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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.”’? Our New Catalogue No. l, ready NOW,- Four issues per year for 2/6 post free. x 200-202, Regent St., LONDON, W.1 (Our only address) I F—It 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, CoLumBUS 4, Outo, U.S.A. Conjuring Books for Sale -OLD & NEW. Let me know your wants, LIST FREE FOR STAMPED No Callers. GEORGE JENNESS, 47, Inverness Ave., ENFIELD, Middx. DAVENPORTS’ CATALOGUE OF TRICKS “DEMON TELEGRAPH " (AAGAZINE " STAR MAGICAL MANUFACTURING CO. Weare out to serve those who’ want the best. Should you be dissatisfied with anything purchased rom us your purchase price will be re- unded in SEND STAMP FOR CATALOGUE Only Address: 50, St. Mary’s Row, - 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- tain several new items. If ‘you have: 4 already written me you will get tbis.. Otherwise write now and we will send as soon as ready. No. 1 and 2 out of print, ‘ and recent enquirers will get No. 8. °°" ERIC C. LEWIS... Magikratt Studios, . .- 32, Vernon St., NORTHAMPTON ‘| SAMPLE SIXPENC. SSLIBSCRIOTION FOR EIX CODES ~ POST FREE WD G ` Printed in England by JOURNAL PRINTING OFFICES, paon Passage, Birmingham, and Published ' each Saturday by GOODLIFFE THE MAGICIAN, 6, Coli e, Birmingham 2 (Tel. No. MD. 2207), ° Subscription Rates (post free to any address in the world): 52 weeks £1 18s. 4d. ($6.75) ; 26 weeks 17/4 ($3.55); 13 weeks 8/8 ($1.75). VOL. I. No. 12. ESTEE S DE “ry aE NA abd rbd wo bay é etter THE ONL A APRIL 20th, 1946. / MAGICAL WEEKLY ` IN THE WORLD MYTH MOTH Vidu Perfected Presentation No. 30 is this entertaining and clever routine of Wilfred l Tyler's, with special Vidu additions. A novel present- ation for the handkerchief penetration frame which” curns this classic into some- thing NEW AND ENTER- TAINING. Thists a brilliant _ routine in the modern style. PRICE 5/-. (U.S. | dollar) DALES, PLATT, KENT VENT. SCRIPTS Scripts specially written to: individual requirements. Details: Neville Crathorne WYTHALL =- =- =- ~ HAM. BRITISH MAGICAL SOCIETY President - - - = ` Gilbert Wells H.Q. and Library: imperial Hotel, Birmingham, Communications to Hon. $ec.: Fred Walker, 102, Park Hill, Moseley, Birmingham 13. nd NO MEETING EASTER TUESDAY THE MAGIC CIRCLE President: His Grace The Dake of Somerset, . D-S.0., O.BE,, J,P., D.L., M.1.M.C. : and Library : . SP BONS HOTEL, CAXTON ST,, 8.W.1. Magical Theatre: PORTLAND HALL, W.1. Full from Hon. Sec.: Francis White 39, Alverstone Avenue, Wimbledon Park, S.W.19 W ES Bt Mapy: exclusive lines in finest i = quality Metal and Glass-ware. «Send stamp for list. I 70, When replying to Advertisers pigose mention “* ABRACADABRA.” aterloo Road, SMETHWICK, Tel, SME. 0439. Staffs. srs PER TRICK A vg HENRI DE’ SEEVAH A M.M. Co, B.M. Sot BLM... 3.S.M.C., “e The Friendly Magician à Invites you to send S.A.E. for his list of new and used apparatus, books and. magazines. Your surphis stocks, etc., taken in full or part ex- change. ý 136, HARVINGTON ROAD. WEOLEY CASTLE, B'HAM 29 o: TAILOR MADE. © ANEW SERVICE for DISCERNING MAGICIANS | GET. YOUR FEKES AND GIMMICKS MADE TO MEASURE. No, 1. THUMB TIE No. 2. DINNER JACKET THIMBLE HOLDER . No. 3. GHOST TUBE REVIVER S.A.E; ron DETAILS TO: WILFRED BADER, 2, A Cres., LOOK OUT THE GEN nomen 7 has an announcement of great interest to ALL lovers of GOOD MAGIC and ENTERTAINMENT. DON’T MISS IT !. Subscription 5/- per year, including Free cover. Or send 6d. for sample to: ~“ $ «KATHLEEN PARKS, 72, CAT HILL, EAST BARNET, HERTS. ec Ta 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 SMALL LISTS OF TRICKS AND BOOKS - “DEMON TELEGRAPH" MAGAZINE ~ SA! SUBSCRIPTION FOR SIX CODI ot 2 N ` Printed in England by Journal Printre Orrices, Cannon Passage, Birmingham, and Published . each Saturday by Goopiirrx tax MAGICIAN, 6, Colonnade ier ie Birmingham 2 (Tel. No. Mxp. Subscription Rates (post free to any address in the world): 52 weeks £1 18s. 4d. ($6.75) ; 26 weeks ` 17/4 ($3.55); 18 weeks 6 ($1.75). 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. DE HEMPSEY, 363, Sandycombe Rd., Kew Gardens, Surrey. 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, SANDY LANE, 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 finest on the market. Made in gleaming : solid aluminium. A cigarette is chopped and then the cian causes blade to pass THROUGH HIS ER! Cannot go wrong. Self-working. No hts. A stage illusion for bes pocket. Ro ice t0/- Post 4d. e you had “ THE MAGICIAN'S ORACLE.” ? Wr. New Catalogue No. |, ready NOW. Four . hes per year for 2/6 post free. fa 200-202, panar St., LONDON, Wil -{Our only address) : Ohe ONLY MAGICAL WEEKLY”: WORLD \ EDWARD MAURICE’S Masterly ` k N ow READY! . 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 magician, and contains an immensely valuable Appendix on Make-up. 6/- post 3d. magical oe | Available from GOODLIFFE or any.dealer. PRICE — $1.25 IDEAS 477 7 ‘GH HOLBORN LONDON. WC. ~~ DAVENPORTS : 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 EOI EOE ERE EA TREE VE E Pen Ue ee 4 being charged to-day by new dealers; who call our old effects by American Sieh Saburdey by GOLDE TA tae MAG CIAN, 6; Colonnade Pas nage, Bisctaghans $ (lel. Ne Me AON } names and charge American prices. Write Davenports first—111, HIGH : ene Rates (post free to ras Bt con D o. won ae r è Dos £1 13s. 4d. ($6.75) ; 26 weeks E HOLBORN, LONDON, W.C. 1. GOOD NEWS !! We are proud to announce that | a “JACK HU} SHES the world famous magical INVENTOR and CRAFTSMAN, has joined us ! Details of HUGHES-MADE EXCLUSIVES appear in a THE GEN. me Subscription 5 fa per year; or /send 8d. for sample to: ‘KATHLEEN PARKS, 72, CAT HILL, EAST BARNET, HERTS. TAILOR MADE. | ANEW SERVICE for DISCERNING MAGICIANS GET YOUR _FEKES AND GIMMICKS MADE TO MEASURE. “No, 1. THUMB TIE ;:: No. 2, DINNER JACKET THIMBLE HOLDER iu No. 3. GHOST TUBE REVIVER - ER S.A.E. FOR DETAILS ‘TO: | WILFRED BADER, 2, Aylesbury Cres., | SLOUGH. : HENRI DE’ SEEVAH M.M.C.. BLM. S.41.8.M.. S$. 8.M.C, The Friendly Magictan Invites you to send S.A.E. for his list of new and used’ apparatus, books and magazines. Your surplus stocks, etc., taken in full or part ex- change. > . 136, HARVINGTON ROAD, WEOLEY CASTLE, B'HAM 29 Conjuring Books for Sale OLD & NEW. Let me know wants. LIST FREE FOR STAMPED ELOPE. GEORGE JENNESS, 47, Inverness Ave., ENFIELD, Middx. ERFECTED RESENTATIONS No, 30. Tyler's MYTH MOTH . Wiiliams’ SNOOPER SNOOPED No, 28. Tyler’s SILKWORM SUSIE No. 27. VIDUAL DISCO 5/+ each (U.S. 1 Dollar.) Hore is Magic. Here is Entertainment. Here are Presentations Pertected. Full Details on Request VIDU, Dales, Platt, Kent Magicians’ Acts Produced Your act arranged and produced j to give that final polish. Details : | Neville Crathorne WYTHALE BIRMINGHAM, 1 Many exclusive lines-in finest quality Metal and Glass-ware. ' o Send stamp for list. ee EE 70,Waterloo Road, SMETHWICK, Tol. SME. 0439. Staffs. When replying to Advertisers please mention “ ABRACADABRA.” DABR 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 ; DUPLICATING “LISTS :: LETTERS : Let us know your require 6. FIELD, 42, Alderson Rd Shafiol.2 Marsh, Li Chung Soo iny‘ other magical friends, | have e in presenting THE MAN WITH THE X-RAY EYES : : : : est thrilling knife-throw- “A> NEW ROUTINE: ig act, : ; EVAPORATED MiL with SENORITA CARMEN ROSITA z ae 00. ; who want the best. h anything purchased. pwill be re-i unded in LUS TABLES ps anr fasten on the Ee be a a Only Address: 50, St. protected) Kk a a hear p heavy load vith. Moseley, Birmingham h. j pati Pg pasa lao Price 8/6 one eac till sellingz—Happy irthda » the N KEMPTHORNE, M. I. M. new pee spring Dena at a Coming k soon—] arsons’ U.N.O. Spelle vd Sapey cocked aad next Society and Double or Quits, the Magician's Cash yed edition now Sut Wri to eee Quiz. Complete range ‘of Spring Flowers : _ in stock, ose 1 a atampa For t di ie HARRY BOSWORTH, he pot ose ve er for first twelve. 34, Carrfield Ave., bal aes Notts. e England “1s TEE H M-