Ring Routine

I am not a " purist" by any means, but it does distress me to see what is virtually a miracle, (e.g. The passing of the ring on to the ribbon) ruined by the performer immediately plunging his hand into a pocket to dispose of the shell.

Again, I do feel that providing the shell is handled intelligently, it seems a pity to use it only for this one effect, and judging by articles appear ing in this and other publications of late, others of the fraternity have the same idea.

However, I do think that the final part of the following routine is sufficiently different to claim your attention—but if you dear reader, thought of it first then please forgive me !

Let us then proceed with requirements :—

These are The Jardine Ellis Ring and Shell, eighteen inch length of f" ribbon, full length pencil or a small wand.

Pencil is upright at rear end of inner breast pocket.

The shell is on the ring which is held at right hand finger tips, and the ribbon is held in the left hand.

Commence with the classical Ring on Ribbon, which when completed leaves the shell palmed in the left hand. Having allowed the spectators time to realise the effect, the left hand removes the pencil from the breast pocket—meanwhile dropping the shell into the right hand sleeve (via the armpit) where it falls to the elbow which is held casually bent.

The pencil is now threaded through the ring and a spectator is asked to hold the ends firmly.

Holding one end of the ribbon in each hand, you now perform the penetration known as the " Snap-Away Follow Up " described in vol. 3 of " Tarbell Course," (page 298) and again on page 576 of "Rice's Encyclopedia of Silk Magic" vol. 2.

Discard the pencil and again thread the ribbon through the ring, which is then secured to centre of ribbon by means of a bow. The move of secretly pulling one end of ribbon through the ring is now performed, so that when the ends of ribbon are pulled gently apart, the ring falls free to the floor.

Hold the ribbon in left hand and allow right hand to fall to side, so that the shell falls into the hand where it is loosely held in the finger-palm position. Simultaneously step over to wherever the ring has fallen, so that one foot is directly behind same.

As right hand apparantly picks up the fallen ring, it actually flips this beneath the previously positioned foot, which may (depending on the shape of your foot!) require lifting a fraction at the front end, and as the body straightens up, the shell is pushed forward into view—as the ring I

The ribbon should now be draped over the left hand, the centre being trapped between thumb and forefinger as in figure 1.

With the right shoulder towards spectators, the left hand is held with palm to audience and the shell, which is held between right thumb and forefinger, is slid up the ribbon to the position shown in figure 1.

Pause momentarily so that the spectators are quite clear that the " ring " really is threaded on the ribbon. Close left fingers over shell and the fingers which hold it, and immediately allow the right hand to fall to your side—actually carrying the shell with it! Do not change the position of shell until the hand is resting at side, for if you do the sleight will be detected.

This sleight will of course be recognised as one of the most convincing of coin vanishes, but as the* ring is threaded on to the ribbon the effect is possibly even more effective to the layman.

But to get back to the routine—Raise the right hand to grasp the end of ribbon "A," and under cover of this action the shell is transferred to the finger-palm position.

Slowly pull the ribbon from left hand, and when it is completely free—open left hand to show that the ring has vanished!

Gather up ribbon into right hand which disposes of it and the shell in right hand pocket.

My own " patter " is now to the effect that, although the ring has disappeared it hasn't gone very far, although if the floor hadn't been there it might have gone for miles ! ! (A " gag " which Francis White has used to good effect I believe)! Immediately step back to reveal the ring resting on the floor.

THE MAGIC CIRCLE Jubilee Celebrations are now history. That the event was a success there is littlejfreason to doubt. Quite rightly the proceedings started on lower notes and led up to a great climax. There were many highlights, some of them the result of short term planning. Worth far more than the registration fee was the delightful and informative lecture, ' New Ways to Deceive' given by Milbourne Christopher. There was the youthful show 'Abracadaborough' engendered by our own suggestion that the youth of the Magic Circle should be invited to stage a show. There was the Gala show which has had no equal in Magical Society history. Entrusted with the production of an outstanding bill, our main purpose was to bring new acts to Magic Circle members. It was also necessary to see that as many visual acts with a minimum of audience participation were present. The result brought the following new acts to the Magic Circle stage: Milbourne Christopher, Ade and True Duval, Holden, Kalanag and Gloria, Li King Si, Jay Marshall, Rezvani and the Grand Prix winning act of Elizabeth Warlock. Every artiste was in top form and with the slick stage management of Gil Leaney and Bernard Lovett, it seemed impossible that this was an unrehearsed one stand, but rather the final night of a week's show.

There were many presentations to the Circle including a lovely silver water lota, made by Kalanag, at the conclusion of his act in the Gala, an appearance for which he and a company of some thirty members had travelled by air from Munich.

Magic however, was to continue with the cessation of the Jubilee festivities and thanks to the initiative of Harry Stanley a lecture by Dai Vernon was staged at Victoria Hall. In all there must have been some three hundred magicians present and for three hours they watched a master at work. Many present like myself had followed the writings and observations over a course of many years. On that day we divorced ourselves from supposition and we engaged with reality. We sat and watched the greatest natural magician of this century. We feel certain that many echoed Lew Ganson's words, at the close of the lecture when he said that after watching Vernon performing the marble trick, his first thought was to pack up magic and turn to something easier.

Later that day a few of us were to hear and watch Vernon until nearly four o'clock the following morning. We witnessed miracles performed in an effortless way with the most common objects. We saw card work unlike anything that we had seen in this country or, for that matter, from visiting magicians from overseas. This was magic.

Harry Stanley made one mistake with the morning session. He did not charge enough. The tricks themselves were well worth the price charged, but the value of the advice given by Vernon was incalculable in terms of money.

Vernon always calls to our mind the names of Malini and Leipzig. One of Malini's most publicised feats was the production of a solid brick or a lump of ice. Few saw him do it. Our friend Eric de la Mare many years ago concentrated quite a lot of time and study on the brick trick and many readers may remember his performing this some years back in one of the Magic Circle Television shows. Eric's production is a double one, for after one brick has been produced another follows. We hesitated for many years before asking whether we might have permission to publish the routine. We have, however, summoned up courage, and the effect completely illustrated with photographs will appear in the next issue of the Pentagram.

Footnote—As these proofs goback to our printers it is with the deepest regret that we hear of the sudden death of Victor Farelli. A full appreciation will appear in the June issue.

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