g l)appp iBteto I?ear to u m



The VAMPIRES held their November meeting on Friday, the 26th. It was not quite so well attended as usual. The Magic Circle had a Supper and Lecture on the two previous days. Perhaps it indicates that Christmas starts early in the realm of mystery.

On second thoughts, however, perhaps it was the weather—what a night—as the week-end gales started working up to a frenzy of flood and destruction.

The session was opened with a "What do you know" quiz in which two teams were selected, from the odd fifty people present. They alternately fired questions at each other, scoring a point for each correct answer.

Claud Manley, Tom Egan and Harry Baron opposed Max Andrews, Lenz and Bert Gardner.

The result was a decisive win for the Max Andrews' team, but what matters who won, the listeners I think gained in knowledge.

After this interesting experiment there came the usual break for refreshments during which a voice was heard to call for the Warsaw Concerto instead of a mild and bitter. Tom Savage, the Club's professional pianist had to dispense this musical tonic and right well he did it, judging from the applause.

Claude Manley was then given a free hand to provide the famous Vampire Cabaret, and all who have visited the club know what that means —Claude never lets us down.

Ken Jeremy opened with a nicely varied act starting with a cut rope. He gave a little story of an adventure in a restaurant which, by way of illustration, enabled him to work a wine, water and milk change and conclude with glass levitation. He finished with our old friends the cups and balls.

Fred Hawkins had to follow, as a deputy apparently called at short notice. I always get a sort of sympathetic nervousness when I hear an announcement that some poor victim has to appear at a moment's notice.

I should have spared myself the worry with Fred Hawkins, whose casual, easy style gave the impression that he had rehearsed the act for weeks.

He treated us to a comprehensive display including handkerchief and cigarette production, a fine presentation of handkerchief penetration and the billiard ball through handkerchief.

Two very freely selected cards and I use the words "very freely" to emphasise the effect this has on stressing the absence of funny business and so allay suspicion as to your own private funny business in controlling them later. The two cards eventually penetrated a folded handkerchief, one falling through and the other rising through. A fine finish to a fascinating show.

Harry Baron was also in top form, starting with one of the quickest rope joins yet seen in the club room. Two pieces of rope instantaneously become one and thrown straight out to audience— just as quick as that—a lovely opening.

He had fun with a bejewelled ladies belt. It was cut about quite ruthlessly but finished up in good shape and quite wearable. Then he set about a borrowed £1 note—the usual torn, burned and restored one—but the releasing of many snakes and things in an effort to trace the missing note was a new twist. (An idea here Max to produce a flight of Vampires instead of snakes).

The transit of a borrowed ring from a tumbler held by one spectator onto a wand held by another was, I thought, brilliantly executed.

Sonny Paul and Irene gave a full evening dress conclusion to the cabaret. The act included Ice Cream Trick, Human Gasometer, Production Box, a Three Card army version, Ribbon through lady and a final mass production of Silks, Fire Bowl and giant Union Jack. A fine show with a background of humorous patter.

What a pity that, no sooner have we got into our stride, we must break for two months before the next meeting, but I suppose even Vampires are entitled to their Christmas.

Max informed us that Victor Earle has promised to bring along the complete Cabaret to the January meeting so we have a treat in store. The Show is entitled "Victor Earle and his Discoveries".

By the time this is in print I expect you will all have had your Merry Christmas so I can only offer sincere wishes for a Happy New Year.

1 recall the effect where the magician goes through the pantomimic actions of producing an imaginary book of cigarette papers, pulling out a leaf and returning the book to his pocket. He then brings out a make-believe tobacco pouch and then proceeds to sprinkle some of its contents on the paper. Still acting in mime the paper is rolled around the tobacco and the resultant imaginary cigarette is placed in position between his lips. So far, of couse, the proceedings are perhaps looked upon as a bit of time killing buffoonery.

The magician now stands there pulling at his invisible cigarette but then it suddenly dawns upon him that it is not lit. He next brings out a box of matches, strikes a light and then applies the flame, in the smoker's traditional manner, to the end of the cigarette which is not really there. When his hands move out of the way there is seen a real cigarette between the lips of the performer, who continues to puff on it merrily.

I cannot, for certain, name the magician who first used this idea and rather than risk any controversial consequences he shall remain nameless. However, the original version soon spread around the globe and many magicians incorporated it in their own acts in one form or another.

The trick as I first learned it required an ordinary box of matches A hole was cut at one end of the drawer and a cigarette pushed into position so that its extra length protruded outside. The matches were placed in the pocket.

After the imaginary cigarette was placed between the lips the magician proceeded to draw absent mindedly and then suddenly realised that he had not lit it. The matches were produced, a stick withdrawn and struck. The two hands were cupped together in the natural position and brought in front of the mouth as though lighting a real cigarette. The hands afforded a convenient cover for the cigarette to be pulled away between the lips, lit and then revealed in due course.

Despite the extreme simplicity of the modus operandi that trick is still 'green' in the eyes of the onlookers because the easy action responsible for the effect is executed under a natural pretext. However, as good as the original version stood, magicians are never content to leave a trick alone. Each performer feels that if he deviates from an original method of producing an effect he has, in some manner, contributed to its success. With perhaps this thought in mind some magician at a later date came out with what he described at the time as "a better way" of doing it. Instead of concealing the cigarette inside the match drawer he suspended it under his coat. As the match was brought out of his pocket, the cigarette was stolen with the other hand and under the pretext of lighting the cigarette it was placed between the lips. From the onlooker's point of view there can never be any distinction between the different methods of working a trick as far as technicality is concerned. The difference only comes in the presentation itself.

Now before moving on to the main theme I would like to mention that as I was no different from any other magican, 1 too, thought of deviating from the original instructions not to satisfy my ego but out of necessity. The original trick, by the way, was called the "PHANTOM CIGARETTE" and I thought that it would make a good starter for a cigarette act. I got myself the trick cigarette holder with which one could either produce or vanish a cigarette. The imaginary cigarette was placed (?) in the holder. A lighted match brought in position and the holder was later seen to contain a live cigarette at which I puffed away. The introduction of the holder not only enabled me tc duplicate the effect without the need of having tc introduce the cigarette stealthily between my lipi but at the same time it certainly afforded greatei freedom in execution since I had nothing t( conceal.

"Hand Made"

The trick that I am about to explain and describe falls, somewhat, in the same category as the one above . It is meant for presentation to a small group rather than one that could be done on the stage. Actually its an effect for close-up presentation and can be done right under the nose of the spectator without revealing the secret operations.

In brief, the effect is this. The magician, whilst seated at a table, brings out his tobacco pouch and lays it in front of him. He takes the book of cigarette papers, extracts a leaf and then slowly rolls it into a pellet. Showing the left hantf unmistakably empty, the magician closes the fingers into a loose fist. In the fist he drops the little paper ball.

He then makes two or three subsequent trips to the pouch and each time he brings out some tobacco which he drops into the fist as well. After squeezing the fingers for a while the magician slowly opens his hand and there is now seen a magically manufactured cigarette. The cigarette is placed between his lips and reaching into the pouch again, the magician brings out a lighted match this time, with which he ignites the cigarette.

There is no gimmick used in the trick and as it is not uncommon to see many people these days rolling their own cigarettes, the trick certainly may be regarded as being in step with the times.

You need a flat tobacco pouch as shown in our picture. A book of cigarette papers, some tobacco and a box of matches complete the list of requirements.

I certainly would not recommend that you use a proprietary machine made cigarette because I feel that would defeat the object of the trick. Using the same brand of cigarette paper you roll your own and then place it inside the pouch with the tobacco. The book of cigarette papers and the matches are also in the pouch.

Figure 3.

Before demonstrating your prowess at rolling a cigarette in the magic manner, you bring out the pouch and lay it in front of you. Reach in and bring out the book of cigarette papers. Fig. I depicts the exact manner in which your finger tips reach into the pouch. Note the thumb pressing down the flap of the pouch. This action is necessary to anchor the pouch down everytime you reach in.

Fig. 2 shows how the left fingers are closed into a loose fist . The pellet of cigarette paper is shown gripped between thumb and first finger of the right and just prior to being lowered in. However, as the hand turns in simulation of the action of dropping the little paper ball into the fist, the former is rolled between the first two fingers and retained in position as revealed in Fig. 3.

You have created the illusion of dropping the pellet within the fist. The right finger tips now reach into the pouch again. When out of sight, the pellet is left behind and the fingers come out with just a little tobacco. Fig. 4 illustrates the manner in which the fingers pick up the tobacco.

During the passage of the right hand to the left, most of the small quantity of tobacco is allowed to spill out on the way and only perhaps the equivalent of half a dozen grains is dropped into the fist.

You make a second trip to the pouch for a little more tobacco which in turn is also dropped into the fist. The next time you repeat the previous action of scooping 'just a little more tobacco' as you explain, you actually clip the cigarette between the first and third fingers and carry it in precisely the same manner as you did the tobacco to the fist. Fig. 5 shows how the cigarette is clipped. Fig. 6 depicts what happens to the cigarette after you

drop it into the fist. This is an exposed view of the cigarette which is permitted to enter the fist only half way. The left little finger stops it from sinking further.

After the cigarette is released into the fist, the right thumb pushes it down the rest of the way. The fingers in front afford ample cover for this.

The left fingers now go through the squeezing action and in due course slowly open to reveal the completed product.

The cigarette is now placed between the lips. The right hand enters the pouch for the last time, picks the match stick, which I should have mentioned, was placed in advance alongside the box, scrapes it against the side and brings it out alight as shown in Fig. 8.

Of course, it is up to the individual performer to use the dealer's stock gimmick for the lighted match if he so desires.

Youth Takes a Magical Bow

Members of the Exonian Magical Society were given a preview at their annual banquet and magical cabaret last week-end of a 15-year-old magician who will soon be knocking at their door for membership.

Haydn Llwellyn Lloyd, of Bryn Mawr,

Ashburton Road. Mile End. Newton Abbot.

Devon, is too young to qualify for membership until next January.

On Saturday he was for the first time a guest artist and entertained experts with his act. Immaculate in evening dress he nonchalantly plucks cigarettes from the air. levitates glasses and vanishes a rabbit from a box in front of your eyes.

His sternest critics are his mother and father Mr. and Mrs. W. T. Lloyd, who over 20 years ago worked out their now famous Chinese Act. Haydn was still a baby when he made his first appearance on the magical stage. He was 'produced' by his father during his act!

At six he assisted his father on the stage at the King's Hall, Tottenham Court Road, London and at nine gave his first solo presentation to school friends.

At the age of 14 he was elected the youngest member ever to the Devon Magic Circle after giving members a five minute show. He faces his sternest test in January when he gives a 15 minute show to members of the Exonian Magical Circle to qualify for membership.

Haydn has lived and breathed magic all his life. Critics predict a great future for him.

He hopes later to become a member of the London Magic Circle like his father.

Enneagram Essentials

Enneagram Essentials

Tap into your inner power today. Discover The Untold Secrets Used By Experts To Tap Into The Power Of Your Inner Personality Help You Unleash Your Full Potential. Finally You Can Fully Equip Yourself With These “Must Have” Personality Finding Tools For Creating Your Ideal Lifestyle.

Get My Free Ebook

Post a comment