How I Look At Magic

no handkerchief in my breast pocket. What can be done about it? Handing me the srick she continues "You call yourself a magician— then turn this into a handkerchief," and turns and leaves the stage. I am alone with my— oh no ... no stick . . . but a handkerchief in my breast pocket! My idea is that with your audience attracted to the stick, the completed illusion becomes enhanced entertainment.

Later in an "Evaporated Milk" effect my assistant appears with the "Evaporated Milk" jug on a tray, with a paper cone prepared and a collapsible cocktail shaker placed inside the cone. Before she places the tray on the table I take the cone and pour the milk into it. The tray is placed on the table and my assistant receives the cone. Leaving her standing with the cone I pass to the table saying "You know Jean, you've been helping me for a Jong while and it's about time I told you a few things. Now my dear, this may be a shock to you but—there is no Santa Claus! Rocked to her foundations Jean gasps "What! No Father Christmas?" "No, Jean there's no Santa Claus; and my dear there are no fairies —and believe it or not—there is no milk in that cone—and no cocktail shaker!" Incredulously Jean cries "No milk?" and with that rips the cone to pieces and scatters it over the stage. During this bit of business I have quietly taken up the "Silk to Stick" and as

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the remnants of the cone are scattered my assistant informs me that she is packing up and wou'd like to have the stick back. With that I toss the silk which I have meantime been waving, and there is the stick! Again the attention of the audience is held by the patter, which binds the illusion together.

Again in the "Dimin-uendo" illusion (what a trick!) my assistant enters with a specially prepared tray, long and narrow, and suggests that I drink the jug of milk. To my suggestion that it would be better if she did it she retorts "I couldn't possibly drink a jug of milk. I reply "if I turned this into condensed milk will you drink it?" Proceeding to the completion of the illusion we feel that it ;s completely sold to the audience, so much so thai often the applause bursts before the last glass is condensed.

The foregoing will, I hope, give your readers some idea of how I work with my assistants, and I trust that these condensed routines will contain some helpful suggestions for other enthusiasts. They have been well and truly tried, and from my experience, wiïh much success in this engrossing art.

With best wishes for success to you all, POWELL ROGERS, 8th. May, 1953.


His magical honours at the present time include Honorary Life Membership of the Harrogate Society of Magicians for services rendered to that Society during its infancy. Also he is President of Fer Obbee dy Vannin (Magicians of Mann) for 1953 and Honorary Life Member.

George is a great teacher, and has written and delivered several Lectures, chief of which have been "The Entertainment of Children", "Making Magic Easy", and "System as applied to Magic". The latter embraces his own method of Card Indexing every effect he possesses or performs, showing the Title of the Trick, its running time, whether suitable for stage, platform, close-up or Compere work, and listing all articles needed for the effect, and any special "set-up" if necessary. He says he has found this to be most valuable in arranging an act or programme.

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This is a system which many others would do well to follow, and it would save many headaches when a show crops up at rush periods, and the client specifies what type of effects they would like to see!

As an inventor, he has so many tricks to his credit that it would be difficult to enumerate them all, but offhand I can recall "Ducks and Drakes", "Burmese Bangle", "Habit", "Uncanny Hankies". He is famous for his puppet routine called "Felix the Cat", but actually can also work Ventriloquism, Punch and Judy, Living Marionettes, etc. Mostly nowadays he specialises in Dinners, Compere and Close-Up work, and as readers already know, he is now our New Literary Editor, so we shall have the advantage of his fund of magical knowledge to draw upon.


(Conttnueci from Page 103)

C. Very rapidly, extend the forefinger, and an audible "click" will be produced. Figure 5.

D. After a little practice, the reader will be abie to blend the two movements into one producing a "double click" which sounds like a riffle.

Important Note. For the sake of uniformity, the forefinger must be extended (as in Figure 5) each time that the standard riffle is used.

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