The Magic Wand

Edited by GEORGE ARMSTRONG No. 254. (Vol. 46, Part 2) Now on sale

MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objects, dice, numbers, etc., alt based upon a mathematical principle—including a clever vest-turning stunt.

PARTY FOR PAMELLA by JACK GfTTINGS continues the outstanding series for the children's entertainer, dealing this time with SILJ£ PRODUCTIONS, together with suggested presentations for standard props, patter, tips, routines, etc.

MY MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you'll not be able to avoid getting laugh upon laugh if you use this item. It's ideally suited to adult of children's shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box.


describes his beautiful FLYING SALT routine, and you do not need to buy expensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return to the pack reversed. And there is a useful article by E.V. also, on FALSE COUNTING.

THE QUEEN OF THE RIBBON CAGE by CLETTIS V. MUSSON will be for you if you have ambitions to be an illusionist. This stage filling illusion can be made for less than £5, is colourful, baffling and entertaining.

THE NAME IS MINE by PAVO is a really different type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show.

KOYNINI'S SEVENTEEN by TONI KOYNINI is a feature card routine for -the mentalist. Two spectators pocket a number of cards each. One spectator selects a card from the pack, and one returns his packet of cards to the pack. All with the performer's back turned. The performer then names the selected card, finds the card by the sense of touch, names the number of cards in a spectator's pocket, and says which spectator it is, and tells the other spectator how many cards he originally held but returned to the pack!

A SILK PRODUCTION by TRAVERS COOPER is just what the,title implies, but it is beautifully routined and is an example of perfect magic.

THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card is reversed in the pack single handed. This new sleight will have many uses in card magic.

SUPER MEMORY IN CLOSE-UP by ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you a Hat Production routine for the children's entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You'll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!)

TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number, colour and book title. These are noted and tossed into a box. A card, which the performer has previously written on, is then removed from another box and given to a spectator for checking. It lists all the items just named! Easy to make and do! Also a TOP CHANGE stunt for the card enthusiast, and a CARD PREDICTION using a slate in a new and novel way. And as much more fine material again, which we have not the space to list here. A total of 35 tricks and routines, plus miscellaneous articles. We are sorry, but No. 253 in now OUT OF PRINT. Rush you order for No. 254 before this, too, follows suit.

Price: 7/6, Postage 7d. For this Giant (8} x 11 in.) Book.


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T EASTBOURNE Hans duly intrigued and mystified a host of conventioneers with this very lovely impromptu miracle.

The effect is simple indeed. The performer borrows a hat, a coat and a glass.

The coat is spread out on the floor and the glass placed underneath it in a central position. The shape of it can be seen and this shape is covered with the hat. Upon the word of command the glass penetrates the coat and is found nestling safely under the hat.

The requirements are just the three articles mentioned. All may, in fact should, be borrowed, for after all this is an impromptu effect. The glass should have straight sides and shouldn't be too heavy.


All the articles are indicated by the performer and taking first the jacket he opens it out so that the inside is against the floor. Then a great pretence is made of straightening it out and the sleeves are doubled back.

Next the glass is taken and placed on its side underneath the coat at a central position. The shape of the glass is clearly visible to the audience and the performer withdraws his hand.

The hat which should be of the soft trilby type is taken by the left hand and it is placed crown downwards over that part of the coat which covers the glass. The performer releases his hold of the hat and both hands are free. He explains that he proposes making the glass penetrate the cloth of the coat and appearing under the hat, something possible to a magician but impossible to the cleverest scientist.

Placing his right hand beneath the coat and steadying the hat with the left hand he moves the former hand as though assisting the glass to make its passage through the cioth of the coat. The left hand leaves go of the hat and comes back to the rear edge of the coat taking hold of the edge. At the same time the right hand leaves underneath part of the coat and also takes hold of the rear edge.

Now with the come-back of the right hand the fingers take hold of the edge of the glass and carry it with them so that the giass is under the coat. It is gripped by the second and third fingers thus leaving the thumb and first finger completely free. As the glass is taken the performer takes care not to disturb the hump of cloth in the coat so that when a little later the hat is removed it would appear that the glass is still underneath the coat.

' The glass is nearly through the cloth,' remarks the performer and all that is necessary is a slight shake. Here the performer raises and lowers the rear edge a few times and then reaches forward with his left hand which takes hold of the hat by the crown and passes it across to the right hand which takes hold of it beneath the thumb. The position of the hat is that the thumb of the right hand is on top of the brim, whilst the lower side of the brim rests upon the rear edge of the coat. The magician seems surprised that with the removal of the hat the glass is not visible on top of the coat. ' Let's try once more,' he adds, and then bringing the hat back slightly with the right hand he has plenty of cover to load into the hat the glass gripped between his fingers. The hat is placed down again over the hump in the middle of the coat and the same actions carried out, i.e., the left hand steadies the hat whilst the right goes under the coat. However this time there is a great differ

ence for when the right hand comes back to the rear edge of the coat and the hat is lifted there lies the glass on top of the coat.

In the description we have described the effeci using one glass only. If small ponv glasses are used there is nothing to prevent two being used, the technique employed being the same as for one but in duplicate. One point has to be borne in mind and that is that a small ridge of coat should make a division so that after the production of the first glass on top of the coat, it is left there and the second one deposited on the other side of the ridge noiselessly. Lack of precaution could cause the glasses to touch one another and " talk."



Way back in February, 1957, Rusduck started the ' Cardiste ' which in his own words symbolised a magazine dedicated to the art of cardistry. In an editorial paragraph he wrote: ' Cardiste' will contain only such effects as are coincident to card table routine for which playing cards were originated, designed and intended. There will be rare reference to the ' You lose—I find it' type of effect.

Rusduck, who recently had a bad bout in hospital, but whose condition is daily improving, has specialised for many years in stacked pack routines and particularly where such stacks affect card play. We feel that many of our readers may also be interested and for that reason and also so that it may bring to some the knowledge of a magazine that was outside their ken, we are, with Russ's permission, publishing ' Strictly Straight.' One final thing. Magicians are seldom card players and for that reason they tend to think that their own lack of knowledge regarding Bridge, Poker and suchlike games is on a par with that of their non-magical friends. Poker is becoming a much more played game in this country than it ever was, and with a look through the Poker section in ' Scarne on Cards' he should be well set to make himself the gambler supreme with this convincing demonstration.

WHILE AWAY a bit of your spare time in reading over this little bit of " Cold-Decking " deception. I am indebted to LYNN SEARLES and his gem, "THE STRAIGHT GAMBLER," for the inspiration of this effective dealing routine. 1 have changed the set-up, the handling, varied the climax, and added additional progressive effects to the original routine. The patter background for the SEARLES " Straight Gambler" is superb, and it is earnestly recommended that you obtain the manuscript sold by ABBOTT.

On with the story: While visiting EDDIE CLEVER recently, we got to talking about dealing effects, and Eddie said, " Russ, what's new in

Cold-Decking Circle ? " I replied, " Eddie, you and JIM THOMPSON have certainly done a thorough job in identifying the name of Rusduck with stacked decks. Every time I do an effect, everybody is looking for a ' set-up.' I want you to know that I've reformed. As a matter of fact all my deals are now STRICTLY STRAIGHT! Let me show you what I mean."

I took the ol' family deck out of my pocket and proceeded to give it a good rapid riffle shuffle (thoroughly false). I then dealt out five face-down poker hands in the approved manner. Turning over my hand (dealer's hand) I said, " See what I mean, Ed?—STRICTLY STRAIGHT."

Eddie says, " Whoa, slow down a bit Russ. That looked like a pretty fast stock shuffle to me. Now suppose you put the rest of the cards back in your pocket." I returned the unused cards to my coat pocket. " Now gather up your dealt cards." I placed the winning hand on my palm, and gathered up the remaining hands in the order dealt, placing them on the winning hand I held.

Continued Eddie: " Now let's see you deal out the cards without any of your fancy shuffles, and also, DEAL ME OUT! " I said, " You mean deal FOUR hands? " " That's EXACTLY what I mean," he replied.

So I proceeded to deal out four hands in the same manner, turned over the dealer's hand and said, "See, Ed, STRICTLY STRAIGHT! "

" WOW! " screams Ed. " Where are those cards coming from, Russ? " I replied, " Well since you're making me do it the hard way, I have to take them where I find them—Bottoms—Seconds —Middles—and even from the top if necessary." " I'll try again, Ed, so watch my fingers very closely." I again gathered up the hands as before (Winning Hand First). " How many hands, Ed? " " LET'S TRY THREE."

Three hands dealt—Result: Dealer's Hand— STRICTLY STRAIGHT.

" I know I'm being ' conned,'" says Eddie, 44 but I can't find the gimmick. Watching your fingers doesn't help any, either." 44 Keep going, Russ—I'll figure this if it takes all night."

44 Like to go for two, Ed? " 44 Might as well, Russ." Cards gathered as before—two hands dealt —Result: The usual STRICTLY STRAIGHT.

I gathered the two hands and continued: 44 By this time you should be convinced that this is on the level, so I'll continue with the effect I was going to show you in the first place. I deal ONLY a STRICTLY STRAIGHT Poker Deal— and as a matter of fact, I'll even spell it out for you."

I dealt out five hands in the orthodox manner (face down) spelling out S-T-R-I-C-T-L-Y S-T-R-A-I-G-H-T P-O-K-E-R D-E-A-L, one letter for each card dealt, with a slight pause between words. As usual, the dealer's hand showed the inevitable straight.

Eddie sighed, 44 Well Russ, I admit I couldn't catch anything wrong. Let's assume that you DID actually deal STRICTLY STRAIGHT as you allege. What would happen if you dealt STRICTLY CROOKED? "

I gathered up the hands in the same manner as before, and dealt out five face-down hands. 44 In that case, Ed, I'd still deal STRICTLY STRAIGHT. I'd see that everybody got a straight (turning over the hands in order dealt), 44 But I'd be tempted to make mine a STRICTLY STRAIGHT FLUSH (turning over Dealer's Hand) of Royal Vintage! "

Said Eddie, weakly: 44 Hocus my Pocus, Russ, that sure is a doozy. I admit I couldn't catch anything underhanded, but I can't seem to get it out of my head that you must be using one of your 44 Cold Decks."

I replied,44 Eddie, I can see you're a real gone skeptic. Since my reputation as a 4 Cardiste ' is at stake, I'm resigned that the only way to convince you that the deal was STRICTLY STRAIGHT, is to let you handle the cards yourself . . . ."

I gathered up the hands in the usual order (dealer's hand first) and handed them to Eddie, saying, 44 Suppose YOU deal out five face-down hands starting with me."

Eddie dealt out the five hands and I said. " Let's see what you dealt yourself." Dealer's hand turned over—44 Just an ace-high singleton —you couldn't even open with THAT hand, or even buck a low pair—THAT should convince you that the cards aren't set up."

I then continued, 44 Now let's see what you dealt me." (Turn over first hand dealt.) 44 Well, Ed, you won't believe this—but even when YOU deal—I'm still STRICTLY STRAIGHT! "

I once more gathered the cards in the usual manner (winning hand first) and handed them to Ed, saying, 44 Now, Ed, I'm going to convince you that I ACTUALLY DID get cards from the top or bottom as needed. I want you to deal out five poker hands, and when you take YOUR cards, get them from the TOP OR BOTTOM as you desire. Suppose you deal your hand face-up so we can both see how you hand is building up."

Eddie dealt as directed, taking cards for the dealer's hand from the top OR bottom AT RANDOM, and placing them face-up on the table. If you ever saw suspense mounting, you can imagine the culmination abuilding as the dealer's hand finally—and DEFINITELY filled in to produce the inevitable STRICTLY STRAIGHT!

441 quit," sighed Eddie, weakly. 44 What's new in Cold-Decking Circles, Russ? "


A set-up of 25 cards. Remove every 5, 6, 7, 8 and 9 as well as any Royal Flush from deck. From Top to Bottom: TOP: 9 — (K) — (A) — (10) — 9

Cards in () must be of the same suit. Suits otherwise disregarded. Deal as directed above. Cards are dealt face-down except as stated. Dealer's or Winning Hand is ALWAYS picked up first, then the remaining hands in the order dealt. Cards in hands must not be dis-arranged. The EIGHT PROGRESSIVE DEALS must be dealt in the ORDER GIVEN. This is a beautiful and entertaining routine if properly rehearsed and presented.



Coincidence of ideas in magic are never so Way back in 1953, Harry Baron, who then rare as many think, and the following effect by my intended putting out a booklet with the title, ' My good friend Leslie May is a case in point. Best Mental Trick,' asked Leslie for an original contribution. As a result' Food for Thought' was originated and forwarded for publication. Circumstances arose including publication difficulties which prevented the publication of the book. On the 23rd April, 1955, an effect, 'Food for Thought' was described by that well known and respected writer Jack Yates in ' Abracadabra' Apart from the title the effect was similar and much of the method, too. Subsequent correspondence proved that both writers had conceived the SAME plot, TITLE and a deal of the method without any kind of collaboration, and as Goodtiffe wrote in his weekly, " The whole thing is another one of those amazing coincidences." Leslie asked us to add this little preface in case either he or ourselves should be accused of plagiarism.

THEfollowing is my favourite original mental effect because it is unusual in theme, provides entertainment as well as mystery, and above all, has a particular appeal to the ladies of the audience.


The mentalist shows six cards, each one bearing the name and picture of an item of food, i.e., FISH, as each is exhibited, the ladies present are asked what they associate instantly with that particular item, e.g. CHIPS, as each association is announced, it is written on a slate or large cardboard, so that eventually six such associated ideas are on view.

A gentleman from the audience is then asked to seal each food card into a separate envelope, and then to mix them so that there is no clue as to the contents.

Next the services of a lady who is fond of cooking, and who considers herself to be a good cook is obtained, and the mentalist explains that he is convinced she possesses qualifications above the ordinary in that connection, and her fondness for culinary arts has produced a sixth sense, which he would now like to prove, exists.

The gentleman is asked to pick an envelope, although the contents are unknown, the lady is requested to name what associated word from the slate or board she considers is applicable to the card which the envelope contains, and the figure "" ONE " is written against that item.

A second envelope is now selected, and again the lady nominates her mental choice, the figure " TWO " being written against same, and so one, until all the six envelopes have been dealt with.

The mentalist again says that he is convinced the lady has a strong mental power of recognising the aromas, etc., of even pictures or mere names of articles of food, something like the " Bisto Kids " on a fourth dimensional plane and in proof the six envelopes are opened in the order chosen, and in every instance, the correct associated word has been selected.


The method is only the old "one behind," with some slight variations, but never mind about that, it's the effect that counts.


Six cards, of approximately playing card size (for reason given later) each bearing the name and picture of one of the following: —


A packet of envelopes of a size to take one of above.

A slate and chalk, or a large piece of cardboard and black crayon.


The six cards are shown and their associations obtained and written on slate, as described under EFFECT. Only one association is written in respect of each card.

The most frequent responses are as follows:

CHEESE—bread, onions or macaroni.

DUCK—green peas.

BEEF—steaks, carrots.

The above having been completed, the gentleman volunteer is requested to insert a card into an envelope.

This is where a bit of trickery is introduced, for although care is taken not to exhibit them in that order, the initials of the objects on the cards comprise the first six letters of the alphabet, i.e., Apples, Beef, Cheese, Duck, Eggs and Fish, and as a card is inserted in an envelope, so mentalist takes same, and nail-nicks envelope in a manner enabling him to tell contents immediately.

The services of a lady having been obtained, she is seated on the right of the mentalist, gentleman on the left, the latter having mixed the envelopes thoroughly, hands them to the performer who holds them aloft for all to see, he then displays them in a fan to the gentleman who freely selects one.

The gentleman holds up the envelope and the lady announces what she thinks is associated with it, her choice being restricted to the six names on the slate, and the mentalist chalks "ONE" against that particular word. He then takes the first envelope from the gentleman and places it on a table or a convenient vacant chair; next, he again offers the gentleman the choice of one of the remaining five envelopes, but this time he forces the one appropriate to the selection the lady has just made, i.e., if she stated the FIRST envelope brought the word " ONIONS " to her mind, M. would then force the envelope containing CHEESE.

L. is again asked what she associates with second envelope and, presuming she announces JAM, then, M. notes envelope containing APPLES and forces that on G.; this procedure is carried out until all six envelopes have been utilised, six associations named and identified as to order by numbers. (See later remarks about methods of forcing applicable.)

In some cases, as noted below, a slightly different procedure may have to be adopted for the denouement, but, experience has proved that generally, the envelopes will be "one behind" right through, i.e., the corresponding to No. 6 lowest, and reading upwards from that, Nos. 1, 2, 3, 4 and 5, M. in this instance, draws attention to fact that No. 6 (?) envelope is on top, and reverses order by counting each, one on top of each other, this brings what is apparently envelope No. 1 to top, but it is really that corresponding with object No. 6 on slate, so he inserts little finger of right hand under this last envelope and under cover of turning towards slate, makes the pass and brings this envelope to bottom of stack, which brings them in corresponding order to their allied objects on board. Hence reason for not having " food cards " too large, in order to make pass easily. There is plenty of cover for performing this action.

Instances may arise where the procedure is slightly complicated by the fact that the food card due to be forced somewhere through the effect is the one freely chosen in the first instance, this, however, is easily overcome, and an example, with procedure, is given below: —

G. takes FISH.

L. calls GREEN PEAS.

M. forces DUCK.

M. forces APPLES.

L. calls CHIPS.

The FISH card is already taken, so let G. have a FREE CHOICE, and in placing this envelope down on the first three, make a slight " step " to enable this point to be noted instantly.

Say G. takes EGGS. L. calls Steaks. M. forces BEEF. L. calls ONIONS.

G. takes CHEESE L. calls Bacon, (last card).

Cards now read from bottom up: —







Should read, from







Pick up top three envelopes above " step," say here are Nos. 6, 5 and 4, indicate numbers on board and in so doing, make pass to brings "eggs" to bottom. Count them on table, thus bringing them in correct order.

Pick up remaining three envelopes, hold them in a rough fan-shape in left hand, take FISH envelope, with right hand, say " No. 3," drop this on first three, and as you do this slide APPLE envelope to left with left thumb, remove it with right hand, drop on others saying "Two," and throw " DUCK " envelope on top, calling this No. 1. Envelopes are now in their correct order for revealment. Don't worry, this move is quite deceptive and convincing. This has been my favourite effect for mixed audiences, and I am releasing it for first time.

Some readers may prefer to use their own moves for the required mis-counts, that is up to them; as I emphasised before, IT'S THE EFFECT THAT MATTERS.

The following are my suggestions for methods of forcing: —

1st selection from six cards—FREE CHOICE FROM FAN.

2nd selection from five cards—FAN FORCE.

3rd selection from four cards—" No. between 1 and 4."

4th selection from three cards—Elimination force (see YOGI BOOK TEST, page 67 of PRACTICAL MENTAL EFFECTS, by Annemann).

5th selection from two cards—place envelope to be forced under spectator's Right hand, other under Left. Tell him to lift one hand and construe accordingly.

6th selection from one card.

If the mentalist likes, he can present the lady who assisted him so successfully with a small diploma certifying as to her supernormal culinary powers; this diploma, of course, discreetly bearing the performer's name and address !



Now although the idea blossomed early it was late in the year before we really got down to act. France, lucky fellow, managed to have a trip to New Zealand and Australia in June, and it was near the end of July before we really got things under way. Suddenly the thing took shape one evening when, at the Haxton's house, I suggested trying the opening with music. There was a pile of ten inch " seventy-eights " on the table and the bottom one was " When the Saints go Marching n." We tried the opening once more and for the first time it came to life. From then on two or three times a week we went through most of the act which was made up in this routine :—

Orchestra playing as stage curtains open. Deb (that's me !) is in immaculate lady's evening dress on left of stage holding a large card with the name 'Diabolo' displayed. France, immaculately clad in ' tails' and masked, enters and card is placed down as I take first his stick which is placed on stage to form table base, his hat which goes on top and then gloves which go into hat. From his pocket he takes a packet of cigarettes, offers me one which in mime 1 decline at the same time indicating that I would prefer flowers. Additional mime indicates that he can smoke. He takes cigarette from packet and 1 light it. Then blowing smoke towards the cigarette packet it changes into a bouquet of flowers. This I take and place in the hat. Then he ties his scarf around his neck and pulling on both ends the scarf penetrates his neck. Scarf taken and also placed in hat. Now in the true Channing Pollock manner he pulls a silk from a flower on my dress. As he displays it I take hold of a length of rope. He starts to roll the handkerchief in his hands and as it disappears I shake a knot into the rope and the missing silk is seen in the knot. France takes hold of the silk and pulls it from the knot. Unfortunately and most naturally as his hand comes back, he hits the table on the right with disastrous results. It goes crashing to the floor and as the die goes with it a large spring snake leaps into the air. More tragedy, for in his distracted moment his foot has gone inside the large die on the floor. I right the table, pick up the snake and throw it off stage. With plenty of mime two cards reading 4 The Educated Snake' and ' Fantastic Die' are removed and placed out of sight at the back. Seeing that Diabolo is still in trouble I get hold of the die and in pulling it off his foot take, without apparently noticing it, his shoe as well. There's a heck of hole in his sock.

All is well again and going to the card stand I take and hold aloft a card bearing the words 4 Enchanted Petal ' The card is placed down and I hand Diabolo a fan and with plenty of mime indicate his carnation buttonhole from which I pluck a petal, show it and place it upon the fan. As Diabolo commences the Sterling egg trick I walk off-stage returning when the egg is almost full blown. In my left hand I have a real egg, and as I go to take the blown egg off the fan with both hands, I break the egg so that it drips from my hands. At this point we are set for one of the biggest laughs and gasps for I wipe the egg and shell on my dress. Failure, but we are not daunted. The next card is picked up. It bears the words 4 Salt to you !' Handing a salt pourer to Diabolo, he takes it and pours a small quantity into his left fist. The usual vanish takes place and by this time I am offstage. The reproduction is about to take place. The right hand reaches out and grabs for the salt, the left hand drops to the side and from the sleeve pours Salt and Salt and Salt. So much so that I wheel onto the stage a Hoover cleaner in full blast to clear the floor. Finally about a thimble of salt is produced from the right hand.

Ready for the finale. The card 4 Magical Gardening * is shown by Diabolo, the reason for this being my going offstage to start the tape recorder. To the music of 4 Tea for Two' we show first the flower pots and then the cones. The cones are placed on the pots and a typical 4 Botania' twist given as the cones are placed on the pots. I watch Diabolo as he raises his cover revealing a flower growth about ten inches high. I go to my side of the stage and start raising the cone. Up and up it goes and i iabolo holds the cone as I get a chair to stand upon. Finally the cone is removed revealing a tall flower growth. At this point there is the cue for the mime and the act ends.

The fact that the act was most successful gave us a great kick. Though there must have been very few present who recognised me (a good wig and a 4 Masked Ball" domino taking care of this), France, whose mannerisms rather than his makeup was recognised by quite a few. This in no way spoiled things. We had shaken a large core of those present who were glad to be fooled by such a hoax. We played only at the evening performance for we felt certain that an appearance in the afternoon would have killed the surprise for the majority. Only as the evening performance started did Paul Graham the Stage Manager and Geoff. Robinson the compere know the true identity of 'Diabolo and Deb.' Our thanks must go to both. To the first for making our stage easy to use and to the second for announcing the act without a completely straight face. Despite the fact that many have told us that they wish to see the act again, our own feeling is that it is a 4 oncer.' It was good fun.

We were sorry to say ' Au revoir' to Les and Gladys Levante. During the time that he has been in this country, Les has been ceaseless in his activities to help magic and magicians. His work for the British Ring before the war was responsible for a great change in the Convention outlook. We wish, and we know you will join us, him the best of everything when he returns to his native heath. Just before he sailed he spent an evening with us in company with Gladys, Esme and her husband George Hunt. We heard of magical adventures in China, Siberia and in fact almost every country where entertainment can be organised. We heard some delightful stories regarding great tricks including the Substitution Trunk, that perennial which the public always welcome.

The Stuthards are once again in circulation and Joe the other evening was telling how, on the same evening as the telecast of The Magic Circle show from the Scala he appeared on Channel Nine and as usual gave a Svengali deck the works. (At this point just let me remind you that Jay Marshall with 4 Lefty ' was the star of the Channel One show). The following day Joe was at his agents, Fosters, and was introduced to a caller. The latter on hearing Joe speak remarked: 44 Why, you're the guy who did the card tricks last evening on I.T.V." Joe affirmed this and the caller went on .. "And I guess I liked your earlier spot on B.B.C. with the hand puppet but I had a hard job recognising you later with your toupee off! "

As the Stuthards have come back, Slydini and Jay and Frances Marshall have. All grand people, each adding something to magic and our knowledge of magic in their own particular way. To Slydini we say a particular 44 Thank you! " for one very important thing he told us regarding the handling of the cups and balls. It has added since then a great deal to the effect.

Every magician must have felt extremely sorry for Randi, when during the telecast of the Circle show he found himself in trouble with his vanishing radio. It had its funny side for never have we seen a conjurer kick a piece of apparatus when it failed to work. The assistant has to be congratulated in covering up the complete failure of the effect from the viewing audience.

As we write this we are recovering from a strenuous but at the same time most enjoyable week-end at Leeds. We travelled up there to take part in the Leeds Magical Society Night of Magic. A truly wonderful crowd they proved and the public show staged at the Civic Theatre certainly was very much to the liking of the audience who paid to see the show. We were the guests of Bill and Margaret Bailey and great hosts they proved. Bill who is as great an enthusiast of sport as he is of magic enthralled us with cricket and other sporting anecdotes. After the show there was quite a party at Paul Gaines' house and Claude Perry who was in great form proved a grand laughter-maker.

Once again the Circle Festival, despite a very costly cast has proved a financial success. This seems to prove that magic still is a draw to a certain section of the public. Even on the opening night apart from the unused Press tickets (one hundred and fifty of these were issued) there were not a great number of vacant seats. At Eastbourne this year, the first performance of the British Ring Gala was exceptionally well attended and in fact watching the show from the back of the stalls there seemed to be very few seats vacant. Never let anyone say that 4 Magic is dead! '

If you collect playing cards you'll be pleased to know that a special Icelandic pack (I know you've read about Diabolo and Deb, so please don't think this is a gag!) can be obtained from Mr. Baldur Georgs at a price of 7 / - or one dollar. Beautifully designed with a booklet giving historical details of the characters illustrated on the cards it is a very low priced buy. The cards come with either blue or red backs and Mr. Georgs's address is P.O. 809, Reykavik, Iceland. The recent easing of currency export restrictions shouldn't make it difficult for you to send the few necessary shillings to Iceland.—P.W.


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