"How I Look at Magic"

by POWELL ROGERS (of New Zealand)

Having as yer been unsuccessful in discovering any process in Magic which will reduce the oceans to ponds and continents to sandhills, to enable me to "pop in" on you all, it is with humble pleasure that I avail myself of the opportunity given me by the "Magic Magazine" to write a few lines from Hamilton, New Zealand, in the hope that they wiil be of interest to you all.

Here, although so far distant from the great centres of the art, we take a very lively interest in everything we hear or read of about Magic and Magicians in England. If is principally through the medium of your up-to-date magazine that we are able to keep abreast of the developments taking place in the field of legerdemain.

Personally, I started rather late in life with Magic. My earlier years were taken up wirh the violin which I played professionally . . . and then I was smitten by the magic bug! Today all my performing time is taken up with Magic—one of the most fascinating of the arts. My stage experience with the violin has, of course, stood me in good stead in my magical presentations, and I have done many shows in various parts of the North Island. I am a member of the New Zealand Society of Magicians, and a past Vice-President of the Waikato Society of Magicians, the latter a very live body which has done several full-sca!e entertainments; the programmes including a number of the full-srage illusions.

My magical inclination leans towards the spectacular type of apparatus, such as the "Asra Levitation," "Where Do The Ducks Go?" "Where The Rainbow Ends," and the like. I am a firm believer in the use of assistants on the stage to bring on the effects and remove the completed tricks, and generally keep the stage nicely dressed. I very much dislike, at the conclusion of an act, to see the stage with several tables littered with untidy looking gear.

Miss jean Tayior (pictured here with me) has been working with me for four years, and has become a very essential part of my act. She does not just stand there and hand me odd bits, but takes a lively part in the business of building up the trick, both in the patter and in the lead up to the climax of the demon

stration, and generally lends glamour and colour to the act . It is really she who first draws the attention of the audience to the trick as she enters with it, and assists in completely "selling it" with her lively assistance. There are many who think that the "Stick to Silk" is too quick and that much of its worth is lose by its very speed. But not the way we present it.

Perhaps the routines of the four following Vampire tricks taken from our usual 20-minute act will give some idea how we present our illusions, so that the audience is thoroughly worked up to the trick before the actual completion! In my view, close study of the presentation and routine for every trick is tantamount to the successful climaxing of the illusion. Very early in the act, immediately following the completion of a small introductory trick, my assistant appears carrying the "Cane to Silk" and when asked what she wants, I have pointed out to me, very definitely, that I am not properly dressed In answer to my query she informs that I have (Continued on Psfe Til).

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