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Not since 1953 when the Car-dician was published, has Mario released a text on cards for the general magic public. MARLO WITHOUT TEARS is an exquisite 325 page text with over 60% of its 14 chapters geared for the hobbyist who does not possess a high degree of technical prowess; hence. MARLO WITHOUT TEARS. The remainder of the text will challenge and enrich those of the technical genre. Commercial value and directness is the basic thrust of this outstanding text.

Jon Racherbaumer, acknowledged as our art's foremost journalist. presents each of the 63 effects and sleights with an emphasis on the "tearless" approach. None of the material has appeared in print and there is

no padding. MARLO WITHOUT TEARS is one of the best investments any magician could make

in the education of entertaining with the pasteboards.

Of particular note, is the full-color dust jacket which features the exquisite artwork of Walt Disney illustrator, Marshall Van Druff. It is the finest frontal piece ever produced for a book on the art of magic, and an appropriate tribute to a man who has given magicians, "a nice shelf" of books over the last 45 years.

Korem Publications and Korem Productions are proud to be associated with this project enabling us to continue to present to the magic fraternity the world's finest texts and educational video tapes for the enhancement of our art. If you are not on our mailing list, drop us a line for future releases.

£21.00 post paid. Only from MAGIC BOOKS BY POST, 29, Hill Avenue, Bedminster, Bristol BS3 4SN. For ACCESS, DINERS CLUB, VISA orders phone 0272 774409 for y our 24 hour answering/order service. NO VISITORS. LISTS (about 2,000 titles) 2 first class stamps. Europe free. U.S.A. seamail $ 3.00, S 4.00 airmail. Bills only.

How many 'big name' magicians have we had in Britain in the last twenty years? There are a few obvious contenders. David Nixon, A1 Koran, David Berglas, Tommy Cooper., who should perhaps be in a different category, and of course, Paul Daniels. I think it is fair to say that all of them made their names through television. Although Robert Harbin was quite well known he never quite made it in the same sense as the others.

Is it possible to become a 'big name' magician, with the public, without television exposure? I doubt it. In the U.S.A. they have Messrs Henning, Wilson, Siegfried and Roy,, Copperfield. Again, all national names through television. O.K. I know S and R were giants on the Las Vegas showbiz scene for several years before they did their big T.V. specials, but it was still T.V. that made them better known throughout the length and breadth of America.


Why am I talking about 'big names'? There is a reason. This month we nearly had another one . . . maybe . . . and without television. The name of the new contender ARTURO BRACHETTI, and it can still happen by the time you have read what you are reading now.

For the past three or four months there have been constant references in the press to a new show scheduled to open at the Piccadilly Theatre, right in the heart of London's West End, withe the title T. Brachetti was to be both director and star of this extravaganza which is costing upwards of one and a half million pounds. They have ripped out the interior of the theatre and rebuilt and designed it to suit the requirements of the show.

The opening date was to be graced by the presence of Princess Anne. Then suddenly everything seemed to go wrong. The leading lady was taken ill; the dress rehearsal over ran by an hour and a half; the producer didn't think the show was good enough etc., etc. And Brachetti is right in the middle of it all and he is only twenty three years old. The people who put up-the money for the show must have a lot of faith in him and as I said, it can still happen. The opening date has been postponed and Arturo has relinquished his post as director.

I really hope it does happen because he is a nice guy with real talent. I met him and worked with him about a couple of years ago in Italy, I think. I'm sure I mentioned him in 1109

this column at the time as I make it a rule to mention people I like, respect, or admire. (So now you know why YOU haven't been mentioned). Brachetti is a magician turned quick change artist with real flair and showmanship. Class is probably the best one word description.

Both he and his producer were interviewed on T.V. recently, explaining that the pressures on Arturo in his dual role as director/star were too great, and in the course of the interview they showed clips of the show in rehearsal. One short sequence of only a few seconds showed him performing a Carmo (?) type levitation, the one that Jeff Atkins did on the Paul Daniels show some time ago. The make up, the costumes the theatricality of it all can only be described in one word . . . stunning. If the rest of the show compares favourably with this little clip we are in for a treat when it happens. I hope it does.

As a follow on from the above, there hasn't been much in the way of big time magic in the London theatre for quite a time. There was a show at the Pheonix Theatre for a while and John Wade starred in a smaller production at the Mayfair - and of course Paul Daniels' marathon at the Prince of Wales for fourteen months The first two shows were lightweight productions and we all know that although the P.D. show was presented at one of the West End's largest theatres, Paul carried the whole show on sheer personality and not on spectacle.

Apart from anything else the Brachetti production promised lavish costumes and spectacle on a scale rarely seen in London for many a year.

Congratulations to Bob Read who was runner up in a close up magic competition in Las Vegas recently. Paul Gertner was the winner. They tell me that magicians were crawling out of the woodwork to get into this competition because it was the first time that a substantial cash prize had been awarded in such an event. I believe the figure was # 9,000. Albert Goshman came in at number five. Maybe he was just lucky.

I know in my heart that this column should have been given over to Ken Brooke who passed away recently. I have deliberately avoided doing so because I have already written about just that in another publication and someone else has probably done something on the subject for this magazine. May he rest in peace.

Goodbye, Patrick Page fake cards

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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