By ARTHUR H. EYDMANN, A.LM.C.
Te importance of creating the right atmosphere in magical entertain-
ments cannot be over-estimated. In fact, an air of mystery is,
in my opinion, absolutely essential to a really successful show. In
his book, ‘‘ My Magical Life,” David Devant says: “‘ What of the present
position of conjuring ” It seems tó me to lack one thing that the fore-
runners (i.¢., the old-time conjurers) had in abundance : the * atmosphere’
of mystery without which no conjùring is really convincing.”
I often return in imagination to the old days at St. George’s Hall.
What an atmosphere prevailed! The first word to catch the eye before
entering the building was ‘‘ Mystery,” and the photographs displayed
outside filled one with a spirit of expectation and wonder. Once inside
the ‘‘ Home of Mystery ” one felt anything might happen. The outside
world seemed far away. We were in a new world—a world of mystery,
a realm of magic.
The atmosphere was created before the ‘performance began.
The curtain rises, and we see before usa stage upon which the
mysteries are to be performed. How often, as small boys, we longed for
the opportunity of going behind the scenes. We should have seen, then,
‘how it was done.” But alas, that could never be. The old masters
realised that the audience must be. led to believe that the stage is part
of that world of mystery from whjch ordinary people are cut off, and
although a favoured few may cross the boundary of the footlights, no one
is ever allowed behind the scenes. | eo ooy nae
And so the performance begins: As it progresses, one ‘has the
feeling that, although many famous magicians are taking part in the
programme, the wonders enacted before us are being performed by some
single unseen power. We are subtly persuaded that the magician is
only the medium through which this power is working.
That was the atmosphere of St. George’s Hall. One advantage of
those particular premises was, of course, that they were set aside for one
particular purpose, namely, Magic. “There were the possibilities of trap-
doors and many other stage conveniences, and, as I have said, no one
was ever allowed behind the scenes. Even so, I still believe it is possible
to create this air of mystery in other places.
In the creation of the correct atmosphere for magical performances,
I think it is all important to prepare the audience to be mystified before
the show begins. If a piano is available, arrange for a short selection of
suitable music to precede the show. In this connection, a number of
valuable suggestions appear in S. H. Sharpe’s book, ‘‘ Great Magic.”
Of course, if the services of a small orchestra can be secured, so much the
better. wh
Study the lighting effects. Should the hall possess a curtained
stage, with full lighting amenities, see that the house lights are off and
the footlights only on while the overture is being played. The attention
of the audience will thus be directed to the stage, and the fact that the
curtain is down will help to keep them in a state of expectancy.. If you
are not so fortunate in your lighting arrangements, then you will be more
or less dependent on the manner in which you arrange the-stage. In
any case, try to give the impression of a well-furnished room. A couple
of screens, chairs, perhaps, two card tables, with suitable covers to the
chairs and tables, make the scene more effective.
IO
_ Much is gained by a tidy arrangement of the apparatus, and it is
well to arrange the placement with a picture in mind of the whole stage.
If you are fortunate enough to have an assistant (lady preferred), to bring
on the various articles as required, you will find that your performance
will go far more smoothly. In the matter of larger illusions, the apparatus
should normally occupy a fairly central position on the stage.
: It is sound policy, when the curtain rises, to allow your audience a
few seconds in which to view the stage before you make your entrance.
Even where there is no curtain, a slight delay covered by-suitable music
will help to create the right atmosphere.
All this, of course, is ‘‘ build-up ’’—a build-up to the end, already
indicated, of persuading your audience that you are a medium for occult
powers. Once more to quote Davigl Devant: ‘‘ A good conjurer will
present his performance in such a way that not even a man who knows
the secret of how it is done will see at what particular moment the
conjurer makes use of that secret. Do this, and you can rest assured
that your audience will go home completely mystified.”
A few DONTS in conclusion :—: a,
Don’t let anyone go behind the scenes, even if it makes no difference
_to the particular effects you are doing.
Don’t have the house-lights on more than is absolutely necessary.
In short, don’t permit anything which is likely to break the atmos-
phere you have so patiently secured.
There is nothing new in all this, of course, but it bears reiterating,
and may perhaps be of some use to my readers.
JIMMIE BATES’ DOVE PAN WRINKLES.
HE article in a recent copy of Abracadabra giving the ‘super ‘‘ Dried
Egg” gag for use in “ baking a cake ” has prompted me to
send’ in a couple of ideas in connection with this trick—ideas
which I have found to be very useful indeed. ` '
Many magi are now chary of using the Dove Pan, following the
unfortunate broadcast exposure sorne time ago. But it’s a pity that an
effect so consistently popular with kids should have to be shelved ; ‘and
it is quite safe this way.
Have a fair-sized box labelled FLOUR on your table, with the loaded
lining behind it. (I am assuming that you are using a locking pan with
clips.) At the commencement of the routine give the whole pan out,
lid included, nor for examination, but to be cleaned—a subtle difference,
but with the same end in view. The little girl who has been asked to
clean it is asked to deal with the lid first, and then while she is engaged
with the pan itself, you take back the lid and place it on the table.
Actually, it is placed over the load, and at the same time the flour box is
taken up by the other hand. It is the old Drum-head fake move, done
in one easy movement. As the lid goes down, the flour comes up, and
it is as though the lid was never actually out of sight.
The dear little ones (!) who have developed an “‘it’s in the lid”
complex are by this means put completely off the. scent.
Second brilliant idea (?) : Every time I used this item, my wife had
to queue up to buy me a cake, and she didn’t think much of it. I spoke
nicely to a pattern-maker friend who made me a very nice cake out of
wood! It looks perfect, better than a real cake, and has certainly cured
that headache. If you have a friend similarly gifted, try it out. Give
him the lining and have him make a cake to fit. It will save you a bob
on every show.
II
THE
GREAT MARVO
Number Four
By DENNIS
MAGIC MAIL
; ‘ l Readers are invited to send in letters
To the Editor of Abracadabra. on LIVE subjects, not exceeding 200
DEAR SIR, ... words in length, for publication.
The first three numbers of Abracadabra are to hand. Needless
to say, the dream of the magical world for a generous helping of their
favorite food—magic in all its various forms—has at last been realised
in your excellent magazine. It is even more amazing to me that the
initiative came from a man living in:a country that has extreme shortages
in paper, labor and materials. ae
Please accept this comment for what it is worth. I believe it would
be to the advantage of English dealers to list the cost of various items
in the American dollar as well as in their own currency. In general, we
Americans are a little lazy, and to learn the price of something not given
in dollar currency we must go to our local post office or bank. Many
of us would not take that initiative, and one of your dealers loses a sale.
Anyway, it is a suggestion.
Please give my good friend Eric Lewis my regards, and tell the
“ so-and-so” to write !
Yours for the best in magic,
Alabama, U.S.A. HAROLD R. RICE, Secretary, I.B.M.
DEAR FRIEND GOODLIFFE, ;
I address you friendly-like ’cause you’re all of that for being so kind
to send Abracadabra to me. I think you’ve done a splendid job with
your weekly. I have given it a most enthusiastic write-up in the April
issue of Tops, and shall be pleased to mention it from time to time.
' The first issue appealed to me especially, the Jack Le Dair item being
the reason. I met Jack in 1929 at St. George’s Hall. He was using
that cigarette routine at that time: He gave it to me then with per-
mission to use it on this side of the pond—and I did, many times.
The only other successful weekly was Max Sterling’s, and the issues
are precious collectors’ items to-day—they still contain good magic, too.
I2 : continued on page 14
Both Sides of the Footlights.
WOODWARD, The World: Mystery Master
(Aston Hippodrome, Birmingham)
R. WOODWARD deserves aipat on the back, and Abracadabra
gives him one with considerable pleasure. He shaves. Our
recent experience of Mystery Masters has been of faces hidden
in the depths of fungus. This one is different.
Another thing. He works. Remember Dante? We recall some
crack in his programme about, “‘ If you nod to a friend, you miss a trick.”
That is literally true of Woodward, who travels faster than any other
performer within our experience. Our pencil became red-hot as we tried
vainly to make notes of the effects. According to our timing, the act
ran for fourteen minutes, and in that short space we saw more magic
than is normally seen in an hour’s show.
Amongst the items we remember were: A production of silks and
feather flowers from an opera hat, Stick to Silks, his: own routine with
a glass of milk and a pink blanc-mange (which incorporated the best-yet
presentation of Evaporated Milk), his watch production, which must
look like real magic to the layman, the Finger Rings—his only excursion
into the auditorium—two illusions (Doll’s House and a tip-over box),
the whole culminating in the stage-filling Garden of Flowers..
Then there was Millicent Cooper, the Vocal Mannequin, to add speed
in another direction—sixteen changes of dress in fourteen minutes—his
charming daughter, and two other lady assistants.
Here is a model—not to be copied, but to serve as a guide—for the
aspiring newcomer. Speed, a pleasant manner, a bright smile, efficiency,
timing, pointing, music, colour, eye-appeal—he must have been reading
Fitzkee. We enjoyed it all immensely, although we do not visit these
shows for enjoyment, but from a sense of duty to our readers.
Notice, too, the name. Years:ago, it was J. Milton Woodward.
Then it became Milton Woodward. Now, in the modern manner, just
‘“ Woodward.” It seems to us better than ‘‘ The Great Decrepito.”
Compare the simple ‘‘ Goodliffe.” That’s modesty—that was. But it is
also good business.
Goodliffe
JON EVANS and MARIE DELANEY
(Grand Casino, Birmingham)
Cabaret shows in a commercial Dance Hall present most difficult
problems to the orthodox magician. With spectators on all sides, and
in a balcony, Jon Evans attempted the presentation. of Stick to Silks,
Kinson?s Gramophone Record, Dissecto and Tubes, Silks and Liquids.
The acoustics were terrible, the lighting ditto. An effect with a pack
of cards would have been better omitted, since in the prevailing conditions
no layman could possibly have known what occurred.
The act as presented was competently put over—the Record. trick
especially so—and given reasonable. conditions (any sort of stage or
platform show) would, we think, have registered well. Mr. Evans has a `
nice manner and an attractive assistant and we are disappointed to
have to record our first viewing of his work under these circumstances.
13
Where to See Ghem
Week Commenting April 15th.
(Artists are invited to acquaint us of their advance bookings.)
BricHToNn (Hippodrome). Jack Le Dair.
BuRNLEY (Victoria). Woodward, World Mystery Master.
GLascow (Metropole). Kardoma, the Patriotic Illusionist.
DONCASTER (Grand). ‘La Celeste. ~ i
MANCHESTER (Palace). Benson Du Lay, the Slick Magician.
Preston (Hippodrome). Voltaire. f.
sam
continued from page 12. .
I’m sure that Abracadabra will be as eagerly sought in the distant future
by those folk who haunt the purveyors of literature for legerdemainaics. I
know, of course, that you are much more interested in the folk who are
eager to grasp an Abracadabra weekly nowadays, and I can assure you
that I’ll be only too glad to urge them to such an undertaking, if succeeding
issues are as consistently good as the three I have received.
Again, thank you, and best wishes. Maybe you'll say
“hello ” to Jack Le Dair next time you write or see him. Thanks !
Cheerio,
Toronto, Canada. SID LORRAINE
DEAR SIR,
‘Thanks ever so much for the Stodare Egg and Hank routine in
No. 3. It was worth more to me than the price of a full year’s subscrip-
tion. For twenty years I have subscribed to practically every magical
publication, and my one real complaint has been that T couldn’t find
more than one or two effects a year that were usable in my Club and
Stage show. Plenty of card tricks, close-up magic, a few illusions, pocket
trick ideas, even some good tricks, but none of that most important
need to the Club performer, GooD ROUTINES.
Would like to order from the ads. in your magazine, but how much
money to send? Can’t you persuade your English advertisers to
translate the prices into American money ?
i Regards,
New Hampshire, U.S.A. ACE GORHAM
naaa
We have seen some of the handiwork of Mr. C. Field, of The Magicians’
Bookbinding Service advertised in our last issue, and we like it very much.
The Service is rather wider in application than the name implies, and
we strongly recommend our readers to get in touch with Mr. Field.
The outstanding item in the March issue of the Magical Gazette
(L.S.M) is a list of props put forward as the essential tools of the magician.
Wisecracks are here again in abundance, and an adventure with a silk.
“The Magi” also is to hand. The last of a good series on Dunninger
appears here. We learn that Bro. W. N. Alsop has now taken over the
Presidency on Bro. Halsall’s retirement. A silver bowl was presented
to Bro. Halsall at the A.G.M., as a tribute of the membership’s gratitude
for his service over the past ten years.
14
company disbanded.
an
Society REPORTS
The Scottish Conjurers’ Association.
On Friday, March 29th, the Associa-
tion celebrated its coming-of-age with
Dare and Cabaret. At 6.15,
ident; J. B.. Findlay, and
ä lady received the guests, and
ee ll settled down to an excellent
Hüner, After the Loyal Toast, ‘‘ The
President ” was proposed by Oliver
MacKenzie, of Edinburgh, who paid
eloqnent tribute to the work and
influence of ‘‘ Scotland’s Magical Book-
worm.” The President briefly re-
sponded: It fell to John Ramsay to
propose the toast ‘‘ Twenty-one To-
day,” and he took the opportunity to
outline the history of the Association
since seven enthusiasts banded them-
selves together and founded it in 1925.
Secretary Duncan Johnstone, who has
skilfully’ piloted the club through the
whole. of ‘its life, gracefully replied.
After Fred Erbe had nicely toasted the
ladies, the cake was cut by the Presi-
dent’s wife, and portions distributed
among the guests.
Excellent cabaret items were inter-
spersed in the dancing session which
followed. Arnold Crowther once more
demonstrated his versatility in an act
which included magic, ventriloquism,
chapeaugraphy and marionettes, and
Miss Jean Noble proved a charming
soprano. . Qliver MacKenzie. and Vice-
‘President Douglas Swanson each con-
tributed two favourite effects, and
George MacKenzie, as compere, kept
the proceedings moving smoothly and
at a fast pace. ‘‘ Auld Lang Syne”
brought the very happy event to a
close ; and, another milestone in the
‘Association's history being passed, the
A. Douglas Swanson
i The Associated Wizards of the South.
fn oar report of- the magical show,
it Whizz, we regret that no mention
Way p of. the act of Peter of the
ted the act with which they won
a son Cup. This`was quite
inad No fault attaches to the
A.W.S? tèr. Faulty sub-editing at
this office, was. the Cause, and we
according’ ologise.
“Wales Magic Circle.
-chairmanship of A. N.
Lovatt, Sam.: Hughes gave a most
interesting talk entitled “ A Word to
Beginners ” at the meeting held on
April 5th, and several other members
et, assisted by Hazel, who >»
aS ae
made worth-while contributions at the
close. ‘‘ Slates ” was another subject
of discussion, ‘‘ Jandar,” W. -R.
Watkins and Sam Hughes being much
in evidence. ` By. the results of a sale,
the Circle’s contribution to the C.V.B.
Fund was: brought to three guineas.
W. A, Carr
_ The Gutid of Magicians (Nottingham).
Burlesque was the keynote of the show
presented at the Associated Members’
Meeting on April 6th., Dennis Gardner,
assisted by his daughter Dorothy,
opened the show with a nicely varied
act, and he was followed by Tom
Harris, of Derby, scoring heavily with
the Miser’s Dream. The Nap Player’s
Dream, oddly enough, was one of the
features of Les Barlow's act. The
ventriloquial contribution of Arthur
Poyser, also of Derby, was uproariously
funny. Next followed The Two Toms
(namely, Boot and Middleton) in an
offering. chock-full of comedy, and Bob
Richardson then demonstrated, among
other things, Linking Rings and a
Tambourine Production. Charles Har-
rison, Jun., wound up the show with
a turn which included a nice silken
fantasy and wound up with the
Mammoth Memory Test. The busiest
man of the afternoon was Ken Burrows,
who, in addition to compering, operated
the tabs and provided the incidental
music,
Fred Crowson
SMALL ADVTS.
(3d. per word, undisplayed)
GOOD MAGIC, STAMP LIST.
DE HEMPSEY, 363, Sandycombe Rd.,
Kew Gardens, Surrey.
SALE or EXCHANGE. Renaud’s
Chinka, Tube of Tibet, Die Box, Mac’s
Cylinder and Cage, others. Send list.—
Wickerrson, 110, FERNTHORPE ROAD,
STREATHAM.
FOR SALE. Two pairs of Doves—-
two white, two fawn; . 25/- a pair or
45/- two pair.——TAYLOR, 34, Hytron,
MANCHESTER, 15.
Houmety Dumpty (Karino). Torn/
Restored effect for children ; sucker
comedy finish. Complete with tested
presentation routine, 7/6. Plays four
minutes. 100% entertainment value.
Limited. supply. —— 7, Beacm Roap,
LIVERPOOL 21.
SALE or EXCHANGE.—Conjuring
Apparatus, Books, Manuscripts, Pro-
fessional ‘‘ Mental Telepathy ” Acts, etc.
Lists 3d.— DEVILLE, 41, Longford
Place, Manchester 14.
15
-Vampire FINGER CHOPPER
The finest on the market. Made in gleaming solid
aluminium. A cigarette-is. chopped’ and then: the
magician’ causes blade to pass THROUGH’ HIS
“RINGER! Cannot go wrong. Self-working.. No
“gleights. A stage illusion for the pocket.: -= ->
Price 10/-. Post 4d.
Have you had “THE MAGICIAN’S ORACLE.”’?
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i Moseley, Birmingham 13.
A NEW ROUTINE FOR,
EVAPORATED MILK
Put the milk back ii the same ing ina huji;
orous and m manner. ama
conclusion to This well-known effect. Full in:
structions and patter 88, 6d. from
KEN BURROWS,
MAGIKRAFT NEWS.
No. 3 :
This will be ready shortly and will con-
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APRIL 20th, 1946.
/ MAGICAL WEEKLY
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No. 30 is this entertaining
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PRICE 5/-. (U.S. | dollar)
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Edited by GOODLIFFE. ` 20th APRIL, 1946. VOL I. No. 12.
URING his week in Birmingham, we had several welcome chats
with ‘‘ Woodward,” whose act we reviewed in our last issue.
He complained bitterly of the ruthless piracy of an originator’s
effects and routines—particularly routines.
He feels (and on reflection we iricline to agree) that perhaps too much
attention has been paid to the copying of the other man’s method of
working an effect; this is, after all, not known to the spectator, who
sees only the result. When the result appears identical with that achieved
by another performer, the layman has (we hope !) no means of knowing
that a new way has been used to produce it.
But if, using stock apparatus, ‘the ingenious showman contrives to
produce a totally different effect, many performers possessing the neces-
sary props at once twist their presentation to duplicate that effect,
without a thought that this is precisely the same thing as ‘‘ pinching ”
the method—-a practice normally frowned on by magical societies.
This applies even more strongly to the use, without permission, of
complete routines—the combinatidn of two or more effects to form a
pleasing whole. Frequently, just as much time and thought go into the
routining of an act as into the invention of a new “‘ rising card ” gimmick,
yet the man who “‘ lifts” the routine (because he possesses the props
used in it) goes unscathed, whilst the unauthorised user of the gimmick
is drummed out of his society with full ceremonial !
We were able to tell Woodward that the British Magical Society
made provision for the registratioh of original routines, presentations
and patter stories no less than for that of methods, but we do feel that this
is not enough. There is far too little of the enterprising spirit amongst
our present-day performers. Everybody works the same tricks in the
same way. Some do them superlatively well; many do them—well,
many do them. We should like tö see more originality and drive.
Since No. 1 of Abracadabra saw the light, our experience of magical
shows—always fairly extensive—hts been terrific. We can now list
twelve effects which we will bet on s¢eing at any magical society show, and
if we spot ONE touch of originality in effect, routine or patter, we are
surprised indeed. j
Come on now, magical society: members and readers of this sheet :
you can do better than that! Givé your poor Editor something fresh to
see. (For your information, we shall be at the Magic Circle Festival,
April 27th; Leicester Revue, April 29th; Cheltenham Competition,
May 3rd-5th ; Nottingham Guild Dinner, May oth ; Northants Magicians’
Supper, May 11th; Plymouth area, May x18th-25th.)
3
FROM THE DIARY OF A COUNTRY
~ NEOPHYTE—V.
By Capt: Trevor H: Hall, A.I.M.C. :
MÖRE facile pen thän miñe has. ‘described in detail the N. A M. S.
week-end at Bristol, but I am bound to record in this diary of
an amateur magician one ot "two personal: ‘impressions of an
outstanding event.
I have been more than ana ‘in my magical contacts, but I can >
‘recall no more pleasurable experiences than those given to me at Bristol
by His Honour Judge Wethered, O.B.E., who is an Hon. Vice-President
of the Magic Circle and the President of the Bristol Society. Despite the
fact that as official host he was a very busy man, he yet found time to
invite Edgar Shackleton, Roland Winder and myself to Gort Lodge for
the whole of Saturday afternoon, for a feast of magical discussion and
demonstration which will always give me pleasure to remember. I have
been a student of torn card tricks for a number of years, and was under
the mistaken impression that I.knew, most of the possible artifices and
subtleties available to those addicted to the vice of destroying and
restoring playing cards. Judge Wethered’s method, combining perfect
sleight-of-hand and a number of new and brilliant ideas, is the most
logical, convincing and mysterious version I have ever seen, or ever
hope to see.
My enjoyment of His Honour’s beautiful programme of magic at the
Royal Hotel on Sunday morning was, of course, shared by the delegates,
and I have never seen more unanimous delight and enthusiasm over a
conjuring performance. His brilliant routines, delightful presentation
and quietly confident style combintd to bring the house down. His
Rising Card Trick is as near an approach to real magic as I have ever
witnessed. When he explained his procedure. to me in detail afterwards,
I was more surprised than ever. His,version of the shilling and envelopes
is a lesson in conjuring,
I need say little of the night show. at the Redcliffe Hall, as it has been
reviewed by Goodliffe. It was generally of a high standard, and some
of it undoubtedly excellent. One aet was, however, distressingly dis-
appointing. I wish I could find out,the name of the quaint little fellow
who buttonholed Cecil Tebbett and myself at the hotel afterwards and
asked us (literally) not to be frightened, but to speak up and tell him
bravely what we thought of the show ! ! I endeavoured to pluck up the
necessary courage and transfer. my véice to my hard palate to oblige, but
without, I am afraid, making much, of an impression.
I missed the Saturday night g¢t-together, Judge Wethered, E. G..
Brown, Roland Winder and I, finding ourselves surrounded by beautiful
women and vanishing alarm-clocks both disturbing influences), silently
withdrew to our chamber, as it weft, to watch Edgar Brown do card
tricks which were obviously i impossil¥ le. As far as I was concerned, the
hunter was home from the hill, for this was really what I had come 215
miles to see. Edward Brown makes:me want to give up magic, and yet
I could watch him for ever. While I puzzle over how to find a thought-of
card, he seems merely to. bottom-palm it without any intermediate
operation. A four-ace routine he agcomplishes simply by dealing the
four aces face-up from a borrowed pack, with three face-up cards on each,
and ordering the aces to assemble inany heap indicated—or so it seems
to me. This session, all to short, broke up at 3.45 a.m. —
4
i
THE RISING CARDS.
Production Rights Reserved by Jack Le Dair.
NCE again I am greatly indebted to my friend J. E. Hammond,
who has already contributed a valuable item to this book. He
was very largely responsible for the following version of the
Rising Cards. I have added details based on the experience gained by
performing this trick hundreds of: times. Such details have overcome
the snags I had met.
The Rising Cards is probably: the most popular of all card tricks
and the number of methods which have been devised to produce the
effect of chosen cards rising from a houlette, glass tumbler, box or even
the hand is legion. Yet despite ‘the variety of method, the essential
feature in any one is the manner in which the cards are made to rise.
Briefly, in the following method, ‘four freely chosen cards rise from a
closed box which may be stood in an isolated position.
As the cards used are not alf they seem, I will first describe the
pack from which the four cards äre to be chosen and then the cards
which actually rise.
The first pack consists of four sets of duplicates, ten in each set.
These are separated by three long cards which are different and the
bottom card of all is different from all the others. In other words, eight
different cards are to be found ih this forcing pack. To commence,
the performer lays out this pack into four heaps, taking care that the
audience sees the bottom card of each heap. Four members of the
audience are each asked to select: any number between Ir and ro and
cards are counted off and placed fade downwards until the chosen number
is reached. In each case the chosen card is shown and placed aside.
The rest of the forcing pack is now ‘‘ switched ” for an ordinary pack
minus the four chosen cards. This unprepared pack is fanned and the
four selected are pushed into it, oné by one, at different points. Normally,
I name each card as it is pushed | home, ‘and then hand the pack to a
member of the audience to shuffle. While the pack is being shuffled
I show the box from which the cards are to rise. The box is seen to be
empty, and when the cards are returned to me I drop them inside it
and place the box where it can be geen by every member of the audience. |
Throughout this time the hinged lid of the box has been kept open
for a reason which will be given gai When I am ready to proceed
the lid of the box is closed and I call on the first card chosen to rise.
No sooner are the words spoken than the card begins to push up thé lid,
which, at a suitable moment, I throw back to take out the card.
The lid of the box is again closed and the second card, usually the
5
Four of Spades, is asked to rise. When the card has risen and been
taken from the box it is found to be the Five of Spades. This card has
a loose pip stuck lightly in the centre with the aid of a small piece of soap.
Holding the card at the sides by the thumb and second finger of the
left hand, the forefinger from behind gently pushes the centre of‘ the
card forward so that it bulges slightly. The forefinger of the right hand
flicks the pip off and the card has immediately changed to the Four of
Spades. This has never failed to evoke a loud laugh. It is worth
mentioning that by employing this simple device.a Seven can be changed
to a Six, an Eight to a Seven or a Three to a Two. I recommend the
use of the black rather than the red suits.as the removal of the unwanted ~
pip is more apparent.
The third card, usually a court card, rises with its back to the
audience, but when this is pointed out and it is asked to turn round, it
does so.
: My last card also provides a surprise. On being told to rise the
card obeys, but is found to be the first chosen card again, the Nine of
Spades, and is told to go down and send up the correct one, the Seven
of Clubs. This is done at once without me going near the box.
As my readers will have realised, there has been added to the
effect of the rising cards a change, a reversing card. and a “‘ falling”
card. This variety in the results produced in the course of one trick
immeasurably improves it in presentation, but makes the description
correspondingly more difficult.
PREPARATION.
We will assume that the audience has chosen the following four
cards in the order given: Nine of Spades, Four of Spades, Queen of
Hearts and the Seven of Clubs. Naturally, you may choose which cards
you like to force, but in the following version the second card should
be a Four and the third card a Court one. All the cards I use measure
akin. x 38in. Before passing to the, mecessary work on the cards, two
strong silk threads are needed: one 38in. in length and knotted at one
end, and the other 34in. long and unknotted.
The Nine of Spades is slit cleanly. with a razor or sharp knife, as
shown in Fig. 1, and the shorter thread is put into the slit so that about
one inch is left protruding from:the top of the slit and on the face of the
card. A Seven of Clubs is threaded with the longer thread through the
quarter-inch slit, as shown in Fig. 2.
Fic. I Fig.22. FIG. 3.
Three fulcrum cards, which maybe of any suit, are cut as in Fig. 3,
the top curved portion acting as a guide to the threads. The lower
curve clears the threads. from the bottom of the box and thus avoids
friction, which would occur if the ¢ard rested on their bottom edges
throughout their width. The Queen of Hearts is a spring hinged flap
6
card, which, when the flap is down, appears to be the back of a card.
In Fig. 4 I give the manner in which the eight cards are threaded,
and for the sake of clarity I have shown them edge on and apart from
each other, though it will be obvious that during the trick they are close
together. An important point to ‘note is that the slack of the longer
thread is retained between the Seven of Clubs and the first fulcrum card.
The fourth fulcrum is a polished wire over which the threads run down
to the winding mechanism. After the last card has risen and been
taken from the box there will remain inside the slit Nine of Spades in
front of three fulcrum cards, as all the rising cards but this one are dropped
into the space containing the pack.
It now remains to describe the box. This I
do not propose to do in detail, for if any of my
readers decide to build a similar one they will
be better guided by the general lay-out. The
salient features are that the box will need to be
about 3 inches by 3% inches in:cross section
and about 6} inches high. The interior should
be painted a dead black and the exterior to
your own taste, but preferably with the edges
distinctively marked, say, in white. Either a
plastic material or wood may be. used. ‘
As will be seen from Fig. 5 below, the box is really one of three
compartments: Ais that containing the cards which are to rise ;
B contains the winding apparatus, and C the shuffled pack. Of the
last, it may be added that it is desirable to have two small strips of wood
glued vertically to the back to prevent the threads becoming stuck.
As the thread passes downwards‘ it will go through a hole which is
' centrally situated so that the cards are made to rise
evenly. The clockwork mechanism should run at the
correct speed, but an equally important factor is that
it must be niiseless.. Absence of sound can. be
obtained by mounting it on felt. The box should be
so made that the winding mechanism can be taken
out for winding; cleaning and adjustment. The last
important point is that the performer stands at a
distance when the cards rise and only stops their
movement by throwing the box lid back. A strong
thread is fastened to a lever connected with the
mechanism, the other end is passed through a small
: s hole in the bottom corner of the lid. When in the
Fic. 5. opened positiona knot is tied on the outside. A small
. piece of wood is pushed into the hole, thus tightening
the thread but permitting it to be capable of movement whether the lid is
open or shut. If one wanted to commence the trick with the lid closed
a pull on the knot would draw the,mechanism lever up and stop it from
working. The act of opening the box draws in the surplus thread and
when closing the lid sufficient thread is left inside which sets the winding
mechanism in motion.
FOURTY SALEM, of petted vire.
et
Recently, Deville sent in a small ad. of Thayer’s ‘ Spirito ” (£12),
asking that it should appear in twp successive issues. It appeared first
in our number of April 6th. On the following Wednesday morning, a
postcard arrived with new copy—the item had already been sold.
7
CHATS at the BENCH—I.
By Leonard Marshall.
“ Get your facts first and then you can distort ’em as
much as you liké.””—-MARK' TWAIN.
T is a recorded fact that many of the old-time magicians possessed
their own workshops, and, in addition to employing craftsmen,
were expert themselves with the tools at their disposal. It is
also a fact, no doubt, that many present day magicians possess workshops
_ and, to a lesser or greater degree, are expert therein. But, on the other
. hand, there are very many who, whilst they may be excellent magicians,
have no idea at all on how to make up new tricks of their own invention
or those described in books, or even ‘how to repair their own props.
It is hoped that this series of articles, by passing on the writer's
experiences, will interest the man who has never handled a tool and
encourage him to set up his own workshop. Perchance even the expert
may find hints and tips of value to him. One has only to examine some
of the “home-made ” tricks and props offered for sale in the average
magical society sale to realise that a large number of our brethren should
derive some benefit from these ‘‘ chats.”
Some of my readers, probably, ‘have taken care to cultivate some
poor mutt who has a workshop and who is tolerably competent with his
tools and materials. Having been one of these ‘‘ poor mutts ” myself, it
has been my habit whilst repairing or making some piece of apparatus
for a helpless brother (!) to chat at thé: bench and endeavour to interest
him in the mechanics of the job in hand. I suggest that when reading
these ‘‘ chats ” you should imagine yourself transported to my workshop,
taking heed of the hints, tips and instructions which I am passing on to
you. They are all practical, having been tried and tested by me during
my twenty-five years as an amateur ¢raftsman. I suggest that we start
these talks with a discussion about the necessary equipment and tools,
and then pass on to the use of them with hints on working in: wood,
metal and other materials, introducing odds and ends of information of a
practical nature. J would emphasise the word “‘ practical,” for that is
to be the keynote of these chats. ©
The Workshop. k
The first consideration is, of course, the workshop itself. The ideal
is a nice warm room in the house, the door of which can be kept locked
and into which the good lady of the ‘house just simply will not dare to
venture. But, alas, to most of us that is Utopia—what difficulty we
have experienced i in obtaining the space for a den, if only a cupboard
under the stairs, and how many time: have we been told, “ I’m sick of
your conjuring mess all over the place.” We may be allowed to ‘‘ make
a mess ” in the attic, although this location is far from ideal for a work-
shop, as any hammering or vibration of machinery will reverbrate
throughout the house and possibly wake the baby. Later I will give
some hints on deadening the noise from such a workshop.
My own solution is a shed in the garden with electricity laid on and
having good-sized windows on two sidés. It is really essential that there
should be plenty of light, both natural and artificial and that the shop
should be heated. The a is not only for the comfort of the worker,
8
but also to assist in protecting his tools against their arch enemy, rust ;
but more of this subject in a later article.
Just before the war I visited an amateur craftsman who was for-
tunate enough to be in a financial position which enabled him to carry
out his ideas as to his workshop. Facing south, he had built in one
continuous building a garage, a workshop and a greenhouse. In the
winter the greenhouse was heated by a hot-water system and the pipes
were carried right through the workshop and the garage. By having a
glass partition between the shop and the greenhouse and-a large window . `
on the front which opened right out, he was assured of a maximum amount
of natural light as well. Unfortunately, during the recent spot of trouble,
a “‘ doodle bug ” decided to cut out in his vicinity and his workshop was
one of the lesser catastrophes of that particular incident. This idea of a
workshop might well be borne in mind by some of our brethren who
have been doing so well lately (you know—‘‘ Three shows a day for weeks,
old boy ”).
The fine work which. is always necessary in dealing with magical
props does demand a good light concentrated on the work. I always
use a 100-watt. bulb well shaded from my eyes. If you have a room or
an outside shed set aside for a workshop, then my idea of a “‘ travelling
light ” might appeal to you. I can assure you that I find it of great
advantage. Purchase sufficient length of curtain rail (I notice that a
certain popular store has supplies again now) to go right round the
workshop and construct, or have made for you, a ‘‘ carriage ” as shown
in Fig. 1. Take a piece of metal, say one-sixteenth of an inch thick,
5#ins. by zins. and round off two corners; jin. from each edge drill
four holes one-eighth inch diameter and on the side opposite to the
rounded corners drill an additional hole
of the same diameter midway between
the holes already drilled. When purchas-
ing the curtain rail obtain three“of the
runners to which the curtain is nérmally
attached ; open them out and take off the
small rings, which are not required ; slip
the loops of wire through the three holes
prepared and again close up the runner
to its original position. These are marked
“A” in the sketch. The remainder of
the “ carriage ” is made of fairly stout
wire. Two straight pieces are taken from
the remaining, two holes (I haye not »
mentioned any measurement for these, as h
it depends on the lay-out of a particular Fia. |
workshop and railway). These are joined 4°
by a circle of wire which carries another
circle in which the lampholder is sécured. Have sufficient flex attached
to the holder so that it will reach‘ to the furthest point on the railway.
When working near the ceiling röse it is a simple matter to provide
means to hook up the surplus flex... A mere touch then suffices to move
the light to the best position forthe job in hand.
This railway is simple to fix ot to the sloping roof of a shed, but in
the case of an indoor room it is necessary to fix battening (narrow strips
of wood) a foot or so off the wall to which it may be attached. Fig. 2
makes this arrangement clear and*indicates how the battening may be,
fixed to the picture rail and the cross pieces attached by means of angle
brackets. If there is no picture rail, then small pieces of the battening
must first be secured to the wall. This method is also shown in the
sketch.
Before leaving the question of electricity I should mention that
it is as well to have two or three points available in the workshop,
Personally, I have wired up three switch blocks on to a panel by. the
side of my bench which I find invaluable. These I use for my electric
fire, soldering iron, portable light (to be described later) and the electric
motors for my lathe, drilling machine, grinder and polisher.. Of course
these are not all in use at the same time, and I find three points to be
ample.
Well, it is time to close the workshop for to-day. If you care to
look in in a fortnight’s time I hope to continue my ‘‘ Chats at the Bench ”
with suggestions for fitting up the workshop.
eo Ny
© Preture Rail
j
Battening
Railway
Su arts Gf,
“ne Picture Rail
Many member societies have expressed their thanks and appreciation
for the Panel of Lecturers arranged by the N.A.M.S. The Secretary, at
2, Boston Street, Nottingham, will gladly furnish the list of lecturers to
the Secretary of any society anxious to avail itself of the service.
A copy of Wilfred Tyler’s Silkworm Suzie, issued by Vidu, has been
submitted for review. It is a twentieth- -century routine for children’s
entertainments, a drawer-box and a,spring snake building it up into a
Sa _very laughable effect. It reads like great fun, and isn’t at all difficult.
>. IO
A
tributes were sent in the name of fhe Committee and Members.”
Both Sides of the Footlights.
THE STRANGE EDNA BOON, “ UNUSUAL.”
(Grand Theatre, Basingstoke).
S the curtain goes up, Edna Boon, dressed from head to toe in black
and wearing a black mask, is discovered facing a mocrophone.
After a pseudo-scientific discourse on numerology, and especially
on the magical qualities of the number 3, she arose, and, throwing aside
her black cloak and mask, stood thete wearing a glimmering white dress—
shades of N’Gai !—a young and fascinating enchantress.
Fanning a ‘pack of cards to show all different, she came to the run-
down and invited anyone merely to touch the back of any card. It
proved to be the 3 of Diamonds. Again, a second time and a third, the
3 was chosen. Three envelopes on a thin tray were next introduced.
Two of the envelopes were chosen by soldier volunteers. Need I tell
you that the envelope left to her contained a £r note, whereas those
chosen were found only to contain pieces of paper? As a recompense
to the unfortunate losers, she threw them a packet of twenty Players
each—a nice gesture, I thought.
Next we were shown three apples. One was chosen and left in full
view on the table, the other two being thrown to the audience. (Your
scribe caught, and enjoyed, one of them.) On pieces of paper, the
numbers 1-9 were written in the order called by the audience, and the
slips dropped into a little black"bag. One of the slips was chosen—it
bore the- figure 4. The fortunate. individual who had called out the
number 4 was invited on to the stage. The third apple was cut open, and
two florins found within. They were presented to the lucky volunteer.
To conclude the demonstration, a small piece of rope was taken and
a loop made at one end by tying a knot ; the loop was cut and the rope
was wound round her hand. On being unwound, the knot -had vanished
and the rope was whole. I felt the rope effect would have; been improved
had one of the more up-to-date methods been employed.
The whole act was accompanied by a serious style of patter with
one or two remarks in lighter vein=-Eve tempting Adam with the apple,
etc. It was nicely put together attd much appreciated by the audience.
Whether the act is in its Dan: or not, s gond luck to you, too, Edna.
Donald G. Crombie
.
Very regretfully, we have to record the death of J. Ashdown Sharpe,
Past President of the British Magical Society, and personal friend of many
magicians up and down the country. David Valley; for many years a
close friend of his, writes :—
“ It was: with deep regret that; I heard of the death at his home in
Walsall on Sunday, April 7th, of my old friend Ashdown Sharpe. After
such a long and. weary illness, it may have been a happy release, but one
cannot help feeling a sorrow at the:final passing of a member who, since
he joined the British Magical Society in September, 1928, had been a
cheerful, willing and extremely hard worker in every function of the
British Magical Society.
‘“He served as President in 1935-36, and will leave with us all a
memory of a cheerful face, a pleasant personality, and a readies to help
everyone who had contact with him.
‘““ The Society was represented. ät the funeral on April ratte and floral
\
-ALL- IRELAND CONVENTION
"By NEIL A. PHELAN.
HE All-Ireland Convention of the Society of Irish Magicians began
at three o’clock last Saturday, the 13th April, the venue being
Jurys Hotel, Dublin. The ‘afternoon session was devoted to
the Juvenile Competition, and the standard of performance was. high.
The final decision of the judges was-that the over-fifteen Shield should
go to C. McSherry, and the under-fifteen Shield to R. Gilbert. Tea
followed at 5.30.
At seven o’clock the Night of Magic began before a packed. house.
Compered by J. E. Malcolm (It’s All Done by Mirrors), the show was a
strong one and went smoothly throughout. J. A. J. Palmer (Jappe)
opened with an act notable for its magnificent presentation. Special
mention must be made of the 3-to-1 Ropes and the Dyeing Silks, which
were done in a manner to be long remembered. Giant productions
followed, and all was presented in a beautifully clean and mature manner.
Neil Phelan followed in’ a manipulative act in which the Linking Rings
was the strongest feature. Evaporated Milk closed the act, the cone
disappearing in a flash.
Albert Le Bas (Vandini), only recently up from the juvenile section,
showed promise of becoming one :of Ireland’s foremost performers.
Opening with his ‘‘ Invisible. Dog ”’ effect, he performed an act full of
wisecracks and humour, and fooled even the magicians with 30 Cards
and Cards Up The Sleeve. . J. E. Malcolm closed the show with an act
noted for being most original, mystifying and entertaining. His torn
and restored paper must be singled out for special mention—it was
typical of all his work :..a-masterpjece of smooth presentation.
As the guests left, little knots of people were observed to remain
behind—the experts who conjured for. conjurers. In one corner, Chinese
Rings were seen dissolving.as they should ; in another, card magic was
being exhibited by Hughie Lambert—-an acknowledged expert. Midnight
was long past when your. reporter staggered home. But at 10 o'clock
next morning, enthusiastic magicians ‘were again at work, and so it
went on . . andon .. andon .
Z——Z——z— 2 Excuse me Im ‘tired |
Did you hear Leo and Miss Tree in the B.B.C.’s ‘‘ Monday Night
At 8” programme last: Monday evening? They held the star spot of
the programme, and held it well.
Fabian bumped into Paul Capser the other day, and learnt that
Paul had recently purchased Goodliffé’s Leg Chopper from Tubby Allison
of The Star Magical Manufacturing Company. Verdict: Idea excellent,
execution, workmanship, | finish Eii Altogether, the purchaser’s
best-ever magical ‘‘ buy.”
N OTICE.
The Cotswold Magical Society regret that'‘no further applications for Tickets for
The Magicians’ Soiree and The CotswoldiCup Contest can be considered. Both
houses are entirely SOLD OUT. A few tickets are available for “ The Cotswold
Competition ” on Sunday, May 6th, at the Empire Hall, Cheltenham. Application
should be made immediately to W. H. Tyler, 1, Terhil, Pitville Circus, Cheltenham.
N Do not forget to visit The Magical Traders’ ixhibition—First time in this country.
` e
Se
~N
YOU FIND YOUR CARD.
By G. C.: Alyn-Jones.
PACK of cards is shuffled by the performer, who then requests a
spectator to choose one card, and after noting it to replace it
in the pack. The spectator is then handed the pack and
instructed to deal it out into three"heaps on the table. This done, he is
asked to assemble the heaps in any order he chooses, and then to spell
out a sentence letter by letter, dedling the cards as he does so. When
his sentence is completed, the ‘last ‘card dealt is found to be the one he
selected.
The beauty of this brief routine is that, after the card has been
returned to the pack, the performer doesn’t handle anything further.
On the card’s return, the performer brings it to the top. Thus,
when the cards are dealt into thrée piles, the chosen card lies at. the
bottom of the first. It is only necessary, then, for the performer to
notice in what order the three piles are assembled. On this assembly
' depends the sentence that has to be spelt to reveal the card.
If ‘the first heap is placed om top, the necessary sentence runs:
Turis: WiLL Finp My Carp. ne
If the first ‘heap is placed in se¢ond position, then the formula runs :
THis Witt Finp My Carp IF I SRELL CORRECTLY.
If the pack is assembled with: the first heap at the bottom, it is-
clearly best merely to turn the pack over and reveal the card, but a
third sentence runs: THis WILL Finp My Carp if I SPELL CORRECTLY ;
Ir WILL BE TuRNED Now.
THE MAGICIANS’ ARMS.
ILFORD HUTCHINSON whites: I congratulate Mr. Alyn Jones
on the above effect, which is a variation. of The Moses Inn,
published in ‘‘ The Conjurers Chronicle ” many years ago.
I would suggest that the final production of the four Jacks is not
quite logical i in the way described,. and under certain conditions in which
concert artists, have to work there would be every likelihood of the
‘concealed box.” at the rear of the board being seen by some member
of the audience.
_ -In my opinion, a much better finish would be to have a compartment
in the top centre of the board, with a door marked “‘ Attic.” After
calling attention to the four bedrodms at the start of the effect, open the
_ attic door and show the attic empty. aft the finish, open the door and show
the assembly of the Jacks.
The construction presents no ifficulty ; ; I Cader the climax more
fitting, and the method workable in any room.
Kg
Where to See Chem
Week Commencing April 22nd.
( Artists are invited to acquaint us of their advance bookings).
ATTERCLIFFE (Palace). La Celeste, The Mysterious.
BuRNLEY (Victoria). Voltaire. z
CHATHAM (Hippodrome). Merlin, Prince of Mystery.
DONCASTER (Grand). Woodward, World Mystery Master.
GLascGow (Metropole). Kardoma, the Patriotic Illusionist.
LEITH (Gaiety). Cire, Emperor of Mystery.
LEwIsHaM (Hippodrome). Jack Le Dair.
PRESTON (Palace). Jon Evans and Marie, Rhapsody in Magic.
SCARBOROUGH (Aracdia). Weston Vivian, Sorcery with a Smile.
SHEFFIELD (Empire). Benson Du Lay, the Slick Magician.
KEEP MAGIC CLEAN
By Stanley. Thomas.
AGIC still flourishes despite the age-old plaint that the exposer is
killing it. Nevertheless, the exposer does no good to magic
and is generally branded asa rat. There is, however, another
variety of magical vermin who is doing very real harm and of whom
little has been said. I refer to the dirty performer, the performer who
uses dirty patter or dirty actions.
First let it. be said that there is a difference between the risque gag
which can safely be put over by certain performers and the gag which is
just plain dirt. There is no possible excuse for the introduction of
what are known as lavatory jokes into any performance,
Only recently I saw a conjurer fuin his act with a most filthy and
objectionable action. During the course of the Aerial Treasury a stream
of coins was apparently produced from first the seat and then the front
parts of the body of a stooge standing on the stage. It is no excuse
that comedians on:the same bill vied with each other in the blueness of
their material.
I can well imagine that someone seeing this act would wonder if the
conjurer, whom he was thinking of engaging to entertain his own guests,
would do the same thing; and finally decide that perhaps after all it
would be safer not to have a conjurer.
The great thing about magic is that it is generally looked on as clean
entertainment. An action such as that mentioned above brings discredit
to the whole profession, and so while’still giving eye to the exposer, let
us keep a sharp watch on that other menance—the Dirty Performer.
The MAGICIANS’ BOOKBINDING SERVICE
THE SPHINX Cloth - 5/6
MAGIC WAND } Pomad { De Luxe 6/6
Let us know your requirements
C. FIELD, 42, ALDERSON ROAD, SHEFFIELD 2.
4
ocielgLDUNTS
Newcastle - on - Tyne Magic Circle.
Bro... Rowland gave an entertaining
lecture ‘at the meeting held. on: April
‘Oth, his ‘subject being Make-up.. He
“dealt with straight make-up, and gave
“hints and -demonstrations for several
‘characters, including a- Chinaman and
a tramp. Bro, Webb. was the: willing
victim for the demonstrations.
A. Duffel
The Mystic Seven of Dewsbury
have resumed their headquarters at
the Scarabro Hotel, where they will
be glad to welcome old and new friends. `
Much magic was demonstrated at the
close of the A.G.M. on April 2nd.
Ronald Hill, a young and enthusiastic:
new member, gave a pleasing pro-
gramme of standard effects, and George
Sutcliffe followed with Baffling Bun-
nies. Maharg showed Ribbon Fan-
tastique, Cyro a new rope effect, and
Windsor’s Pink Elephants. and Purple
Cows were: demonstrated by yours
truly,
: Harold G. Beaumont
`. The Plymouth Magicians’ Club. Full
House notices were in order for the
public performance given by members
of the Club in aid of the. Prince of
Wales’ Hospitals on April 10th.
During. the evening, the Appeals
Secretary of the hospitals was handed
a cheque for £41, the proceeds of the
concert.
The programme opened colourfully
with “ Siks from the Rainbow,”
presented by Eric Wraight, and F. J.
Anderson (Andee) followed with a
mammoth act which featured Clock
and Bell and Giant Card Riding.
Margaret Southard, soprano guest-
artiste, then rendered some excellent
numbers. Coins and Billiards Balls
were the main props in the manipula-
tive act given by B. W. Ricks (Rex).
Then came Margaret Watts, the
Club’s youngest member, to give a...
smooth rendering of general magic
CLOTHES. OF DISTINCTION—By an `}
artiste of repute who has starred in.
the profession—who is also a practical <",
tailor and outfitter—and can give you
a service “ second to none.” —JAMES A.
ENKINS, 14, Ethel St., Birmingham 2.
elephone Mip. 5254.
which culminated in the production of
the Flags of All Nations. Her act
was very well received.
Will Atkins, a new member, proved
the high-spot of the evening with his
masterly ventriloquism and comedy.
Ivy Mason Whipp then stepped out of
the role of accompanist to give a fine
rendering from Tchaikowski. The com-
pere was the next to step out of
character.. Fred Cavendish, who had
kept the audience regaled with. stories
between the turns, now presented a
magical act which featured Snooper
Snooped.. To wind up an excellent
bill, the President, ‘‘ Watts the
Magician,” presented the Headless
Lady and Sword Cabinet illusions.
Fred Cavendish
The British Magical Society. The
sale of Books and Apparatus on April
9th realised about £40 for the vendors
and afforded plenty of entertainment
for more than sixty members, particu-
larly when auctioneer Bertram Evans
became confused in the mind of Stanley
Marelle with the vent. figure he was
selling at the time. George Devereaux
performed his customary duties as
clerk, John Knox and Eric Hampton
proving most efficient as runners and
change-bearers.
Arthur Powell
SMALL ADVTS.
(3d. per word, undisplayed)
GOOD MAGIC, STAMP LIST.
DE HEMPSEY, 363, Sandycombe Rd.,
Kew Gardens, Surrey.
FOR SALE — Several American
Books, Recent, New Condition.
WANTED—Lane’s Comedy Magic and
Ideas No. 4. List S.A.E.—H. G.
BEAUMONT, .9, PLANE STREET, Hup-
DERSFIELD.
WANTED—Card Index Files with
duplicate packs, Stick to Table, Self-
opening Parasols, any kind of Spring
Goods. Good prices paid. — GEORGE
Mosy, c/o Mrs. Brown, 11, ARDEN
STREET, EDINBURGH, 9.
HEAD GUILLOTINE, will fit on
any table, highly portable, well made
and decorated—£4 10s. Changing Bags
with handles (rim and fittings of
copper) 25s. Please write for list. No
callers except by appointment.—Joun
KEMPTHORNE, 17, SAnpy LANFE,
PETERSHAM, SURREY.
15
tee agreed e py a BH ee ee
l
i
{i
p.
f
[F-n is new unusual
Tricks that work and
-are sure fire hits—
You are looking for
—Better get on our
mailing List.
Send in your name and we
will send you our catalog and
‘an 8-page printed circular
each month—All FREE of
charge.
We are leaders in . .
GOOD—NEW—MAGIC.
U. F. GRANT
Box853, HILLTOP STATION,
CoLumeus 4, Ouro, U.S.A.
A NEW ROUTINE FOR
EVAPORATED MILK
Put the milk back into the same jug in a hum-
orous and mystifying manner. A smashing
conclusion to this well-known effect. Full in-
structions and patter 88. 6d. from
KEN BURROWS,
Woodford Road, Hucknall, Notts.
5 DAVE N PORTS,
Vampire FINGER | CHOPPER
The finest on the market. Made in gleaming solid
aluminium. A cigarette is chopped and then ky
magician causes blade to pass THROUGH S
FINGER! Cannot go wrong. Self-working. No
steights. A stage illusion for the.pocket.
Price 10/- Post 4d.
Have you had " THE MAGICIAN'S ORACLE.” ?
Our New Catalogue No. l, ready NOW. Four
issues per year for 2/6 post free.
E 200-202, Rege ent St., LONDON, w.t
A ur oni
"> PLUS TABLES are new and useful, being
> Soph table tops about one square foot, art-
isticly draped, complete with an attachment
-= for fitting them to the top of any chair back.:
A most useful addition-to your kit. Price 8/6
each, post free. Still selling — HAPPY
BIRTHDAY —the -new -trick with | spring
flowers, and complete range of the "best
spring flowers. In preparation or
‘i Quits—the Magicians Cash Quiz, and Hamlyn’
+, Parsons U.N O. Speller.
OTON, Notts. England.
STAR MAGICAL MANUFACTURING t0.
We are out to serve those who want the ‘best.
Should you be dissatisfied with anything purchased
from us your purchase price will be refunded in
SEND STAMP FOR CATALOGUE
Only Address: 50, St. Mary’s Row,
Moseley, Birmingham 13. ,
SEE YOU AT
CHELTENHAM
We shall beat the Trades Exhibition
and shall be pleasd to meet and talk to. |
Magikraft clients and others. We catitot 1
show a big stock because we sell as fast’.
as we make, but sufficient will be there
for you to see for yourself what is
MAGIKRAFT QUALITY. (Are'you on
our mailing list ?),
ERIC C. LEWIS
Magikratt Studios, .-
32, Vernon St., NORTHAMPTON
Te) HARRY BOSWORTH, 34, Carrfield Avenue,»
APRIL 27th, 1946
CATALOGUE OF TRICKS AND BO
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Subscription Rates (post free to any address in the world): 52 weeks £1 18s. 4d. ($6.75) ; 26 weeks `
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THE ONLY MAGICAL WEEKLY
IN THE WORLD
hand into the right-hand trousers pocket, leaving the real cigarette
behind and producing the box of mdtches. Light the cigarette. Pick
up the envelope, then commence to ough violently, looking intently at
the cigarette and at the person who lent it.) ‘‘ I hope the other four were
alright, sir.” (Blow smoke on the etivelope and open it.) ‘‘ The trick
is now completed. We have the card fully restored with the exception
of the one piece retained.” (Open envelope.) ‘‘ Instead of the card,
I have here the tobacco of the cigarette.” (Pour tobacco from the
envelope, tearing the latter up and throwing the pieces away.) ‘‘ Now
T’ll see what I have been choking—sfnoking.”’ (Open the cigarette and
roll out the card.) ‘‘ And here is the:card fully restored with the excep-
tion of one piece. Would you please'allow me to showit, sir ? ” (Take
piece from the spectator, fit it, show'it to the audience and then return
it to the spectator.) -‘‘ Does that fit alright, sir?” (Turn to the
audience.) ‘‘ Quite right.” “i
— a
I have had some experiences with this trick which may interest my
readers. So many people are wise tothe wiles of conjurers who ask them
to select a card. Others, more awkward and not “sporty,” do their
utmost to queer the conjurer by trying to get a card from another part
of the pack. The top card is frequeritly sought for. This is easily over- `
come by letting the awkward cuss retain the card’ which he has chosen
while proceeding to another and more Helpful person. In music-hall work,
where one is timed to a minute, it is hot possible to run around trying to
force a particular card. To combat this, I usually have a few duplicate
cards in the pack to work on. With this safeguard one does not feel too
uneasy if a card is taken one or two'‘away from the desired one. One
method I have adopted is to have a ‘’ short ” duplicate about the centre
of the pack, the others being on the tgp. When I make the pass to bring
the top to the centre I use the ae card to find the centre. Thus a
short card, a duplicate, is brought to the top. Then I have a few chances
of getting it away. It simply means'a pack of short cards if one wants
to work the trick 52 times. Ee
I remember presenting this trick at the New Empire, Cardiff, on
one occasion when an amusing incident occurred. The theatre, as some
of my readers will recall, has a most elaborate run-out from the stage
to the auditorium, which played an important part in the trick. The
spectator I approached proved to be one of those awkward persons
conjurers meet when trying to force a card. In this case, he tried every
way he knew to avoid having his choice made for him, even to the extent
of trying to snatch the pack from my hands. Thinking quickly, I spread
the cards out on the platform of the run-out and asked the awkward
spectator to take any one he wished. He did so, and a quick glance
through my pack enabled me to brig the card I wanted him to select
to the top of the pack. This would Have enabled me to force the desired
card on a more obliging member of the audience, but noticing that my
opponent had not yet looked at the ¢ard I held my hand out for it, and
for some unknown reason he handed it back without a murmur. Possibly
he felt nervous and defeated, so I asked him did he remember the name
of the card, and while speaking I made the change. He replied, ‘‘ No,”
so I answered that the idea was that he should take a card and remember
8
GREAT MARVO
Number Five
By DENNIS
į
its name. He took the card from me, looked at it and then proceeded to
tear it up as I instructed and the trick went on as usual. Some of the
audience who witnessed the incident could not restrain from chuckling
when the trick ‘was finished. Had’the awkward customer looked at the
card, of course I would have had to: perform some other small trick with it.
Incidentally, if one is stuck, ong’ could after having performed the
trick go to the spectator and ask him to tear hts card in two, then in four,
eight and sixteen pieces, and conclude by saying :. ‘‘ Weil, the card is not
of much use now, so you may as. Well throw it away.”
Whilst on the subject of forcitig, I cannot refrain from mentioning
an incident which occurred on my return journey from South Africa.
We—that, is, several of the artiste} on board—were nearing home and
were feeling either bored or homegick. To enliven the proceedings, I
suggested a little party all to ourselves. Spirits being only 7s. 6d. per
bottle: at the time, we indulged in æ few glasses and the party became a
merrier and a happier one. After we had a few songs, I got out a pack of
cards and forced it several times off Florence Oldham, now well known
on the Radio and the Halls. A comedian of very small stature who sat
on a chair, dangling his legs, said, rather contemptuously I fear: ‘‘ Oh
it’s all done by forcing.” I ignored him and went on with a few more
tricks. Finally, I brought the card Miss Oldham had been selecting to
the éop of the pack, and turning to the comic asked him to pick out a card.
He at once took the éop card and found to his surprise that it was the same
card I had been playing tricks with @n Miss Oldham. He threw the card
down in disgust and never botherédyme again. I had taken what was a
million to one chance of him selectifig the top card, and it had come off.
It was a sweet revenge for his previous attempt.
On. another occasion, when I had forced a card and held the pieces
in my hand, I found, to my horror,'¢hat it was a picture card ; whereas
the one I intended to force was a simall-value spot card. To quote the
late Syd Walker: ‘‘ What would yu do, chums?” When I asked for
9
the name of the card the spectator gave it, but it was not the one I wished
to force. I opened the card with its back to the audience, showed that
a piece was missing and went to the spectator and showed him that.it
fitted. Handing the card back to him with a whispered “‘ Sorry, a slight
mistake,” appealed to know if the piece fitted. He agreed, and I retired
to splendid applause. i
One consolation to bear in mind is this. Maybe, only one or.two
persons near the spectator who was assisting may have noticed that
something had gone wrong. The remainder of the audience, possibly
2,000 people, did not know. As a conjurer once said to me when speaking
of audiences as a whole: ‘‘ What do they know about magic ? ”
I have had explosive cigarettes thrown up to me, and, being ignorant
of this at the time, they did not have the desired effect. Looking back
I can well imagine the expectancy of the donors or such practical jokes
waiting for something which did not happen. On one particular occasion,
I smoked one of these cigarettes on the way home. There was not a
soul in the street that I was passing through when a fairly loud explosion
occurred. I must say that I did have the best laugh at the time, as no
doubt the joker was still sitting in the theatre wondering why nothing
had happened. Just one further point, with only a few favourite brands
of cigarettes going the rounds, if I found that mine coincided with their’s
I always managed to drop the cigarette paper at their feet when I tore
it off. More than once I have seen them bend down and pick it up for
closer examination.
AN ORIGINAL BOWL PRODUCTION
By BILLY McCOMB
HE effect of this trick is as follows : The magician displays a large
black bakelite bowl, and after showing it to be perfectly empty
he places a piece of tissue-paper over the mouth and secures
this in position with a metal band: Forthwith, he punches a hole in
the tissue and makes a production.; Finishing the production with an
egg, he remarks: ‘‘ Fruit Bowl—for hen-fruit !” -
The bowl is not quite so innotent as it appears. The base has
been cut out with a fret-saw, and black tissue-paper pasted over the hole,
so that the bowl appears to have a normal bottom. If the bakelite is
of the shiny variety, a rub over with fine sandpaper or fine steel wool
will dull its surface to match the paper.
The loading fake consists of a black bag with draw-strings tied in a
bow. One end of the bow has a bead on it so that it may easily be
located and pulled for release when ready for the production. Attached
to the bag is a length of thin black cord with a thin black hook at its
opposite end. The length of the cord is the same as that from the rim
of the bowl to the centre of the base, outside.
To prepare for the effect, the load should be pushed down the centre
front of the vest, if you work in a single-breasted dinner jacket or in tails.
Should you perform in a double-breasted dinner-jacket, then the load
should be between the lapels. The:hook should protrude over the edge
of vest or jacket respectively.
After the bowl has been introduced and demonstrated empty, hold
it mouth upwards in front of your body with the left hand, while your
right hand reaches for the tissue with which the mouth is to be sealed.
Under the misdirection afforded by the action of the right hand, the left
ro
LOAD BEING PULLED
n i OUT OF COAT BY
TISSUE BOT Tle t MOVEMENT OF BOWL PRESSURE AGAINST
Q yy CHEST FORCES
LOAD INTO BOWL
BEAD TO UNDO BAG
eases the lip of the bowl under the hook attached to the load. The next
move is the vital one. The left hand is holding the bowl against the
chest, and the right is holding paper and metal hoop between its finger
and thumb. The tissue is laid over the mouth of the bowl and the
hoop laid lightly on top. With the right hand, the ring is jammed
partly in position, and then the left and right hands are transferred to
the sides of the bowl with the fingers curved over the hoop. By turning
the bowl until its mouth faces the audience, the load is lifted out of its
place of concealment and rests against the false bottom. It is now a
perfectly natural move to press the bowl against the chest as the hoop is
pressed home, and this move forces the load through the tissue bottom
and into the bowl. The sound of the tearing of the tissue is sufficiently
masked by crushing the surplus tissue outside of the hoop with your
hands.
The bowl is then taken by the right hand and deposited on the
palm of the left, the mouth being upwards. Breaking the tissue cover,
the right reaches in’ and begins the ‘production.
This production is sound, simple and effective, as many tests have
proved. The faking of the bowl is quickly and easily done, and the cost
clearly is negligible.
LET’S DISCUSS : PATTER PITFALLS
By Donald G. Crombie, M.I.M.C.
URING the course of your performance, do you tell lies? I mean if,
for example, you are going: to perform the Linking Rings, do
you commence by saying, “‘I have here eight separate rings,’
and then, by sleight-of-hand, count them as though you have the rings
all separate. If you do, you have told a deliberate lie, and I, for one,
don’t approve of it.
Again, how common a thing it is. to see a performer pick up a double
envelope and refer to it as an ordinary one. It is quite a simple matter
to run through one’s patter and iron out such remarks without detracting
even slightly from the effect. In the Linking Rings, if the count is well
done, the word ‘‘ separate ” can be left out, and the effect on the audience
will remain the same. Surely this is a more artistic procedure.
_ Some years ago I used to perform an effect utilising a double envelope
with a photographic reproduction of.a playing-card in the back portion.
II
In introducing the envelope, I would grip it at the sides, squeezing it
open, and allow my volunteer assistant to look inside. I followed this
up by saying: “ You can see there's no money in that.”
The effect on the audience was that I was using an ordinary un-
prepared and empty envelope. I consider my method of convincing
them of this was far more satisfactory from every viewpoint than telling
a direct lie: ‘‘I have here an ordinary envelope.”
‘Many of you will recall that delightful mystery of the late David
Devant known as the Ball on. the Plank. His patter gave the audience
to understand that there was a goblin inside the ball which caused it to
act contrary to nature. His actual words were: ‘‘I want you to
imagine there is a goblin inside the ball.” This is quite a useful phrase
to make a note of, as it can be used as a preface to many statements,
thereby saving them from coming into the category of direct lies.
I think it very important that the audience should always be given
a fair deal. Are you quite satisfied that they get it in your performances ?
Do you use secret assistants unknown to the audience—confederates ?
Do you offer a pack of cards to a volunteer assistant, asking him to choose
any card from the pack—and stuck to the face card of the pack is a note :
« Be a sport and choose the Five of:Clubs. Thanks! ’’—do you? |
Then, in my opinion, you are debasing our art. At every appearance
we make, we should always have at the back of our minds: ‘‘ Now is my
chance to help elevate the art of Magic.” A difficult slogan to live up to,
but worth aiming at...
Maybe you disagree with all this. You won’t be alone; many
very well-known performers have committed these sins. But let’ the
Editor have your views on the subject. If I am a lone voice crying in
the wilderness, no matter. My opinions still remain unshattered.
THE ELUSIVE THIMBLE
By John, K. Bays.
AS a close-up complete thimble vanish you will like this little
sleight which, so far as; I know, is original—a dangerous
thing to say these days. |.
The left hand is clenched and the thimble is placed into the fist
so that the top of thimble is showing. The position: Backs of fingers
facing outwards and the little finger forming the top of fist; to all
appearances, the said finger is curling round the thimble. The right hand
now approaches, taps the back ofthe left hand—one, two, three, and
both hands are immediately shown to be empty. The thimble was
freely shown beforehand and possibly various sleights worked with it,
leading up to the complete vanish.
In clenching the left hand, bend the thumb so that it is well up in
the fist. The thimble'is placed into the top of the clenched fist actually
on to the top of the thumb, but this is not suspected.
To effect the vanish you have to straighten the thumb, under cover
of the right hand tapping, the thimble you will find comes against the
right wrist, where it is eased off by a gentle pressure, and thanks to Newton
—gravity and all that—it slides away down the right sleeve. Follow
the moves with thimble in hand aad you will find that they flow.
Juggle and Flourish, Vanish ‘and Produce, Mutilate and Restore,
Diminish and Enlarge; Multiply; Transform, Transpose, Magnetise,
Mentalise. What else can a magician do?
I2
Both Sides of the Footlights.
DE BEAR AND DU BRAY
(Hippodrome, Wolverhampton)
ESR Monday afternoon saw us travelling some sixty miles to
catch this act. De Bear (the male partner) opens with the
production of two glasses. of beer, which are used as a bait to
coax on to the stage two volunteers from the audience. There followed
a.routine, which in our opinion was the highspot of the performance,
with these two assistants, culminating in the discovery of a chosen card
inside the jacket of one volunteer... De Bear’s sleights were clean, his
manner and showmanship good, and much amusement was caused by
some byplay with a brassiere and panties apparently produced from the
volunteer’s clothing. :
Miss du Bray then took over, performing competently Woodward’s
nest of watches production and ‘‘ Evaporated Milk,” using a liquid
which looked like very watery beer when she started and like black ink
at the end.
The finale consisted of a ‘‘ Mr. and Mrs. Green ” routine, using white
mice. This appeared, from our recollection, to be almost identical with
that used by Jack Kinson: The final vanish of the mice was most
effective. H
_ To us, it seemed a pity that two of the feats presented should be so
similar to those being performed on the Halls by Mr. de Bear’s fellow-
professionals. We shauld imagine that these could be replaced quite
easily with more original material which would be equally pleasing in
the hands of such a competent sh§wman.
Goodliffe
NELSON LLOYD, CHRIS CHARLTON & CO.
(Royal Hall, Harrogate).
For some peculiar reason, The Royal Hall, Harrogate, is not very
popular with Harrogate residents. ‘Before the first World War it was
known as ‘“‘ The Kursaal,” and I personally played it about 1913 in
concert party. It is run under the auspices of the Harrogate Corporation,
and is a beautiful building. I cannot for the life of me understand the
local attitude, but I was not surprised to find a very moderate house when
T attended on the above date. The show could not be blamed ; I found it,
e p whole, very entertaining and did not regret. my trip over from
eeds. i
Nelson Lloyd, ‘‘ Headmaster of Headmasters,” is a vent. with an
act reminiscent of David Poole. He works in scholastic gown and has
two “boy” and two “‘ girl.” figures. His technique is good, and he
works with “‘ his coat off.” My pointin making the latter remark is that I
was under the impression that scholastic gowns were worn over the apparel
and not as overalls, 7.¢e., minus coat. “His show got over well and was much
to the liking of the audience. =
A comedian on the bill—by name Harry Seltzer—did a spot of
ventriloquism that was new to me, and has possibilities. The ‘‘ Mike ”
answered him back and was both effective and funny. I liked him and
can see a future for him.
__ Chris Charlton did the dhow I have seen him do many times, and my
mind was taken back to the old Aquarium at Scarborough where I first
saw him present hjs Inexhaustible Kettle. That must have been about
13
1906-7. He opened with Sympathetic Silks, followed by a topical Torn
and Restored paper, the paper in ball form being later levitated, Restored
Rope and then his Glass Penetration.. As no one seemed very anxious
to accept his invitation to view the glass at close quarters, I volunteered
and did my best to ‘‘ stooge ” to his advantage and not at all to my own
self-glorification. Larger illusions were a sack escape, pillar and ropes
and a Bathing Van effect. His ‘‘ Lesson in Conjuring ” struck me and
nearby members of the audience as being a bit careless in switches, but
got the laughs. The same nearby members of the audience found. the
Inexhaustible Kettle very ‘‘ refreshing,” being lucky enough to ask for,
“and get, whiskey. On the whole I had an enjoyable evening, despite the
attendance of ‘‘ Mr. and.Mrs. Wood ” (empty seats to you).
Every artist on the bill should be congratulated on putting over the
work they did ; I noticed no slacking, which is as it should be, but very
seldom is. I was glad to notice on leaving that the second house showed
promise of being better—there were good waiting queues.
R.W. E.
We cannot let the appearance of this issue, completing our first
quarter, pass without expressing our grateful thanks to our subscribers,
many of whom will find themselves.invited to renew their support for a
further thirteen weeks or longer. -
It has been our aim-—and will continue so—to provide a worthwhile
weekly ; it is our hope that ALL these whose subscriptions expire to-day
will forward their instructions forthwith to continue the regular delivery
of Abracadabra. In anticipation, we thank them.
‘Where to See Ghem
Week commencing April 29th.
( Artists are invited to acquaint us of their advance bookings)
è
CASTLEFORD. Edward Victor.
Grascow (Metropole) Kardoma, the Patriotic Illusionist.
PETERBOROUGH (Embassy). Jack Le Dair.
SHEFFIELD (Empire). Benson Du’ Lay, the Slick Magician
York (Empire). La Celeste, The Mysterious.
GOOD NEWS !!
We are proud to announce that
JACK HUGHES
the world famous magical INVENTOR and CRAFTSMAN, has
joined us! Details of HUGHES-MADE EXCLUSIVES appear in
THE GEN.
Subscription 5/- per year; or send 8d. for sample to:
KATHLEEN PARKS, 72, CAT HILL, EAST BARNET, HERTS.
14
ocielgPLPOUTS
The Institute of Magicians. Member
Len Howell gave an excellent lecture
Mictoty ‘Club heddqiarters ‘on ‘April
his subject being ventriloquism in
Nits forms. He. gave demonstrations
td‘ bring‘ out his points, and called on
eg Jamieson to denionstrate ‘‘ distant
voice.” This. he did. most. effectively,
making the voice appear to come, first
from upstairs and then from the cellar.
In true ‘‘ Club” spirit, the. lecturer
offered to coach anyone interested in
taking up the practice. The meeting
broke up at the close into the usual
discussion and demonstration groups.
A. E. Norris
The Society of Irish Magicians. The
A.G.M. called for the 13th April was
adjourned until later. It was learned
with regret that C. F. Hollinshead has
tendered his resignation from the:
- position of Hon. Secretary, in which
_ capacity he has conducted the affairs
of the Society with remarkable astute-
ness. However, we know that his
valued opinions on all things magical
will still be available.
Neil A. Phelan
The British Magical Society. The
last Visitors’ Night programme was
arranged by Goodliffe, who introduced
in turn Pat Hiley, Vice-President
Fabian ‘(for once presenting miscel-
laneous magic, of which the feature was
his beautifully presented Sympathetic
Silks), J. Russell-Gower, whose finale
was, the Neck Chopper, and Wilfred
Tyler, President of the Cotswold
Society, in one of his usual laughter-
packed acts. An unprogrammed guest-
artist was that welcome visitor Graham
Adams, whose sleight of hand baffled
the audience as much as ever. Relief
from magic. was provided by Charles
Duval, whose hand-shadows won
tremendous applause; Phyl Grove
(‘Comedy with a Voice”), direct
from her overseas tour, and Raymond
Green, well-known Midlands enter-
tainer. Once more Les Cole was at
the piano, and Lou Flynn, with Edwin
Blackband assisting, stage-managed.
The South Staffs. Magicians’ Club.
President Arthur Culpin was in the
Chair on April 14th, when Roy Billings
gave a talk on ‘‘ Quality ”?” as applied
to magic. His theme was that quality
and not quantity should predominate
ce is
in every aspect of our work-—effects,
props, dress, assistants—everything.
A good, encouraging discussion fol-
lowed. A welcome visitor was Fred
Cavendish of the Plymouth Society.
Arthur Ulbrich
The Magic Circle. From delving into
the past and. studying the work of
departed ‘‘ greats,” the astute student
may learn much to his benefit, and the
Circle offers its sincere thanks to
Dr. O. H. Bowen, M.R.C.S.; F.R.C.P.,
M.I.M.C.,. for his most revealing and
thoroughly interesting lecture on April
llth relating to conjurers of the past
thirty years with whom he had come
into contact. Dr. Bowen traced his
own interest in magic from his reading
of the B.O.P., while still at college, and
took his hearers through the days of
the Egyptian and St. George’s Halls.
Dr. Bowen has known most noted
conjurers of the past three decades,
and has material for some interesting
memoirs.
Colin Donister
The Modern Mystic League. A sale
of magical apparatus was the main
feature of the meeting held at the
Park View Cafe on April 14th, and
Bro. J. Bates as auctioneer saw to it
that the bidding was brisk. The
entertainment following was left princi-
pally in the hands of the League’s
newest member, Bro. Holden, of
Burnley, who put over a nicely-
balanced show. President Jack
'Eddleston demonstrated a new twist
to Sliding Glue, using a borrowed
cigarette.
A. Strack
SMALL ADVTS.
(8d. per word, undisplayed)
GOOD MAGIC, STAMP LIST.
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Kew Gardens, Surrey.
HEAD GUILLOTINE, will fit on
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callers except by appointment.—Joun
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PETERSHAM, SURREY.
Genuine bargains to effect clearance
of surplus apparatus and books, mostly
new, also collection of magical mags.
Send for list-—K1nc-Townson, FIELD
House, SNAITH, GOOLE, YORKS.
15
Vampire FINGER CHOPPER VOL. I. No. 14. | > MAY áth, 1946
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illustrated by Fabian, it is a 48-page book of practical information
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magical oe | Available from GOODLIFFE or any.dealer. PRICE — $1.25
IDEAS
477 7
‘GH HOLBORN
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: are glad to announce that the last member of the family, Walter
THE DEMON TELEGRAPH The Ace Magical Magazine
| E Davenport, serving in the Forces, expects to be demobbed on his arrival
ii from India (expect he will bring thë Indian Rope Trick with him), and-
Write for specimen copy—price SIXPENCE. E with several of our old workers back again we soon hope to be able to
Small Lists of Tricksand Books--send penny stamp, E supply many of our old original lines again. This depends on obtaining
DAVENPORTS, 111, High Holborn, LONDON, W.1. E $ materials. THE PRICES WILL BE RIGHT. Not the fancy prices
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GOOD NEWS !!
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ERFECTED
RESENTATIONS
No, 30. Tyler's MYTH MOTH
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Es
NBRACADAB
EDITED BY
. SATURDAY, 4th MAY, 1946
i 6
No. 14
VOL. I.
Te page of Abra turns—and 40 per cent. of our readers take up
their spectacles to read the first Editorial of our second Quarter.
(40 per cent. of the population wear specs., and 40 per cent.
are fitted with artificial dentures—“‘ false teeth” to you. NOTICE-
Odd, strange and curious facts now thrown in without extra charge.)
This issue coincides with the Competition Assembly at Cheltenham ;
as our readers already know, we'shall be there: Many readers will be
there too, but many will not, and we shall try next week to present
in Abracadabra a picture of the events which will help those unable to
travel to imagine that they also were taking part. As we see it, that is
one of our functions, as it is the function of most newspapers: to bring
together, through the medium of the written word (aided by appropriate
pictures), readers many miles apart.
Each week we are printing several hundred more copies than we had
expected to squeeze out of our paper allocation at this stage. We are,
therefore, in a position to accept new subscriptions right away; and if
you have a friend who is not a subscriber we hope that you will use your
endeavours to bring him into the fold. If you send his name into us,
we shall be glad to forward free of cost a copy of Goodliffe’s own gag
book: ‘‘ ror Gags and Stories.”
This quarter will see some interesting new developments. The
Jack Le Dair serial has only a few more weeks to run ; Leonard Marshall’s
valuable “‘ Chats at the Bench,” appearing fortnightly, will bridge the
gap pending the commencement of a new serialized book of NEW
EFFECTS by one of our leading (and internationally-known) author-
inventors.
We are actively engaged in securing additional material from
overseas to make Abracadabra as international as we have always intended
that it should be. A promising start was made in our last issue by that
good friend of magic and magicians, Sid Lorraine, of Canada; he will
pay a return visit shortly.
May we say to those kind readers who send us reviews of new
publications that whilst we appreciate their activity, it is contrary to
journalistic etiquette to publish such reviews unless a copy of the work
in question has actually been sent, either by the Publisher or the Author,
to the Editor specifically for review, All publications so sent are dealt
3
with in these’ ‘columiis ; no personal feelitigs intervene. (For example, `
because a: ‘publisher is not an advertiser makes no difference whatever.)
But we,,cannot print unsolicited reviews of material which has merely
been. purchased by the ‘revi : E .
MAGIC CIRCLE GRAND AT MEETING.
(Cripplegate Theatr, London)
; April 27th, 1946
- {Reported by Góg iffe)
“TE-are not enamoured of magic shoWs'without a mealto precede and
plenty of good fellowship and‘time to chat before and after,
so that it was with none toojhigh hopes that we took our seat
for the staging of the Circle’s annual star function.
After seeing the show, we have no hesitation in saying that we have
revised our ideas; there is, after all, something to be said for concen-.
trating on the show alone. This did, in fact, prove to be the best magic
entertainment we have seen for years.)
George Willett opened the programme, featuring the Glove Monkey
(the ‘‘Hand Rabbit in Hat” routine put out by Charles), and this
earned one of the best ‘‘hands”’ of the evening. He was followed by
Edward Brown (‘‘ E.G.’’), who presentéd pure sleight-of-hand material—
and readers of the Trevor Hall diary will know what that. means in his
hands. A ventriloquial sketch by Claude Chandler, in which Claude was
assisted by Buck. Hurst and Hugh Cecil, proved original and highly
entertaining. It was excellently produced by Victor Peacock.
Frank Fewings repeated the act. which we saw recently at Bristol.
He has a charming assistant in Barbara -D’Arcy, and we confirm that his
Plumes presentation leaves nothing to be desired. Next came George
_ Grimmond, demonstrating his ability in handling children; he was
assisted by a young man from the audience who turned out to be Winston
Churchill’s grandson. George’s Biscuit Tin vanish had us baffled ; it
was, in fact, not until 4.58 p.m. on the following day that the solution
dawned.
Freddie Carter, from Huddersfield, opened with ‘‘ Pink Elephants ”
—this is indeed good; and he was followed by Graham Adams, who
did a quick succession of typical card effects, culminating in a fine
presentation of the Torn Pack Discovery. The best hand of the evening
was received by Vernon Lee, from Abergavenny in Welsh Wales, for his
delightful foolery at the piano and a.nice Omelette Pan routine. Then,
to close the show in becoming fashion, Rajah Khan presented his
characterisation of an East Indian performer. He is a fine showman,
and his Linking Ring routine with five rings is outstanding.
The compere throughout was Edward Maurice. After the show,
taking a meal with Mr. and Mrs. Max Andrews, we asked Max: ‘‘ What
did you think of Maurice?’ His reply was: ‘‘ Perfect!”
J. Popper and Gordon Young accompanied on two pianos; Jack
Forsyth did his usual terrific job of stage-managing. In the audience
was Duncan Sandys, ex-Minister of Works in the late Government, and
Mr. Churchill’s son-in-law. The theatre was packed. The stewards did
a fine job. It was a really outstanding show.
Al Aldin, of 2338 South Cloverdale Avenue, Los Angeles 16, California,
wishes that ‘‘ Al Davis,” whom he met in Calcutta in 1944, would get
in touch with him.
4
_ by which it could be identified.
THE {1 NOTE AND THREE CANDLE TRICK.
HIS trick, which I worked for many years, was an exceedingly
popular one and never failed to bring forth a lot of applause.
In its original form, I- understand it had been invented by Herr
Dobler, but, as will be seen, many additions and improvements have
been made. In Dobler’s day 4 Fivers” were the lowest value notes
which could be borrowed, and ‘the first conjurer I saw performing the trick
employed a small piece of writing, pe upon which was written something
It was then rolled into the shape of a
cigarette, switched for a- duplicate which, was placed into a boy assistant’s.
mouth. He was handed a box ‘of matches to light it. and secretly told
to blow out each match he lit. These unsuccessful attempts to light the
cigarette caused a laugh, till finally the conjurer would light a candle
and pass it to the boy to savẹ, matches. As the ‘‘ cigarette’ would
not burn, the conjurer took the: paper from the boy and said to the
person who had written on it: “ I don’t know what you have written
on the paper, but it doesn’t seem to burn well.” He would then open
and pretend to read it, knowingly smiling at the writer. In its open state
the paper would be burned, and the ashes squeezed into the flame of the
still-lighted candle. Whilst this: comedy was going on, the conjurer
inserted the real piece of paper into a piece of candle prepared for the
purpose. This hollowed piece of candle reposed in his right-hand trousers
pocket. After displaying a candle, the conjurer cut it into three pieces,
of which one was chosen. This chosen piece was exchanged for the
‘prepared portion and the paper ;; discovered—by cutting small pieces
from the closed end until the paper made its. appearance.
With the advent of ten shilling and one pound notes in the 1914-1918
War I saw an opportunity of reviving the trick, and not only using notes
but introducing three candles instead of one. With three candles I
could give not only a choice of piece but a choice of the complete candle.
To do this, a three-branch candlestick was necessary—each holder on it
being painted. a distinctive colour: red, white and blue. The choice
was then made by colour.
In my version the selected or borrowed note was placed into the
barrel of a revolver and fired at the selected candle. This candle was
then cut into three pieces and the note was found in the chosen portion ;
it being identified either by its number, or initials written on it, or both.
At the time I was performing this trick, my daughter Edna was
acting as my assistant and I used to ‘‘ shoot ” the note off stage in a small
Bakelite tube which was in the barrel of the revolver. This was done
as I approached the table and she caught it in a cloth, extracted the note
and inserted it into a hollowed piece of candle. This piece of candle was
5
‘pistol appeared and‘so popularized can
put in the end of a special tray which wes on a table, placed close to the ~
edge of a side curtain. In this position -was thus able to secure it quite
easily and make the necessary change. . This phase of the effect puzzled
many a conjurer, and, in fact, over twenty members of the Northern.
Magical Society of Liverpool came in a Idy to see the trick. One of the
members present was H. C. Mole, part author of that very excellent book
“‘ Magic of To-morrow.” It apparently gave him an idea for making a
pistol in which the piece gf hollowed candle was already placed and the
note was actually inserted into it to be Iter extracted. The Mole-Edgar
le tricks that I was compelled to
withdraw the trick from my act. Later, my daughter left the act, and
when I wished to revive the effect I did so after collaboration with Mr.
J. E. Hammond, of Liverpool, who devised a pistol, which was an improve-
ment on the Mole-Edgar idea. j
When using the Mole-Edgar pistol one had to lift the piece of candle
out of the pistol by means of a shaped piece of tin. The disposal of this
piece of tin was not quite so easy as it seemed. Hammond and I made a
pistol with a weak spring in its barrel that was compressed when the
piece of candle was set in. A small stud, below the barrel, working on
the bayonet catch principle, held it in position. After the note had been
inserted in the candle piece in the barrel the pistol was taken in the right
hand by the muzzle end, and in asking for the choice of the candle the
stud was pushed to one side and the spring caused the faked piece of
candle to be neatly delivered into the right hand.
After firing the pistol at the only ‘piece remaining in the candlestick,
it was laid on the table beside it. At the same time, the selected piece
was taken from the candlestick by the left hand and at once placed in the
right, thus helping to conceal the piece containing the note. Then
comes a most remarkable move for making the exchange—a move for
which full credit must be given to Mr. Hammond. `
Whilst feeling in the left-hand trousers pocket for the penknife to
cut up the piece to produce the note, the pieces of candle in the right-hand
were moved around, bringing the fake piece to the top. On bringing
the hand from the trousers pocket empty the faked piece was placed in
it and the right hand went to the right-hand trousers pocket which really
contained the required penknife. The piece of candle was left in the
pocket and the knife withdrawn. On paper, this move may not seem
good, but times without number I have performed it without being
detected ; even when. teaching the move to a conjurer.
The patter I used for this trick was as follows :—
“In this trick I represent a banker, and for this purpose I would
like a deposit of Ios., £1, a postal order or paper money to any value.
If anyone present is the lucky possessor of one, would they please hold it
up and IĮ will collect it.” (Here the performer walks forward with a slate
and piece of chalk.) ‘‘ Before I touch the note I want you to call out its
number and I will write it down.” (The number is called out and is
written on the slate, which is placed in a prominent position on the stage
in the view of all and sundry. The performer collects the note, which he
passes to another member of the audience for the latter to initial. This
done, the conjurer, holding the note above his head, returns to the stage.)
“A £1 note, number so-and-so, with the initials XYZ on the back.”
(Here look at XYZ.) ‘‘ Pardon me looking at the back; sir, but some-
times there is some interesting writing there. Only last week I had one
on which was written ‘ Will ye no come back again.’” (At this stage
“wv
fold the note in half and then*again, and, starting at the smaller end,
roll it into the shape of a cigarette.) ‘‘ Now that I have the money I
must introduce you to the bank.. Here it is.” (Show the pistol.) “ Not
one of the Big Five, but I hopg you will hear a good report about it.”
‘(Push the note into the candle*toncealed in the barrel.)
“I am now going to invest the money in a new firm which I have
called ‘ The (local) Lighting Company.’ There it is ” (point to the three
candles) ‘‘ working overtime. ‘This Company has three: branches or
candles, each one having below if a different colour—red, white and blue.
I should like the owner of the néte to select the candle I am to fire at—
by means of'the colour beneathait.’’ (We will suppose blue is chosen.)
‘Tn order to avoid confusion, -% will remove the other two.” (Do so,
and extinguish them.) ‘‘It.al86 saves them.” (The pistol had been
previously laid on another chair or table, mouth of barrel upstage, so as
not to show the candle and notésinside.)
“I will now cut this candle into three parts and give you the choice
of one of them by the same colour process.” (Remove penknife from the
right trousers pocket, cut the candle into three pieces and replace the
knife.)
“Now, sir, please select the piece that I shall fire at.” - (The two
unselected pieces are either laid‘aside for future use or thrown to the
audience. The pistol is seized by the muzzle end, the catch released,
leaving the faked candle piece in the hand whilst pointing with it in the
direction of the candlestick. It is then reversed into its firing position
and the trigger pulled. The performer walks to the table and siniul-
taneously lays the pistol on it as, with the left hand, he lifts the piece
of candle from the holder.. The switch, as previously described, is made.)
In cutting the piece of candle, do only a small bit at a time, as
though afraid to cut the note, and look on the stage as though it has been
lost, saying naively: ‘A pound note, wasn’t it.’” Finally the note
comes into view and the effect is enhanced if it is left in the piece, so that
the man who loaned it can extract it for himself ; the performer, however,
must not let the piece of candle leave his hand.
In an earlier presentation of the trick in its original form I had a
spot of bother one evening at The. Theatre Royal, Dublin. I used, at
that time, a small brass tube, as Bakelite was then unknown to me. The
tube had one end closed and soldered, but, with the aid of a pair of
tweezers, an ordinary note was easily extracted by my daughter. Judge
my terror when I was handed a £5 Bank of England note made of linen
which I had the utmost difficulty in pushing into the tube. Finally, I
got the note in, but my daughter could not get it out, so that I had to
give the trick up and send the note back by an attendant, who thought
it was a great joke and all part of the trick.
On occasions I have had a 6d. postal order rolled up with the note
and have given it to the depositor as ‘‘ interest” from the ‘‘ bank.”
More than once managers have entered into the spirit of the trick by
allowing me, at their expense for the sake of an advertisement on the
Monday night, to include as much as a £1 order. Needless to say, there
was no difficulty in borrowing notes after the first night.
Harold Rice, International Secretary of the I.B.M., asks us to point
out that the idea of doctoring the corners of the silks in the zoth Century
suggestion which appeared in an earlier number is incorporated in the
version sold by Joe Berg for several years past.
7
A NEAT POCKET TRICK
By Magini.
HIS pocket version of the Wand,-Rope and Silks is one that I have
worked for many years and proved its value over and over again.
There is nothing new here but the dressing. It is eminently
suitable for the card table or the Clu‘bar, as the only requirements are
a pair of shoe-laces and other items to be borrowed from the spectators.
To Perform. py ot
Show the laces and borrow a pencil or fountain pen. Instruct helper
to hold the pencil between two hands, and then drape the laces over the
pencil and tie in the approved style—most magicians will know this.
This done, give two ends to one helper and invite another helper to take
the remaining ends. oe
Borrow two rings or bunches of keys and thread one of the laces each
side of the pencil, and bring them right up to the centre. Two handker-
chiefs are borrowed next—they should be ladies’ hanks. or of breast-
pocket size—and these are tied onéthe laces, not too tightly, and slid
up beside the rings. f
One end of lace is handed to yeu by each helper, a knot is tied as
. in the standard effect, and the eras returned to the assistants. The
magician now covers the assembly at the centre with his hand, removes
ee and asks the assistants të pull—when, of course, the release is
made. '
Performed at a card-table, as illustrated above, everything is clearly
seen by everybody, the moves are very simply made, and the effect quite
a pleasant and attractive one.
CHATS at the BENCH—IL.
By Leonard Marshall.
‘I only ask for information.’ ~-DAVID COPPERFIELD.
OR the benefit of new readers (and I hope that there are plenty)
this is a series of articles of a practical nature. You are asked
to imagine yourself by my side, in my workshop, whilst I am
working on some prop of yours and we are chatting as I work. In the
course of the chats I am passing on to you various hints and tips.
8
The Workshop (continued). i
In the last chat, we had jyst commenced discussing the workshop
itself. Before proceeding further, I will give you a useful tip if you are
„using, or intend to use, a room in the house for your workshop. Nail or
screw a piece of wood about 1hins. wide by ins. thick to the floor, right
across the threshold of the room, keeping it close up to the door. This
will not only help to keep out draught, but will also tend to keep shavings
and sawdust from spreading to ġther parts of the house. A mat should
also be kept near the door. 4
The layout of your shop will: depend entirely on the equipment you
possess or hope to acquire. This may seem to you to be an obvious
remark. I agree, but my reason for making it is to stress the need to
look ahead with your planning .and to allow yourself plenty of room.
The first essential is something to work on—be it kitchen table or
bench... And if a bench—portable or a fixture. The ideal is a good solid,
rigid, fixed bench with substantial legs. Rigidity is a necessity, for there
is nothing worse than to have yeur bench moving back and forth with
you as you plane or carry out any other operation. You may think, as I
did in my early days, that a light'structure will suffice for your needs, but
if you'do I think that you will eventually do as I did: I scrapped the
rickety contrivance I had called @ bench and made one which is as good
after twenty years’ hard wear as when I made it. For a person of everage
height, the bench should be 2ft. Gins. high (I am tall, and my bench is
higher than that to save backache}. -Make the top as large as space will
allow with a maximum hi
of 6ft. by, 2ft. 4ins.,
but do not let your
bench encroach too
much upon your avail-
able space. Even with
a bench of the maxi-
mum size mentioned it
is surprising how
cramped one can be
for room sometimes. # , i
It is a good idea to make the top of:three planks and to have the middle
one thinner than the other two, thus making a shallow well (see Fig..3).
This prevents tools from ‘rolling om’ to the floor. You will find it con-
venient to have two drawers and two shelves fitted underneath the
bench. It is advisable to have two vices (no wisecracks, please !), one
for wood and one for metal. I recommend the instantaneous type-grip,
as they do save time. They are difficult to get at the present time,
although second-hand ones are advertised occasionally. The jaws of
your vices should be lined—the woodworking one with pieces of hardwood,
such as oak or beech, and the metal:working vice with a set made from
sheet lead and another set made from copper. In a later chat I will give
examples of the use of these. Fig. 4 illustrates the type of thing I mean.
There is one other necessary fixture—a bench stop. This is to
provide a solid stop against which a piece of wood may be held during
planing and other operations. In its simplest form, this can be just a
piece of hardwood about 6ins. by 2ins. and jins. thick, screwed across the
top of the bench at right angles to the front edge and near to the left-hand
side. An improvement on this rather crude improvisation is a piece of
9
hardwood, 6ins. by 2ins. square, fitting tightly into a mortise——that is a
hole—cut in the bench. The height can
be adjusted by a “wallop” with the
i: mallet at one end or the other.: After a
time you may find that this type of stop
will work loose. This is easily remedied.
Just soak the stop in water overnight to
swell it, and by the morning you will find
that it {$ a tight fit once again. There
Ra. are comfiercial bench stops to be obtained
UE Sia a : which are usually made of metal. Per-
sonally,-I do not like them and consider
that any advantages they may have are more than offset by their dis-
advantages. For example, if there is a piece of metal let into the bench
there is always the danger of blunting your sharp-edged tools. Again,
if you are planning a piece of thin wood, which is often the case when
making magical apparatus, it. is a nuisance to have to be exercising care
not to run over the stop and thus damage the iron (blade) of your plane.
If it is made of wood, as I suggest, it does not matter if you take a shaving
off the top of it and you can plane away with a light heart.
Now where to put the bench. Some people will advise having it in
such a position that you can get all round it. Í do not agree. My advice
is to keep it close up to your window and take full advantage of all the
natural light you can get. I know that means having both vices on the
same side, but I have not found that to be any disadvantage. By the
way, fix your metal vice directly over one of the legs, as this will help to
absorb the violence of your hammer blows when you are losing patience.
There are one or two aids for use-at the bench. First of all we have
bench-hooks, which are used when sawing wood on the bench. Two
types are shown in Fig. 5. When sawing, the bench-hook is hooked
against the front of the bench and the wood to be sawn is held against
the top block with the left hand, the right
hand being occupied with the saw. I
recommend the wider type, as you‘ are less
likely to damage the top of your bench. You
will notice that in this type the blocks are
zins. shorter than the width of the base,
so that when the saw comes threugh the
wood it comes down on to the bench-hook °
itself. A useful size for the base is r2ins.
by gins. by fins.. thick. The two blocks
are cut from Ifins. by fins. wood 7ins.
long. The blocks are both cut short so
that the bench-hook may be used either
way up. This is simple to make, and you
will find it most useful when sawing up the
smaller pieces of wood which we usually
require for magical props. The saw used
for this type of work is usually a tenon-saw
—but more of this later.
I hope you don’t. feel that progress is Fy 9 5.
slow.so far. We shall be better able to
deal with constructional problems when our lay-out and equipment are
fully accounted for. ;
Io
s
“HEY PRESTO!”
T the Little Theatre, Leicester, for six days ending May 4th, the
Leicester Magic Circle present a high-speed magical revue—the
most ambitious venture yet in this field and one which might
well be taken as an example toʻolder and larger Societies. Any reader
within reasonable distance of Leicester will just have time to dash there
for the final performances ; we recommend him to do so. ,
A delightful theatre, a most efficient orchestra, a nice stage and
setting, and a beautifully producéd and rehearsed show are the vehicles
used by the L.M.C. to give two hours’ delightful entertainment: It is
our custom, when possible, to take with us to these affairs someone of
experience greater than our own. In this case it was Charles Duval, a
professional of many years standing. He went with reluctance, murmur-
ing uncomplimentary things about magic shows, and stayed to applaud.
His verdict was: ‘‘ The best magic show I have ever seen.”
Scene One owed much to Fitzkee—the Lounge of a Magic Club—
with “ Any drink called for ” and ‘‘ The Miser’s Dream ” performed by
the cast. In quick succession followed a dance by the girls, Albert
Mattley’s magic act, the contrasting styles of the youngest member
(David Gillett) and the oldest, Chris van Bern, whose wine and water
routine with one jug and one glass won tremendous applause. Stan
Wesson, a female impersonator, besides filling a spot with his own act,
took part in an hilarious “cod thought-reading routine in which
Jimmy Carruthers shone; Cecil: Tebbett (whose “Up the Garden
- Path ” should not have been omitted) conjured, as did Rex Reader,
whose feature was Grant’s Victory Production of a girl from two cartons.
There was a short, snappy dual routine with song and tricks by Johh
Burbeck and Dick Foden; Mr. E, Mann performed sleights on stilts ; a
Male Voice Choir (The Eversfield Singers) provided further contrast ;
Wu Chang presented Chinese Magic. Perhaps the strongest magical
item was Rex Reader’s Substitution Trunk, in which he was assisted by
Margery Kirk. a
But a recital of the acts gives no fair impression of the effectiveness
of this show. The speed—nineteen scenes in 120 minutes—and the
polish (undoubtedly supplied by the Producer) were the things that
stood out. Special musical items—words and music—were written, all
details were covered before the show started. How we wish we could |
say that of other magic shows! Well done, L.M.C. You deserve a
composite medal, and Abracadabra willingly awards it.
G.
Footnote. Wandering through a rear door just before the show began,
we discovered a small cemetery ! In the fading light, one could just
discern on a headstone the epitaph: “He stayed on too long.”
No wonder the revue ran at such high speed !
MAGICIANS’ BOOKBINDING TWO DOLLARS
SERVICE i i
ALL STANDARD MAGICAL MAGS. will bring Abracadabra
Cloth : 5/6, p.f. - - Rexine: 6/6, p.f. ost free for 15 week
In Publishers’ Cases: - - - 3/6, p.f. p ems ie
C. FIELD, 42 Alderson Road, Sheffield 2 any address in America.
II
ngpa SE es a ET acm a aa A a:
A RABBIT OUT OF A HAT
By Charles Harrison.
o Donald Crombie, M.I. M. C., has never seen a Live rabbit produced
from an opera-hat, ‘ “ clean- -cut, with no strings attached,” such
ii as dumping back a previous ‘bulky production, complete with
rabbit load. And, come to think of #, I don’t think I’ve seen it either
during the last twenty years, although, thirty years ago, I was doing it
myself. fe
What a pity our younger magicians, and Mr. Crombie, never had the
opportunity of seeing Bosco, of the Le Roy, Talma, and Bosco trio,
perform this feat. In his hands it was a masterpiece of magic. To the
audience, what happened appeared thus: Bosco showed his opera-hat
empty by turning it so that all had a'clear view of the inside. Next, he
turned it crown towards the audience and crushed it FLAT against his
chest. Holding it still in this position, he extended it again and turned
it crown downwards. .. Without more ado he took from it a LIVE, KICKING,
RABBIT. Then, handing the hat to Talma, and holding the rabbit by the
ears, in his left hand, he passed his right hand down its body once, twice,
thrice. On the third stroking he appeared to pull the rabbit in two or
to squeeze another one.out of it (aécording to the imagination of the
spectator), for there he stood with a live, kicking rabbit in each hand.
“ That’s magic, that. was,” as Bill Stickland says.
In those days Hoffman was considered as a “‘ teacher ’’ and not as
an ‘‘exposer,’’ and we younger magicians had-not learned the ethics
of Magic as regards ‘‘ pinching.” Consequently, I longed to perform this
feat myself. Not having the ‘“‘ nerve” to go back-stage and try to get
Bosco to give away his secret, I had'to devise a method for myself. And
this was it :—
To the centre of an, oval plate of metal I soldered a wire ‘hook, stuck
this plate firmly on to the crown of'the hat, inside, and covered it with a
piece of black silk in which was a slit through which the hook could
project. The hook, too, was black. Next, I made a black cloth bag,
with waterproof lining, the openiftig of which fastened with a “‘ strip-
string.” (Zip-fasteners were not then invented, but would be an improve-
ment now.) The bag was large énough to hold a small Dutch rabbit.
At the appropriate position on the bag a strong small metal ring, about
three- Panter of an inch in diameter, was firmly sewn. That’s all.
Rabbit was placed i in the bag. . Bag was placed in left breast ‘‘loading
pocket ” (see Modern Magic, page 10) with the metal ring conveniently
projecting from the pocket opening. When the hat was crushed against
the body the hook on the inside of the crown was engaged in. the metal
ring. The action of extending the crushed hat automatically “‘ loaded ”
the rabbit into the hat! 1 subsequent production. Simple, easy and
effective.
Why don’t I do it now? J-can’t fit a loading pocket into a. Hindu
coat, and my dress suit (when I perform as an Englishman, which is
seldom) i is too snug fitting to allow of a rabbit being placed in the loading
pocket without causing an unsightly bulge. But for anyone working a
comedy act, and wearing loose-fitting clothing, a la Ed. Morelle, what an
opportunity, without using one of those unsightly rabbit-skins which are
degrading to our art.
12
Both Sides of the Footlights.
HOWARD DE COURCY
(Hippodrome, Birmingham). :
ARBO still wishes to be alofie. She remains the most elusive bird
in the show world. We refer, of course, to De Courcy’s canary,
whose passage through: the looking- glass forms the centre-
piece of the act he is currently ‘performing in ‘‘ Peek-a-Boo.” It is a
nice act, though vaguely disappointing. We think the reason must be
the high speed at which he is obliged to work, for there is no lack of
polish or shortcoming in technical accomplishment.
Opening with a completely flusive presentation of the Vanishing
Bird Cage, he proceeds to a series of card flourishes and productions
which culminate with the production of a number of cards singly to the
strict tempo of the accompanying music. Garbo follows, and then the
tabs are closed while he performs the Torn and Restored Newspaper,
very slickly. The tabs are opened again to disclose the Hindu Wicker
Basket on a small platform. It. was here principally that speed told
against the performer. There was no time for build-up or suspense, and
what could have proved an uncanny miracle was merely a quick, though
cleverly-presented trick. The act concluded with a very smooth and
humorous. presentation of the Thumb Tie, the assisting spectator being
cued to add greatly to the fun.
Elsewhere in the bill, Nor Kiddie, the comedian, performs a shortened
and punch-full version of Frank Staff’s comedy card act that appeared
first in the Magic Wand. There is also, of course, Phyllis Dixey. - Fabian
VAN AND DANIA, Danish Conjurers
(Theatre Royal, Exeter).
A ed manipulative act of ten minutes’ duration, in which time
between thirty and forty effects were performed, and all in a slick and
colourful manner. A special word of praise is due to Dania, the lady
assistant, who had a smile at the right moment and a look of wonder or
an air of amusement whenever needed. In short, she acted her part,
as well as doing all the necessary fetching and carrying.
Van’s manipulations were slick. and his timing was good. Adding
a load to an article already produced was particularly good. Here and
there, a turn was made with insufficient pretext, and occasionally there
was a little fumbling on the blind. side. The act lacks punctuation.
Everything follows everything so quickly that the spectator is given
little opportunity to appreciate what has passed. I feel sure that a
little attention to this matter would take the act higher up the bill. -
But see the act—and call back-stage. Van is a grand fellow, and
although his act is silent he has acquired a mastery of English that is
praiseworthy. He will welcome you. Trelba
BRONWEN
_ (Royal County Theatre, Bedford).
Appearing as one of the principal characters in the annual pantomime
staged by the Bedford Juvenile Performers’ Company, Bronwen fills also
the principal speciality role as a lady magician. This young lady—she is
only fifteen—has been coached by her father, Llew Jones, and presents
in quick succession the Sucker Beaker Vanish (which we considered her
most effective item), Dove Pan, Breakaway Box, and several large
production effects which. were performed competently and obviously
to the great satisfaction of the audience. She was not too well served
< by her assistants—other members of the cast—but her experience enabled
her to make the minimum of these minor defects, and the act as a whole
showed great promise. Goodliffe
13
Socket EDONTS
The South Staffs. Magic Club. An
excellent show was provided by the
London Society of Magicians at St.
Albans Hall on Saturday last. President
Arthur Culpin welcomed the visitors
and then handed over to the genial
compere, Dennis Forbes. Frederic
Barlow, assisted by Marie White,
opened the bill with a pleasant act
which concluded with the Mutilated
Sunshade. He was followed by Frank
Boynett, who, with a profusion of
patter, presented a well-chosen mis-
cellany culminating in the Razor
Blades. Rowena Robinson, sister of
the L.S.M. Secretary, then brought a
change from magic with a couple of
character studies, brother Geoffrey
following in a typical hilarious offering
which included ‘‘ Oswald,” the per-
forming flea.
Then came Frank Norman, winning
a big hand for his excellent ventriloquial
act. Hand Shadows, as performed by
Royal Command, were presented by
Max and Mrs. Templeton—and surely
they have few equals in this field.
Card Fantasies were presented by
Edward G. Love—a profusion of
beautiful manipulations presented flaw-
lessly. After a few soprano solos by
‚Betty Anderson, Grote took over.
Billed as the ‘‘ Nervus Novis ” he pre-
sented the craziest, most side-splitting
act imaginable. Small streamers, for
instance, some confetti and a tiny paper
flag were produced from a giant Jap
Box ; and the performer attempted to
shuffle a string of sausages.
The show throughout was excellent,
and will long be remembered by all
who attended.
On the following day, at a Closed
Meeting over which John Knox pre-
sided, a competition was held on
Tricks from Books, the prize being won
by Bert Downing. Three visiting
magicians from the Modern Mystic
League— Jack Eddleston, A. Chambers
and F. Mills—served as judges, and
presented at the close a nice programme
of impromptu magic.
Arthur Ulbrich
Order of the Magi. April Meeting.
This was the annual Sale and Exchange
and started prompt at 7.0 and finished
just before 10.30. There were twenty
sellers, 190 lots and the turnover was
£80. When you attend one of these ©
14
sales you realise how magical dealers
live ; if all the apparatus bought was
used, there would be more conjurers
than crooners! Every year we notice
at least one member turns up with
stuff that costs £20 to £30 which has
never been used and very often never
unpacked. Why is this? And why
de some who buy all this stuff never
‘do anything at our meetings? And
‘where. do all these weird contraptions
‘geome from? A strait-jacket failed to
get a bid—it was a pity time did not
allow for a demonstration, as an
‘authority on these things tells us that
both sleeves were the same length
‘and the victim would probably be still
in it! The same expert—mind you,
we often add a small grain of salt to
the inside information that Peter
Crick gives us—informs us that in the
case of one well-known escapologist
one sleeve is so much longer than the
other that his difficulty is not to get
out of it, but to keep it from falling
off him! Brother J. Lea Axon again
acted as auctioneer, with all his usual
professional skill. Brother Jones and
Dixon fetched and carried, and Brother
Shepherd acted for the umpteenth
time as labourer and hander-upper.
. J.S.
The Midland Magical Society. The
South Staffs. Magicians Club paid their
reciprocal visit to Coventry on Tues-
day, April 16th. They received a most
hearty reception from a crowded
concert hall. Piloted by their Secre-
tary, George Smallwood, and President
Arthur Culpin, they presented a varied,
pleasing and entertaining programme,
all the artists giving a polished per-
formance.
Vic Richards
SMALL ADVTS.
(3d. per word, undisplayed)
GOOD MAGIC. STAMP LIST.
DE HEMPSEY, 363, Sandycombe Rd.,
Kew Gardens, Surrey.
WANTED. Straight Jacket. Gold-
ston’s ‘‘ Tricks and Illusions,’ and
Stage Tricks. -— ALAN, 18, MARL-
BOROUGH RoaD, SALFORD 7, Lancs.
SALE-EXCHANGE. — Apparatus,
Books, Valuable Professional MSS.,
“Mental Telepathy,” ‘‘ Thought
Transference,” ‘‘ Second Sight.” Codes.
Lists 3d.—DEVILLE, 41, LONGFORD
PLACE, MANCHESTER, 14.
FOR SALE.—Davenport’s Sand and
Sugar. As new. £3.—Apply Box 202,
Abracadabra, Í
Where to See Shem
Week Commencing May 6th. -
( Artists are invited to acquaint us of their advance bookings).
BLACKPOOL (Opera House). Du Lay, the Slick Magician.
CoveNnTRY (Hippodrome). Jacki.Le Dair. .
DONCASTER (Grand). Jon Evang, Rhapsody in Mystery.
DUNFERMLINE (Opera House). ‘Cire, Emperor of Mystery.
GLASGOW (Metropole). Kardoma, the Patriotic Illusionist.
HALIFAX (Palace). Woodward, World Mystery Master.
Lonpon (Golders Green Hippodrome). De Courcy.
Lonpon (Shepherds Bush Empire). Chicane and Gaye.
LOUGHBOROUGH (Theatre Royal).-
MANCHESTER (Queen’s Park Hippodrame).
Edward Victor.
La Celeste, the Mysterious, —
West HARTLEPOOL (Empire). Claude Chandler.
Announcing ;
FURTHER MAGIC
OF THE HANDS
Edward Victor’s Latest Book—a worthy
successor to :" Magic of the Hands,“ etc. |
Deny 8vo. 103 pages. 88 line drawings.
Obtainable from the Author,
c/o Bayard Grimshaw,
The Bungalow, Castleton House,
Rochdale.
Also a limited cloth-bound edition, each copy
signed by the Author : 15s. post free.
Stamped envelope brings prospectus.
STAR MAGICAL MANUFACTURING CO.
We aré out to serve those who want the best.
Should you be dissatisfied with anything purchased
from us your purchase price will be re-funded in
"SEND STAMP FOR CATALOGUE
Only Address: 50, St. Mary’s. Row,
Moseley, Birmingham 13.
THE MAGIC CIRCLE
: Hi The Duke of S t
President : Hie Grace The Doke DL MINE.
Clubroom and
ST. ERMIN’S Hi TEL, CAXTON ST., S.W.1.
Magical Theatre: PORTLAND HALL, W.1.
Full particulars from Hon. Sec.: Francis White,
39, Alverstone Avenue, Wimbledon Park, S.W.19
BRITISH MAGICAL SOCIETY
President - - - - Gilbert Wells
H.Q. and Library: Imperial Hotel, Birmingham.
Communications to Hom. See.: Fred Walker,
_102, Park Hill, Moseley, Birmingham 13.
MAY 14th—HINTS, TIPS & GADGETS
pe aphs. Board covers. 10s. post free. E
CLOTHES OF DISTINCTION—By an
artiste of repute who has starred in
the profession—who is also a practical
tailor and outfitter—and can give you
a service ‘‘ second to none.” —— JAMES A.
JENKINS, 14, Ethel St., Birmingham 2.
Telephone MID. 5254. :
JOHN KEMPTHORNE, M.1.M.
has some really good new and second-hand
items for sale. rite for List.
Also CHANGING BAGS with Handles. - 25/- l
See you at Cheltenham on Saturday.
17, Sandy Lane, PETERSHAM, Surrey
A NEW ROUTINE FOR
EVAPORATED MILK
F ~ Put the milk back into the same jug in a hum-
i, orous and mystifying manner. A smashing
“conclusion to this well-known effect. Full. in-
structions and patter 8s, 6d. from
KEN BURROWS,
Woodford Road, Hucknall, Notts.
PLUS TABLES
-are table tops which fasten on the top of a
chair back. The unique fastening device
__ (protected) allows a really heavy load with
`! safety. Fully draped and fringed, Price 8/6
each, Still selling—Happy Birthday, the
new trick with spring flowers at 8/6. Coming
soon—Hamlyn Parsons’ U.N.O. Speller
and Double or Quits, the Magician’s Cash
“Quiz. Complete range of Spring Flowers
in stock,
HARRY BOSWORTH,
34, Carrfield Ave., TOTON, Notts., England
T5
SIGUA ASIN I REBORN OOO
HE « ` Subscription is 2/6 post free for 4 issues in the
MAGICIAN'S ORACLE’ css, S
ts meady now. ` Many of our customers have
already had their copy, but if you have not
i Ñ received one; write at once and send 2/6 tò—
HAMLEY’S NEW QUARTERLY . i
PUBLICATION FOR THOSE
INTERESTED IN THE ART OF
` CONJURING.
Full of the latest Tricks, Novelties,
Books, Information and High-class
Magical Appäratus. 200-202, Regent St., LONDON, Wå
(Our only "address)
CROTON MO MM OOO IM MOOI NN,
JAGICAL
IDEAS
47
GH HOLBORN
LONDON. W.C.
THE DEMON TELEGRAPH The Ace Magical Magazine
Write for specimen copy—price SIXPENCE.
Small Lists of Tricks and Books—send penny stamp.
DAVENPORTS, 111, High Holborn, LONDON, W.C.1.
Printed in England by Jourwat Printinc Orrices, Cannon Passage, Birmingham, and Published’
each Saturday by Gooptirrz THE MAGICIAN, 6, Colonnade Passage, cry ap 2 (Tel. No. Mrp.2207).
Subscription Rates (post free to any address in the world): 52 weeks £1 13s. 4d. ($6.75) ; 26 weeks
17/4 ($3.55); 13 weeks 8/8 ($1.75).
DENN NiS
Qhe ONLY MAGICAL * a,
WEEKLY «WORLD CÉ)
NOW RE ADY! EDWARD MAURICE’S Maasterly:
‘Treatise on “SHOWMANSHIP
AND PRESENTATION” — a constructive analysis of this vital’
subject by one of our most brilliant and polished showmen. Introduced
by Dr, H. Park Shackleton, O.B.E., with cover design by Dennis, and
illustrated by Fabian, it is a 48-page. book of practical. information
and guidance for the practical magi¢ian, and contains an immensely
valuable Appendix on Make-up. + 6/- post os
Available from GOOPLIFFE or any | dealer. PRICE $1.25
DAVENPORTS
are glad -to announce that the last member of the family, Walter
Davenport, serving in the Forces, e cect to be demobbed on his arrival .
from India (expect he will bring the Indian Rope Trick with him), and
with several of our old workers bac again we soon hope to be able to
supply many of our old original lines ‘again. This depends on obtaining
materials. THE PRICES WILL BE RIGHT. Not the fancy prices
Being charged to-day by new dealers, ' ‘who call our old effects by American
rames and charge American oe ‘Write Davenports first —111, HIGH-
HOLBORN, LONDON, W.C. 1 Me
1
MAY llith, 1946
Your surplus stocke. ete., H
taken in full or part px: f
change.
136, eee ROAR.
= Noi oe E erin ey
. VIDUAL,
5/- each us. < Dollar.)
Hore is Magic. Hero is Entertainment,
arad
Hero are Presentations P
Full Details on Reques
VIDU, Dales, Platt, kent
70, Waterloo Road, SMETHWICK, Staffs.
Re E JENNE
4t, a ne
When in ar engham district, don’t fail
to call ig my shop. You can then
see for oural the high quality of my
«props. ‘If you can’t a mog a sarap
-for my Ųst. T
i eee: and metal lines are! my:
| l G
3
specialit
Tot. ue. $438..
When replying to Advertisers please mention “ ABRACADABRA.” - :
Magicians’ Acts Produced
Your act arranged and ‘produced
to’ give that final polish. Details:
Neville Crathorn:
WYTHALL BIRMINGHAM,
SATURDAY, lith MAY, 1946 VOL. I. No. I5
“UP FOR THE CUP”
Editorial Digest of Cheltenham’s Hectic Week-end.
AST Friday saw the entire Editorial Staff of Abracadabra arriving
at Cheltenham to report, at the invitation of the Cotswold Magical
Society, the first post-war ‘‘ Convention ” and the nation-wide
contest for a Silver Cup for “ artistic magic.”
The Royal Hotel housed the Reception Office and the Magical
Traders’ Exhibition Hall. It was here that, during the evening, old
acquaintances were renewed and new ones made. Following the official
opening of the assembly by Cheltenham’s Mayor, Alderman Clara
Winterbotham, M.B.E., an informal-entertainment was staged in which
performances were given by John Ramsay, Robert Edmandson, Stanley
Dickson, Stanley Marelle, Arthur Leo, Rex Gatti, Frank Moore, Gilbert
Wells, Bob Gagie, George Mackenzie ‘and Hugh Cecil.
TRADERS’ EXHIBITION.
Visitors who had been to bed rose on Saturday morning to witness
the opening of the Exhibition by Geofge Sylvestre (the former ‘‘ Sunshade
King ” and Past President of the Cotswold Society). Fourteen dealers
and publishers were, for the first tinje, gathered under one roof, and the
total display of magical merchandise was stupendous. The arrange-
ments, by Reg. Thornbury, were most satisfactory ; there was a demon-
stration room with small stage for uge, as necessity arose, by any of the
exhibitors ; and when things were quiet the dealers had a great deal of
pleasure in buying from each other, On another page will be found
details of some of the items which;impressed us and which seemed to
appeal to the two hundred odd (in more senses than one !) magical fans
who toured the displays. |
KI
x
THE CUP COMPETITION.
The afternoon brought the big event, staged in the Empire Hall.
A time-limit of seven minutes was,imposed for each entry, and five of
the Council Members of the Cotswald Society were judges. First, they
saw Archie Tear (Northants. Club) *‘ with a pack of cards ’’—giving his
accustomed smooth presentation of!sleights and flourishes. Then came
Maurice Goldsworth (Nottingham; Guild), who offered one effect—a
version of ‘“‘ Just Chance” (Bank Nite) which entirely baffled us.
3
Gabrielle Varley, the South Staffs. magicienne, presented “het Jap Box
and white mige routine ; this was much to the liking of the audience,
and Edward Graves; our “ World Fair” confrere; quite forgot’ his note-
book for those seven::minutes. Stanley Dickson (Exonian Society)
presented a finished ‘billiards ball routine; though personally we preferred
some of the stuff he put over at the evening.show. ` A young man, Robert
Lunn (Worcester Wizards) then took the stage with a delightful series of
manipulations—baUs, thimbles, cards—which in twelvé months’ time will,
in our opinion, put him in the front rank of the field. The Ring on Stick,
presented by Renay of the Bristol Society, sent the usually knowing ones
into a huddle, and he retired to enthusiastic applause. Finally, Edward
Maurice, of the British Magical Society, performed the Candles and
Silks Transposition, the Colour-changing Plumes and Fan, and the
Transit of Venus.
He won the Cup; having just read his ‘‘Showmanship and
Presentation,” we expected no less.: His Society were fortunate in
prevailing upon him to represent them on this occasion. They expected
him to return with the Trophy, and he did. Robert Lunn was Sy
the runner-up.
THE SORCERERS’ SOIREE.
So to the evening party, a riotous packed-house affair with the
beer flowing (and tasting) like water, Horace King and Betty proving
excellent and friendly hosts, much fun and games and some magic.
Francis White shone exceedingly, using up some of the gags which he
would not be allowed to use.on the stage of the Magic Circle. His best
was impromptu : as Tom Boot lumbered up to assist, he gasped, ‘‘ My
God—a jockey! ’’ Eric Lewis stooged again to the gramophone record
of his conscience in an excellent routine. There was Lenz, with his
Oriental mysteries; Renay; Gus Davenport, with a polished act, full
of laughs, opening with Owen Clark’s Stick to Parasol, and including
his father’s billiard ball routine and a new matchbox penetration soon
to be marketed ; and Stanley Dickson, featuring a cigarette production.
THE COTSWOLD COMPETITION.
Another panel of judges—Francis White and Bill Stickland—was
in position by 9 a.m. on Sunday forthe Cotswold Society’s own series of
contests. As we had a similar job two years ago, our sympathy was
extended to the adjudicators : there were NINETY entries in the different
classes, and apart from a luncheon adjournment, magic went on until
5.30 p.m., when His Honour Judge Wethered, O.B.E., presented the
prizes. Fuller details will be found among the Society Reports.
disse | Se Bing 52
To sum up: A fine week-end, good fellowship, plenty to see and do,
exceptional organising. Our thanks to Wilfred Tyler, President of the
Cotswold Society ; Eric Williams, Nae Officer ; Leonard Marshall,
Treasurer ; Harry Vernon, Receptit nist, and all those other members
who helped ‘ ‘behind the scenes.” ! And may we once again say that
(whilst we were looking, anyway) NOBODY CUT A ROPE!
CRE EEEE AE ES SEEE E E E
@ A PAGE OF PICTURES taken during the Cheltenham Week-end
will appear in our next issue, with a full report of Edward Maurice’s
Trophy-winning Act.
4
OR this routine, in addition to ‘‘ Tubby ”
WIN N I N G Allison’s ‘‘ Star’? Wrist Chopper, you
will require the following :—
ROUTINE (1) A black art table with a well.
(2) A property hand in the well.
(3) A basin which contains a handkerchief
which has been soaked in water and
lightly wrung so that it can be picked up without dripping.
(4) A property spring carrot carried in magician’s pocket, and
easily accessible to the right hand.
(5) A large silk, bearing, if possible, a skull and cross-bones design.
(6) A glass of wine and a glass of beer, concealed as preferred
either on the performer’s person or in the table.
THE ROUTINE.
The performer asks for the assistance of a gentleman, preferably
one fond of carrots, and on his arrival on the platform the chopper is
demonstrated and a carrot cut in halves. Assuring his assistant that
this is the most elaborate and expensive means in existence for chopping
a carrot in two, the performer points, to the larger hole—made for larger
carrots, the size of a man’s wrist. On this he places his wrist through
(for “home” a
the hole and then covers the chopper with the silk, covering mainly the
‘wrist ” side of the chopper. He presses down the blade and asks the
assistant to place his hand under the silk and take out the half of the
carrot which had been placed in the chopper. Next, the assistant is
asked to shake hands with the performer, still under cover of the silk,
and while hands are still grasped the performer whips off the covering
silk to reveal that the blade has apparantly passed harmlessly through
the wrist.
Raising the blade with his left hand, the performer removes his
right, casually picks up the silk and produces from it
a glass of wine, which he hands to assistant with the By
remark: “You look as if you nedd this.” GORDON
When the assistant has drunk jhis wine the per-
former smiles at him and says: ‘‘ Feeling better now ? MANLEY
Good—now it’s your turn. Do put your hand through
the opening; you'll find it most exciting. I’ve been doing this for a
couple of months now, and haven't chopped a hand off for weeks.”
The assistant having eventually been persuaded to put his hand
through the opening, a carrot is placed in the lower hole and the silk
placed over the chopper again—to give the assistant confidence, as the
performer explains.
Sharply, the blade is pressed down. Performer looks at his assistant
—a long, hard and steady look, and then slowly picks up the handkerchief
3
from the bowl. He presses this to the assistant’s brow, takes it away
again, and wrings the remaining’ water: into the bowl. Still. perfectly
serious, he takes out his watch and reaehes under silk with his. free hand
to take the assistant’s pulse. As he checks the time with his watch, he
withdraws dummy hand from: the well and very slowly allows himself
to move slightly away from the table. © :It.is only by the reaction’ of the
audience that he finally realises that-he is holding assistant’s (?) hand
free of silk and chopper, and he hastily repairs the fault, actually replacing
the dummy in the well. In the same second he takes hold of assistant’s
hand, and, replacing watch in pocket, whips off the silk.
Releasing the hand of his assistant, he asks him to, wiggle his
fingers, and while this is being done he shows the two halves of the carrot
to prove that the chopper has done its work. Turning to the assistant,
he offers him the carrot. ‘‘No? Well, perhaps this: will do you more
good.” He produces the glass of beer from the silk. ‘‘ Still not happy ?
Oh, I see; you can only drink beer with your right hand. Very well,
then ” (releasing the blade} ‘‘ Tl set you free again—and good health
to you. Thank you so much for coming on the stage to help me.” Pat
assistant on back with Jeff hand and with the right hand produce the
largest spring carrot obtainable from his inside pocket. ‘‘ Ah, I sec
why you didn’t want my carrot. You carry your own supply.”
Whereupon the assistant is shown off the stage and handed down
to the audience.
We regret that owing to very heavy pressure on space
“TRICKS OF A TROUPER” has been held over
for this week only.
FROM THE DIARY OF A COUNTRY
NEOPHYTE—VI.
By Capt. Trevor H. Hall.
O* Thursday, 25th April, Roland Winder and I broke our journey
to Bradford to spend a most enjoyable hour or so at the home »
of Len Burnell, one of the most well-known amateur conjurers
in this district, and for many yar fin: Secretary of the Leeds Magical
Society. An old friend, Leslie Lester of card and cigarette fame, and
Jack Parker, of the Order of the Magi, were there, and an enjoyable
exchange of reminiscence and card tricks followed. It was the first
time I had had the experience of seeing Jack Parker execute the two-
handed pass at close quarters, and ‘an say that it is the only occasion
when I have seen this standard sleight performed with sufficient speed
and economy of movement to be completely indetectable at a distance
of inches only. Roland Winder shared my view that it was an amazing
performance, and he was able to compare Jack Parker’s phenomenal
dexterity with that of Houdini in’ executing the pass, referred to in
“ The Art of Magic ” ; for Roland: had seen Houdini do close-up card
work at Dr. Hawtin’s house in Leeds years ago. .
On Tuesday, 30th April, I journeyed to Doncaster to spend a very
happy evening as the guest of the David Devant Mystic Circle. I take
6
THE
GREAT MARVO
Number Six
By DENNIS
my hat off to this Society, which maintains a high standard of attendance
despite the fact that many of the members travel very considerable
distances to further the art of magic. One enthusiast, for example,
comes from Hull and returns there the same night; whilst another
stalwart informed me when saying ‘‘ Good-night ” that he had twelve
miles to travel home on a bicyole after the meeting. A varied pro-
gramme of magic had been arranged, consisting of the following :—
Brian Hawkins (London Society of Magicians)’ presented some
quite expert’ cigarette and ball manipulation, concluding with the
production of a Union Jack. j
Roy Brown, a valued war-time;colleague, now demobilised, demon-
strated a routine with the Nu-Ipga Carps, followed by an original
presentation of Thayer’s ‘‘ Targettp.”
Vic Weston followed with three card effects, Bertram’s Four Acc
Trick from ‘‘ The Modern Conjurer,” the Rising Cards, and a ‘‘ sucker ”
card discovery. I blush to relate that I ‘‘ bought” the latter quite
beautifully, or, more properly, “‘ sucked ” it.
Finally, the President of the ee Mr. Brocklesby, gave a fine
performance of the Linking Rings, which was received with enthusiasm.
Having been suitably primed with Doncaster beer, the present writer
gave a talk on presentation and patter, with five effects interspersed by
way of illustration. The highlight pf the evening, for me, was my talk
with Mr. Brocklesby, whose remiriscences of personal meetings with
David Devant were delightful, especially to one who suffers from the
bitter disadvantage of only having seen the master perform when he was
already suffering from the nervous indisposition which ultimately caused
his premature retirement. i
John Kempthorne has submitted one of his changing bags for review.
The bag itself is made, we think, of Italian cloth, and is operated by a
twist movement. It is mechanically sound, and should not excite
suspicion. Further interesting lines appear in his lists.
7
CELEBRITY CLIMAX!
By ALYN JONES
OUR pieces of wood are examined. Three of them have rebated
grooves, as at ‘‘ A,” and the fourth has a slot right through it,
as at “ B.” These pieces are assembled to form a frame with
“B” at the top, as át“ C.”
A piece of, white card, the size of the frame, is then. shown both
sides and passed through the slot right to the bottom of the frame,
completely filling the space. ‘£D ” shows the card halfway in.
A number of postcard-size photographs of celebrities are shown, and
one is chosen and placed in an envelope. This envelope is then placed
in a “ projector ° and held by a volunteer assistant. After suitable
hocus-pocus, the image is projected from the envelope through the
card and becomes imprinted on its back. When this card is turned,
the portrait of the chosen celebrity is found to fill its surface.
SECRET (or is it?) ~
When, after examination, the frame is being assembled, “B” is
switched for another piece (‘‘H”’), which is in fact hollow, containing
a roller and a blind of white linen. Pasted to the linen is the photograph,
asat ‘“ F.” The duplicate strip of wood is really a box made of plywood,
. carefully coloured and grained.
When the large card is inserted through the top of the frame it
engages the two hooks “X ” attached to a strip of pasteboard pasted
at the bottom of the blind. This pasteboard strip extends a little beyond
the sides of the linen, and is thus able to run safely up and down the
side grooves of the frame. When the card has been pushed down to
its limit, the pasteboard strengthener is quite hidden in the groove at
the foot. The tension of the spring roller (or, as in my apparatus, the
elastic), strained by the presence of the card, holds the blind rigid.
When the card is withdrawn, after the show, the blind returns to its
original position and is ready for the next performance.
A few other details of the construction seem to be in order. The
grooves, as at “ G,” should be slightly to the front of the frame. My
frame measures I2ins. x 8ins., and'the sides are 1fins.xIin. I have
small holes drilled through the joints, and after assembly I pass panel
pins into the holes—just in case. |
The roller should be as small as possible in diameter. Mine is
made of a metal knitting needle, with the end of a film spool at each
end, There is a hole punched in the disc of each spool. A single piece
of round elastic is passed through onè of these holes and the end knotted.
The elastic then passes through eyelets right along the inside of the fake,
and through the hole at the other ettd, when it is knotted again. Thus,
the elastic holds the blind firm against the roller as well as rolling the
blind up when the tension is released.
You will find the effect to be well worth the trouble taken in making
the apparatus up.
i z
Our next issue will carry the first of a series of articles on Ventrilo-
quism by Robert W. Edmanson, who, though internationally known as a
magician and as the originator of effects which have appeared in ‘‘ The
Sphinx ” and elsewhere, actually made his living as a professional vent.
for many years and still performs to-day as a conjurer and ventriloquist.
8
Celebrity CLIMAX
— METHOD of JOINING ~
DEALERS’ PARADISE
A Ta rough estimate, some £700 ($2800:00) must have changed hands
during twelve hours’ display at the Magical Traders’ Exhibition .
at Cheltenham last week-end. Considering the continuing
shortage of supplies, we felt that most of the exhibitors were well satisfied.
--Davenports wërė able to report exceptional sales of Edward Love’s
“Card Fantasies”. (15s.—$3.00); their famous*-Feather Bouquets
(21s. and 35s.— $4.20 and $7.00) were going well, too,-as also were Magic
Welding (30s.— $6.00) and lines advertised in this issue...
Max Andrews was featuring some.excellent Vampiretines. He had
a good Card Castle with a rising card-feature (50s.—$I0.00) and a
beautiful Crystal Clock with mirror-glass figuring and plated stand at
£6 xos. od. ($26.00)... His cigarette-case ‘card-box, too, was excellent.
George Mackenzie had a new Coin Load device, very clever, at- ros.
($2.00) and a Card in Wallet with plastic plates at 12s. 6d. ($2.50).
Magikraft Studios, also selling the Vidu routines, featured Squared
~ Circles at 50s. ($10.00), every model being different in decoration or the -
design of its lattice. The apparatus was here, too, for Snooper Snooped
(178. 6d.— $3.50).
Unique Magic Studios (Harry Stanley, Kathleen Parks, Jack Hughes,
“ The Gen ”) exhibited some of Jack’s pre-war lines and some new ones—
the Pedestal Production Box (£7 10s. od.— $30.00) ; a cute Card in Glass
_effect (30s.— $6.00) ; and the Four-Coins in Glass (£5 5s. od.— $21.00)
were particularly popular.
Burtini was selling very fast his chromed Chinese Rings in various
sizes, his Omelette Pan (12s. 6d.— $2.50), a new all-metal and nicely-
sprayed Chinese Sticks (21s.— $4.20) and his beautiful glass-ware.
Star Magic Company had Goodliffe’s Leg Cho—No, we mustn’t—
oe of the Massey effects, and a fine Wrist Chopper at £5 15s. 6d.
($23.00). i
Walter Wandman liad Abbott’s ‘‘ Pentabloc ” (37s. 6d.— $7.50),
. Break-away Fan with chrome ribs {15s.— $3.00), and a- few flap slates.
He has not yet réally got going after the war ; hence the absence of his
ads. from our pages at present. | i
‘“ The Magic Wand ” had a stand with a few of their publications
on display ; most—even including the last issue—are out of print. -
George Jenness, Magical Bookteller, was there with some scarce
books and interesting items in the shape of a hand-written Nevil
Maskelyne letter and an autographed David Devant exhibit.
Abracadabra was represented, too; on this stand was Eric Jones,
Cartoonist, who caricatured all and! sundry—after collecting the fee.
It is a pity that magical publishing makes a man so poor; we
should have loved to wander round. with a pocketful of money to spend.
Exclusive to Abracadabra. z
j The British Ring, I.B.M., infofms us that the Victory Convention
will be held this year on September roth-22nd, inclusive. Arrangements
are all but complete. We are asked not to disclose the venue as yet, the
official view being that I.B.M. members are entitled to first notification.
We shall make the announcement immediately the Hon. Secretary gives
the signal.
Remember your make-up—even a skull grins.
I0
Both Sides of the Footlights.
MERLIN, PRINCE OF MYSTERY
(Hippodrome, Chatham)
QO°LAD in dinner jacket. and be-
jewelled turban, Merlin made
i his entrance from the centre of
a black velvet backcloth, made a few
entertaining remarks, and opened with
a lovely presentation of the Ball and
Tumbler. The tumbler was in fact a
stemmed brandy glass. He followed
with a slickly-worked Sympathetic
Silks, and then proceeded into a nice
Egg Bag routine, finishing his ‘““ex-
planation ” of the same in the audience.
Merlin’s charming assistant Diane
was then made the subject of the Head-
less Lady Illusion. Manipulations of
five cards in a beautiful routine led into
a novel version of Transit of Cards,
two members of the audience assisting.
When they had been thanked and had
retired, the act was brought to a close with the Sword Cabinet.
Merlin’s is, without exception, the nicest, cleanest and best presented
act I have seen in years. A friend of mine expressed regret that the
swords used in the cabinet looked anything but deadly, and with this I
agree ; but this minor fault did not prevent me seeing the act again in
the second house, and I enjoyed iti every bit as much.
i Geoffrey R. Hursell
“ VOLTAIRE ”.
(Hippodrome, Preston).
N the rise of the curtain, the stage was revealed empty except for
an assistant standing centre. Voltaire entered, briefly intro-
duced himself, and then jthrew a “flash” from his hands.
Hat, gloves and cloak were handed tp an assistant, who retired, returning
a moment later with a lighted electric table-lamp. There followed the
cut and restored ‘‘ flex,” with the lamp going out and lighting up again
as the flex was cut and restored. | Then came the Human Gasometer,
from assistant’s mouth.
Voltaire has an original presefttation of the Clock Dial, in which
lighted coloured lamps replace the (usual figures, and the routine is one
that must be seen to be appreciated) This is followed by the production,
singly, of a number of lighted lamps; some from cover, some from thin air.
Any of them light up at a touch fom the finger—and are then tossed
out for examination! More lamps are forthcoming, to light up at a
colour decreed by the audience. The climax of the lamp-catching act is
the disappearance of four from a lighted glass case; it didn’t seem to
impress the audience or my “‘ lay; friend ” very much.
The classic of the show was undoubtedly the Floating Lamp—a very
pretty and intriguing effect which brought many exclamations from
It
nearby critics. But the ‘‘ sensation ” was yet to come. The performer
produced a 500-watt. lamp, and, holding this in his hand, electricity was
generated from a mere flickering glow tóa dazzling brilliance—the whole
stage seemed to be dimmed by this magical light, and Voltaire’s shadow
was thrown in grotesque silhouette against the backcloth. The effect was
really tremendous and brought genuine-gasps from the audience. The
light dimmed down and died out, and the lamp was vanished from a
piece of paper, its place being taken by a string of fairy lights. These,
with a length of white ribbon, were dropped into a folded banner, which
was then opened out to reveal an illuminated ‘‘ V.” And so the per-
former, an ideal showman, debonair and pleasing, took his exit.
Voltaire has certainly opened up a. new field of magic, with his
electrical adaptations of magical classics. His act captured the interest
of everyone present and brought him well-earned rounds of applause.
Bernard Creed
Readers are invited to send in letters
on LIVE subjects, not exceeding 200
words in length, for publication.
ESEA EEEE T EE A OE
To the Editor of Abracadabra.
DEAR Sir,
You are adding new terrors to us wizards, because, one must assume,
your contributors speak with some measure of authority. Donald
Crombie now says we magicians must not indulge in tarradiddles. What
a position to be in! Must we all now speak only the naked truth ?
; Harry BOSWORTH.
DEAR SIR,
The writer of your article entitled Patter Pitfalls objects to mis-
statements. I don’t know if our learned friend is a professional magician.
If so, I should very much like to säe his act for the reason that, in all
magic, even one’s movements or sleights are a form of “lies.” In my
sixteen years’ study of magic I halve seen practically all the world’s
star performers, and every one of them tells * lies ” in his act.
““ Stooges,” of course, are fully justified if the performer can get
laughs or bewilderment with them. ` What matters is a full date book.
Ron RENNIE.
DEAR SIR, - ;
With reference to Donald Crombie’s article, ‘‘ Let’s Discuss,” I
am sure he, and some of your readers, will be interested to know that
Devant told me, personally, he never told a lie in his performance if
he could possibly avoid it; hence his careful wording of The Golliwog
Ball (not Goblin), which Mr. Crombie quotes.
i Yours sincerely,
CLAUDE CHANDLER.
: l
Originality comes with practice and “‘ organised dreaming.”
12
an . GAG DEPARTMENT |
20th Century Silks. : bape ae
Have Davenports’ Scrawny Chicken loaded in. your right-hand
trousers pocket, with the combat the top. Roll up the red silk between
the hands in the usual way,’ closing the left hand and turning it back
to the audience. At the same. time, the right hand makes its time-
honoured way to the pocket, placing the silk in position for the top-of-
pocket vanish. In the same movement, hook the comb into sight.
~ The onlookers will be very ready to point out that the “silk ” is
in sight ; whereupon you should produce the chicken, show the pocket
otherwise. empty, and proceed with your routine.
F. Dickinson (Khardunt).
I’m Knot.
The magician produces a length of rope, remarking: ‘‘ When one
of our fraternity produces a length of rope, the audience usually exclaims,
‘ Wish he’d hang himself!’ or ‘Oo-er! He’s going to cut and restore it.’
Well, I’m not.”
As he says this, he strokes the rope and a knot appears. Syn-
chronisation is, of course, important.—The method ? Merely a loose
knot round the rope and concealed by the hand, which is pulled down
at the psychological moment.
J. K. Bays.
Wot! No Mr. Chad?
Mr. Chad is at present still very popular, and I suggest that he might
well be made the subject of a repeat/paper-tearing routine.
Prepare four pieces of paper. The first piece is blank. On the second,
Mr, Chad looks over his familiar wall, and beneath is written: Wor!
No Peeces? . . . For the next fear, the picture is of Chad, but no
wall, with the legend: Wot! No WALL? . The fourth slip has
the picture only of a wall, and Damn! I’ve SLIPPED.
Cyril H. Dewey.
Finger Chopper Stunt. |
Here is a little red-hot stunt I a using for the popular finger chop
per. . A finger-stall of cardboard, covered in bandage and with copious
dabs of red ink applied, is in the fight coat pocket.
` The victim is coaxed to place His finger in the hole of the chopper,
and while he is doing so I place the first finger of my right hand into
the finger-stall, bring out the hand 4nd wave it about while emphasising
that there is positively no danger. ;
You'll never see a fellow withdiaw his finger more quickly, and the
laugh it raises is terrific. !
oe es Pe Serl Taunt.
All ventriloquists will be intergsted to learn that Maurice Hurling
has been “appointed official represefitative in the British Isles for the
Internatignal. Brotherhood of Ventrifoquists. The Brotherhood originated
some three years ago in America, 4ħd already has a large membership,
including Edgar Bergen, Arthur Worsley and Douglas Craggs. The
bi-monthly. ‘magazine is sent free, to all members. Interested non-
members should drop a line to Maurice at x, Lathkill Close, Bush Hill
Park, Enfield,’ Middlesex.
13
e : . . -. his silks-from-well effect, but awarded
: he Warid to Mr. Steele, of Beverley,
. whose production ofan animated grey-
d hound in an item called ‘‘ Doodles”
was accompanied by a wonderful story.
eee : -Fhe gay Will Coultas was compere
The Institute of Magicians. The last for the evening, and entertaining shows
Sunday concert of the Winter Season were given by our youthful magician
was held at the Victory Club before an “Arturo,” Mr. Ayres with many neat
audience of about 500. An all-star ideas, and “‘ Fu,” who, with his lady
programme included Arthur Prince, assistants, presented a colourful and
Wee Georgie Wood, Charles Harrison, beautifully-timed Chinese act. Bert
and other well-known acts. Dexter wound up the night with a tip-
At the Annual General Meeting, top. display of miscellaneous magic.
A. Zomah was again elected President. The whole affair was a grand event, and
The first Vice-President, J. M. Rubens, a great credit to the wand-wielders of
recently back from the States, has Hull. ;
promised to give a lecture shortly on J. E.B.
“ Magic in: Hollywood.” 7
Prospective members are cordially The Cotswold Magical Society. Al-
invited to come along any Thursday together about three dozen prizes
evening from 7.30 onwards. Head- (most of them donated by dealers) were
quarters are the Victory Club, 2, Hand competed for in the competitions held
Court, High Holborn, W.C. There is on Sunday last, the last day of the
always something doing. : ““ Week-end.”” Horace King (trained
The Institute celebrated Walpurgis by Betty), in addition to the Challenge
Night by inviting the Folklore Fellow- Wand and another special prize, won
ship to a magnificent three-hour non- prizes in Classes B, C and G. In
stop magical show at Institute H.Q. Classes A and D, Eric Williams was the
President Zomah welcomed the visitors first prizewinner. Another special prize
and spoke of the splendid work being was won by Colin Hughes, who also
done, and Barrister Jackson Coleman, took a first.in Class E. Reg. Wright
of the British Ring, speaking for the was first in Class F. -First prize in
Folklore Fellowship, said that folklore Class H was won by H. Nadin, and
and magic came originally from the other special prizes went to Cyril
same source. As a result of this Taunt, Michael Seccombe and Murray
gathering it is hoped next Walpurgis- Smith. Other prize-winners were Peter
tide to make an even greater effort by Akester, Will Jordan, Tom Waterman,
sano
the two societies for the combined ; Cyril Cowley, George Sylvestre, and
celebration of the old witchcraft | Leonard (“ Chats at the Bench”)
festival. ' . Marshall.
o“ Norrie”
The Hull Magicians’ Circle. The | SMALL ADVTS.
(3d. per word, undisplayed)
GOOD MAGIC. STAMP LIST.
Annual Dinner was held on Monday,
April 15th, and this was followed by
the Competition for the Jasper Maske- DE HEMPSEY, 363, Sandycombe Rá.,
lyne Wand. The Wand is awarded for | Kew Gardens, Surrey.
originality, and this year’s competitors j
were Messrs. ‘‘ Arturo,” Dexter, | COLLECTORS: A few copies of
Craven, Ayres and Steele. Henri De * the Cotswold Magical Society Souvenir
Seevah acted as judge and stressed the .. Programme are available, Price ls. 2d.
point that the originality displayed | (25c.), post free.— Write now to
had been more in the presentation than Eric Witiiams, 203, THE HoMEND,
in the effect. He praised Mr. Ayres for .: LEDBURY.
The Librarian of the N.A. MS. „wishes to acknowledge receipt from
an anonymous donor of a presentation of nine books for the National
Magical Library.
THE MAGIC CIRCLE BRITISH MAGICAL SOCIETY
President: His Grace The Duke of Somerset, | Presidenti - - Gilbert Wells
Clubroom ae OBE. JP. Db. MIMC. | HQ. and Libii: ager Hotel, Birmingham.
T BRMIN'S HOTEL, CAXTON ST., S.W.L. Communications to Hon. Sec.: Fred Walker,
102, Park Hi ‘Hill, Moseley, Birmingham 13.
MAY 14th—HINTS, TIPS & GADGETS
Magical Theatre: PORTLAND HALL, W.1.
Full particulars from Hon. Sec.: Francis White,
39, Alverstone Avenue, Wimbledon Park, S.W.19
14
Where to See Chem.
Week commencing May: 13th, 1946;
( Artists are invited to acquaint us of their” dvance Dan '
BLACKPO Opera House). -Benson Du Lay, the Slick Magician.
Metropole). -Karda The Patriotic Illusionist.
D (Palace). tward, World’ Mystery Master.
ie ants mperor of Mystery.
acs. (Theatre: Roya}? Edward Victor.
Lon pon (Walthamstow Palace). Merlin, Prince of Mystery.
SWANSEA (Empire). De Courcy.
fi In No. 6 we reported that Robert Harbin intended changing. hi
‘professional name to Mysto; and advised all prior: “the a
of the name to write to him direct—our. editoria] uties..a
sufficiently heavy. Now: Robert ‘Harbi writes. from Bombay
5 i ithe moe, OK
to magic: throuphuthe ages, and will-gladly send details Of its research
hany interested magician forwarding a stamped envelope to: ‘Folklore
ae 116, Kinch, Drive, p Hanfon, N.W. 9. :
ne. ~ TE this copy ‘Teaches “yo nite you may be able to, atch thi
aS ‘broadcast on Friday at. 5-30 i the Light Programme.
years “over there’ | dreamed
’
had the Act That Was Different, MAGICIANS
- BOOKBINDING SERVICE
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