Peter Warlock

THOUGH the thought must have occurred to a number of people we cannot remember seeing Clippo worked in this fashion. It is for use with a two person act.

The performer takes a yard long strip of paper, the whole length of which has been prepared with cement and powdered, and holding the strip high allows it to hang from his left hand. The assistant who is left of the performer holds the bottom of the strip with her left hand. With a pair of scissors in his right hand, the performer cuts through the strip about six inches from the bottom. This small strip which is held by the assistant is passed by her to the left hand. More cuts are made so that finally with the addition of the piece left in the performer's left hand there are some six pieces held by the assistant. Taking these pieces and apparently trimming the ends, the performer holding one end allows the paper into one completely restored strip.

The effect looks a miracle and the only thing necessary is that the assistant when placing the papers in her left hand should see that they are kept in alignment. If they criss cross too much, the performer will have to do some shaping up unless he wants a restored strip of paper that staggers along its length.

THE main magical event of this month was

The Magic Circle's Magic Festival at the

Scala. It proved a better money maker than the one of 1955. The magical content was small.

Starting with Leslie Lester, who with fast (in some places too fast) card and cigarette manipulations completed his stint with the stack of tumblers production a la Booth. Albert le Bas, new to the Circle but not to I.B.M. members, started the comedy ball rolling and for this purpose used the burnt and restored treasury note, aerial treasury and a nice silk production. June went through her usual " Strip a trick " routine, adding as makeweight, a dog production effect of the late Arthur Ainslie's and the " Cremation " illusion. Bobby Voltaire, abandonning his usual electrical act, brought more comedy with another treasury note trick and some small magic, the whole accompanied by a torrent of broken English. To close the first half of the programme, Milton Woodward with his "Wonder Bar" brought colour, movement, many drinks and of course, more comedy. The pace and ease of this act showed its undoubted booking value.

The curtain up on the first act in the second half. Rhoda Diane, a glamorous cartoonest, deserved a better spot for this most refreshing novelty act. Back to the laughs again with Pat Hatton and Peggy. Also back to the cut and restored rope and the the first sword impalement. A good vaudeville act, but the magicians were still waiting for some magic. Next, A1 Koran with undoubtedly the slickest mental act in Britain to-day. Good magic which registered well, but A1 should be far more careful in his treatment of ladies on the stage. To close the show came Les Andreor and partner, giving much the same act which they had performed only a matter of days back at the British Ring Convention at Brighton. Mechanical pieces deftly used, but the sight of yet another sword impalement problem sent one magician friend of good taste from the theatre muttering " Ichabod." To complete the record, Billy McComb compered.

The first-night audience seemed to appreciate and enjoy the show though there were no show-stopping acts. One missed the truly mysterious as well as the easy style of the Dutch manipulative school.

On Wednesday, the 31st October, we shall watch Rudi Ilente attempt the Houdini Water Torture Cell escape. It will be presented in a passage way under the Hearts of Oak Buildings. We wish this young student the best of luck and hope that the evening will not be too cold.

The next issue of the "Pentagram" bring readers a delightful close-up coin effect of John Derris's. Simple to handle and with a very good finale, it should be a must for table top workers. The Brown item in volume 10 has brought some interesting sidelights on the effect. Dai Vernon, Alex. Elmsley and Jack Yates have all added subtleties and possibilities which make for easy location of two mentally chosen cards.

Whilst so often we hear magician lecturers bemoaning the treatment they have received when visiting magical societies, our own reception and the hospitality we have received has been all that one could desire. We have delightful memories of Leamington earlier this year, and last week a trip to Bournemouth and a talk and demonstration was all the more enjoyable because of the way we were looked after. A special vote of thanks to our hosts, Mr. and Mrs. Laurie.

For the second year we are staging a magic show in Wallington, in aid of a most deserving charity. Our thanks go to the artistes coming along. They are A1 Koran, The Great Masoni, Shan, Harry and Marjorie Fletcher, Michael Bailey, John Salisse, Alfred and Cecilia Gabriel and Gil Leaney. The following week sees another magical show not many miles away, namely at Cheam, where our friend Francis Haxton is staging a show, the proceeds of which will go to the S.P.C.C.


'THIS series of five magical and mental programmes has been specially com- address and patter outline for the effects. Each effect is fully described and.

piled for the magician who wants ready-made professionally routined acts where necessary, illustrated, so that even a beginner could produce a first-class of the highest order. They contain seven to eight effects each, and run for 20 professionally routined act with but a few evenings practice. The average cost or 30 minutes, according to the speed of presentation. Each act is fully routined; of providing the props for these acts woud be 20 to 30 shillings each, but there is an outline of the act, full list of the requirements—most of which despite this low cost the routines are full of entertainment value and visual will already be in the possession of the average magician, a suggested opening appeal.

No. 1. Club Act of Magic

This programme of magic runs for about 25 minutes and the props can be carried in a brief case. It opens with one of the most beautiful cigarette production tricks conceived, this cigarette immediately being vanished by the cleanest of all methods. A routine with a pound note follows, the note vanishing and appearing in the most unlikely places. The act runs through a humorous item by Leslie May, a baffling mental or psychic item by Annemann and Dr. Jacob Daley's great Thought Card Pass to a final card trick that will amuse, baffle and intrigue the audience.

No. 2. Mental Club Act

Here is a one person 30-minute mental act that can be carried in a brief case, and rinks with the best. Seven super mental effects demonstrate mind-reading, sympathy, the ability of the performer to tell when a spectator is telling a lie, a great impromptu newspaper test, a triple coercion effect, a baffling living and dead test and the final demonstration of Extra Sensory Perception.

No. 3. Magical Club Programme

This magical club programme, like No. 1. is suitable for club or dinner shows and private parries. A flash cut and restored ribbon opens the act and is followed by a terrific card routine, a simple but effective card in balloon (without the usual expensive props), a beautiful pound note and lemon routine and a final closing number by Keith Clark. Everything could be carried in a brief case except the last item you will therefore need instead a small suit case, but the weight will be very light.

Magicians who prefer not to use card tricks in their acts will go for this one, for as the title implies, it is a 25-minute act with not a single card trick. The total carrying weight is about six pounds. The classical cigarette opens and is followed by a novel visible cigarette vanish. A lovely coin routine of Ottokar Fisher's is followed by an amusing and unusual production. Three more off-the-beat effects are followed by Annemann's sensational Blackboard Mystery which brings the act to a grand climax.

This two-person routine utilises no codes at all. Its running time is about 30 strate pseudo telepathy between two people, and are routined so that the act minutes and the necessary props can be carried in the pocket. This is a terrific builds up to the grand climax of Annemann's great " I houghts in the Air "

boon to the married magician who, after an evenings practice can walk in any- routine, where, without case or bag and go straight into the act. The six effects demon-

Each routine is described in a neatly printed and fully illustrated book

Price each 5/-. Postage 4d.




The audience see three smallish attractively decorated coloured boxes on the mentalist's table. One is white, one black and one green. The actual size is 3in. x 3in. x 2in.

Three members of the audience are nominated respectively Mr. White, Mr. Black and Mr. Green.

On a large visiting card, the mentalist writes something. The card is folded and placed inside the white box and the lid placed on top. Mr. White is then asked to name a three-figure number which is noted. Two more messages are similarly written and placed respec tively in the black and green boxes. Mr. Black choosing a City and Mr. Green a playing card.

The pay off comes when Messrs. White, Black and Green remove the lids from the boxes and take out the cards, for in each and every case tile mentalist has correctly forecast their particular choices.

Completely mechanical in working thus leaving the mentalist free to make the most of his showmanship, " The Mystery of the Three Coloured Boxes," made only to order, comes complete for £6 10s., post free.

Made only to Order


The Magic Circle

President: Herbert J. Collings, Esq. Vice-President: Francis White, Esq.

<~|ubroom and Library and Museum : Hearts of Oak Buildings, Euston Road. London, N.W.I. Magical Theatre -

King George's Hall, W.C.

Particulars tion. Hun Secretary :

Peter Newcombe 38 Overdale Avenue New Maiden, Surrey



is published on the 24th of each month and can be obtained direct from the publishers for 117 per single copy. Annual Subacriptioa 18/-

poat free. PUBLISHED BYi

The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex

Manuscripts for pvbMcatieo and books for review should b« sent to the:


Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.


will be pleased to tend you full details of


together with all his other effects in return for a stamp.

Write now to

Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.

Every Advertiser's goods are fully endorsed by this Bulletin



THE ORIGIN of the cap and coins trick is somewhere in the early days of commercial magic and recent research on my part to uncover its beginning has been fruitless. George Davenport marketed the effect before the war and since 1946 has sold an improved version which is still available to-day. The style of manufacture is reminiscent of Brema and it is possible that the first model was made in his workshop, but I have found no evidence to substantiate this possibility.

The basic effect is very simple. Three pennies and a small brass cap are shown and the coins are stacked together and placed on the back of the hand and covered with the cap. The magician taps the cap with his finger and a coin drops on to the table from underneath the outstretched hand. Upon lifting the cap only two coins are seen, the cap being empty, proving that one coin has actually penetrated the hand. This straightforward effect was performed in this manner for many, many years and as far as we know the first man to give any thought to developing this fine trick into a routine was that master of the close-up art, John Ramsay. When he first showed his version it had many knowledgeable magicians worried for they were unable to detect the usual gimmick, such was the cunning of his routine. The next man to give new life to the cap and coins was my good friend Jack Avis and his version is full of typical Avis subtleties which are, as with John Ramsay's routine, designed to fool the magician possessing knowledge of the gimmick. After Jack came a routine by that brilliant Dutch magician, Marconick ; this was published in " The Gen" and once again many clever ideas were evolved around this simple piece of apparatus.

The principle used in this, my own version of the effect, was employed in a slightly different way some years ago by myself, but I was not very enthusiastic about the handling at the time so the idea lav dormant until recently. The effect is briefly as follows. The magician uses a glass tumbler, a pocket handkerchief, the brass cap and four pennies. The four coins are shown quite freely on both sides and one at a time are placed into the cap. The cap containing the four pennies is laid in the middle of the handkerchief which is held between the two hands. Holding the handkerchief over the tumbler the magician says that he will cause one coin to leave the cap and pass right through the handkerchief. At this point a coin is seen and heard to fall into the tumbler and on lifting the cap only three pennies are left. The four coins and the cap are again shown quite freely.

At the beginning of the routine the items used are set up in the following way. The pocket handkerchief is pushed inside the tumbler which rests upside down on the table, whilst the cap

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