The Sundmans Magic

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., all based upon a mathematical principle—including a clever vest-turning stunt.

PARTY FOR PAMELLA by JACK GITTINGS continues the outstanding series for the children's entertainer, dealing this time with SILK 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 or 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.


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 llin.) Book.


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Wanted by Georgre Armstrong:

Any of the " C. T. J(ordan) Series of Magical Effects." Complete in envelopes if possible. Also want many U. F. Grant and Grant and Menge mimeographed items.

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S TANDING on the performer's table are two glasses, stem glasses for preference. Just behind the two glasses are two packs of cards, one red back and the other blue backs. Taking up the red back the performer fans the cards to show them as all red backs and then with the backs to the audience, counts off ten cards and places them backs out in the glass on the left, his left.

Picking up the blue backed pack he fans this likewise to show they are all blue backed, as indeed they are. Now he asks for a spectator to call out any number between one and ten. Holding the pack in his left hand with faces towards the audience he counts off the cards into his right hand asking the spectator to note the value of the card at the. number he called out. When the ten cards have been counted out, the performer drops them into the glass on his right, and places the rest of the pack down on the table.

The performer now commands the chosen card from the blue packet to travel invisibly across and join the red packet in the other glass. The blue cards are now taken from their glass and counted back into the glass when it is discovered that there are only 9 cards and that the chosen card has vanished from the packet.

The cards are taken from the other glass, fanned with the backs towards the audience, when it is seen that there is a blue card among the ten red cards. It is found to be the chosen card.


Two stem glasses. Two packs of cards, one red backs and the other blue backs. One extra blue card.


The two glasses are on the table about 12in. apart. Behind the left glass is a red back pack with the duplicate card, blue back, say the 4 of Clubs, second from the top.

The blue backed pack is behind the right-hand glass and is quite innocent except that the top card is the 4 of Clubs.

Picking up the red backed pack the performer states that he will count off 10 cards. Holding the cards in his left hand, backs towards the audience, he thumb counts two cards and pushes them with the left thumb into the right hand being careful not to disclose the there are really two cards there. Continuing and successively he counts on top of these 9 more cards, places the balance of the pack down and cutting the small packet to bring the blue card to the middle, he places them in the left-hand glass.

Now he picks up the blue pack and holding them in the left hand, faces to the audience, he asks for a number between one and ten. Say he is given 6. Thumb count two cards and push them off as one into the right hand. The next card is pushed off and taken in front of the first card and so on up to the point where you are about to take the 5th card, as you do this the right thumb pushes the top and force card, the 4 of Clubs back on to the pack so that it is then the next card pushed off as number 6. This move is explained in Brian McCarthy's Slow Sleights, or earlier still in Stanyon's Magic. Continue on to 10 cards and place the balance of the cards down. I should have explained that it is necessary to keep a break in the packet of 10 cards just above the chosen card so that you can cut the chosen card to the top of the packet, then drop them in the left glass.

All that now remains is that the chosen card is named and you take out the blue packet, hold them face down in the left hand and count them taking the cards from the bottom of the packet with the fingers of the right hand turning the card up, showing it to the audience and dropping it in the glass. Continue up to the 7th card. As you go to take the 8th card you perform the Stanley Collins false count.

With the fingers of the left hand you draw back the original 8th card and with the thumb and second finger of the right hand you take the top two cards as one, show the face—the chosen card will be behind the card you are showing—and drop the card (?) in the glass with the others, finally flicking and dropping in the last card which is counted as the 9th.

It only now remains for the performer to take the red packet of cards out of the glass, fan them and show that the chosen blue card has travelled across and joined them.

This effect has taken some time to explain due to my explaining for the benefit of the not so well informed moves which the card man will be familiar with, but I hope he will not have been bored too much ploughing through these explanations.



ALTHOUGH this is one of my favourite routines with a short length of unprepared rope, it is actually a combination of four knots or flourishes which ought to be quite well known by themselves. The only part of it for which I can claim any credit for myself is the way in which these have been blended together into one continuous routine.

You begin by tying a loose reef knot (or square knot) at the centre of the rope—apparently without letting go of the ends (Figs. 1, 2 and 3). Next, whilst a spectator is holding the ends of the rope, you divide this reef knot into two separate overhand knots (or thumb knots), Fig. 4. Then you take back the ends from the spectator and shake both of these knots from the rope.

The rest of the routine is the same thing done in reverse (hence the titles: Reversible Knots). That is, you throw two overhand knots back on to the rope, you bring these together to make the original reef knot and, finally, you shake this out to finish as you began—with a plain unknotted length of rope.

The moves which are needed to produce these effects should be fairly clear from the illustrations and the brief description which follows, but I must point out that a certain amount of individual practice and experiment will also be required before you can perform them successfully.

I think I can safely assume that you will already know the old effect of tying a knot " without letting go of the ends " (the one in which you secretly change your grip on one end of the rope under cover of dropping it from around your wrists), for it has been described in most of the elementary books of tricks. You will easily get


the reef knot, therefore, by tying another single knot on top of the first in a similar sort of way. From Figs. 1 and 2, however, you will see that, if the first knot is started by taking the right-hand end of the rope behind your left wrist and then bringing it in towards your body, the same end of it must be brought towards you and then back over your left wrist again before you begin to tie the second knot. If you do not do this, you will find that you have tied a granny knot—which will make it impossible for you to continue with the rest of the routine. The two different moves should be clear from the two different illustrations: from each of these starting positions your right hand follows the direction of the arrow before you drop the loops from your wrists and secretly change your grip on the right-hand end of the rope.

At this point it is important that the two knots should be tied rather loosely. They will keep their shape (and also enable you and your audience to see what you are doing), if the rope is fairly stiff or if you use new carpet-braid instead of rope. If they are not tied loosely, you will find it difficult to do the next move.

In this, whilst the ends of the rope are being held by a spectator, you put your right hand through the top part of the reef knot in the direction of the arrow in Fig. 3 and get hold of the bottom loop at point X. If you now withdraw your hand (and the bottom loop), you will find that you have the result which is shown in Fig. 4. (I don't know who invented or discovered this little flourish but it is described in The Ashley Book of Knots—published by Doubleday, Doran and Co., of New York, in 1944 and by Faber and Faber, of London, in 1947—and I have never come across it anywhere else.)

To untie both of these knots at the same time in one easy movement you have merely to put your left hand through the loop in the left-hand, knot, and your right through the loop in the other,

so that you can take back the ends of the rope from the spectator who has been holding them and drop the knots from around your wrists. They will automatically untie themselves and disappear.

They can be brought back on to the rope in two different ways. The one which I have sug gested in Fig. 5 is, once again, a method with which you will no doubt be familiar for, like the effect of tying a knot without letting go of the ends, it has been described many times elsewhere. The other method (which is more showy but just as easy to do—but I haven't illustrated it here because I haven't asked for the permission of the people concerned), is Tony Lopilato's Double Knotter which you will find on page 326, however, of Volume 5 of the Tarbell Course.

The two knots are brought together again into an ordinary reef knot by dropping one of them completely through the loop in the other. (At this point it will probably be necessary to rearrange the positions of the resulting loops a little whilst the ends of the rope are once more being held by the spectator.)

The final effect (of magically untying the reef knot) is merely a slight variation of the well-known Chefalo Knot. Instead of threading the right-hand end of the rope through the knot, you put your left hand through the loops and bring the right-hand end of the rope back with it. You will then find that the rope is once more free from knots.

That brings the whole routine to an end. It is quite a short one, of course, but rather neat and effective when properly performed. I hope that you like it—and use it.



FOUR QUEENS and four indifferent cards are alternated and placed on top of the pack. The Queens penetrate the indifferent cards and rise to the top of the pack.

The Method.

(1) Show the four Queens and place them face down on top of the pack.

(2) Ask a spectator standing or sitting in front of you to extend his left hand. Deal face down on to his hand the Queens, but as you reach the third one look directly at him and ask if he would also kindly extend his right hand. Under cover of this mis-direction a second is dealt on the third Queen. The position at this stage is three Queens covered by an indifferent card on the spectator's left hand, and a Queen on top of the pack.

(3) Deal four cards from the top of the pack on to the spectator's right hand calling them indifferent cards. In actual fact only the top three are indifferent, the bottom one being a Queen.

(4) The eight cards are now alternated and placed face down on top of the pack. In doing this most of the faces are shown, and it rests with the performer to act casually so as not to draw attention to the ones that are not. The first card is taken from the spectator's right hand, the second from the left, and so on: all cards going on top of the pack. The order for showing the eight cards is: show - don't show - show - show - show - show

- don't show - show. The order of cards reading from the top of the pack should be: Queen - Queen

- Queen - Indifferent card - Queen.

(5) The effect is now brought to a conclusion by dealing the Queens face up on to the spectator's left hand, a second being dealt on the fourth one. The left hand is used because better angles are offered.

Please do not let the two second deals frighten you from this effect, they are adequately covered, and a second card take is just as suitable as a polished deal.



A SPECTATOR is given 10 slips of paper and a corresponding number of envelopes. In each of five of the latter he seals one blank slip of paper.

Taking the five remaining slips, he writes the name of a male acquaintance on four of them and the name of a lady friend on the fifth, these five slips are also sealed, each in a separate envelope.

The ten envelopes are mixed thoroughly by the spectator and handed en bloc to the performer.

Performer now puts himself in the place of the spectator in the act of receiving and opening his morning mail, aided by Extra Sensory Perception, pointing out how such an accomplishment can aid in eliminating unwanted missives, such as accounts for unpaid bills, Income Tax returns, etc., and also distinguish whether actual letters received are from mere acquaintances or close friends by mere handling of the sealed letters.

Throwing the letters on the table, he picks up five, which he says contain unwanted accounts, circulars, etc., as represented by the blank slips, and without further ado tears them up, unopened, and casts them aside. (A small waste paper basket assists in keeping the stage or room tidy.)

Glancing over the five remaining, he picks out four and says: " Oh yes, these come from the boys ", opens and reads in proof, " Yes, Francis Haxton wants a free PASS again", "Here's one from Harry Stanley, I MUST give him the GEN on Magic!!", etc., etc., these four being disclosed, he, then with a look of anticipation on his face— says " Now I have plenty of time to read my letter from that delightful young lady Deb Sharp (or whatever name is written therein), and gives sealed letter to the spectator to open and show for verification.

This resolves itself into three mysteries: —

(i) The elimination of the five blank pieces.

(ii) The separation of the sexes, and

(iii) The divination of the lady's name;

the last should come as a complete surprise to the audience who will think the segregation of the sexes completes the effect.

The Requirements.

One packet of envelopes.

A pad of blank paper, i.e., a scribbling block that has same appearance both sides, i.e., no covers. On one side fasten (glue or paste), at the corners, a piece of carbon paper to underside of outermost sheet so that anything written on top sheet will be duplicated on the one beneath. (Don't have carbon come to bottom of sheet in case it shows—about three-quarters of the way down will suffice.

The Working.

Have pad on table carbon side down with packet of envelopes and pencil.

Take off the top sheet of paper, tear into five equal strips and have spectator seal one in each of five envelopes.

. Next, tear another sheet off pad (same side), tear into five slips as before—have him write name of a male friend or acquaintance on each of four slips (giving him the pad carbon side down) as a support to write on, when this is done, take back pad, throwing it on table and reversing it in the process; give him packet of envelopes and ask him to seal one slip in separate envelopes and seal, take them from him as this is done and casually nick each with thumb nail in an identical spot, i.e., bottom right-hand corner.

When this is completed, return the pad to him (carbon side up this time), lay remaining slip on top and ask him to write the name of a young lady who is constantly in his thoughts thereon, give him an envelope to seal the slip in and at same time take back the pad from him, When he has sealed the envelope take it back with free hand and thumb nick in a different location to the other four marked envelopes, turn and place pad on table while you reach for other sealed envelopes and glimpse name now duplicated on second sheet. Give the ten envelopes to the spectator to mix thoroughly while you briefly recapitulate what has taken place.

From then—it's just a matter of presentation.

Pick out and tear up the five unmarked envelopes, eliminate the four male names by means of corner nicks, open and disclose.

Finally pick up remaining envelope and announce name therein, have it opened and verified; a nice final touch is to take slip, fold it carefully and get spectator to place it in his wallet for safe custody.

If you can decide beforehand who you will request to assist you, try to find out, if you don't already know, if he has a particular lady friend (presuming he is single, of course), and ascertain and memorize her address and telephone number {if any).

In the event of this lady's name being written -down you can seize the opportunity of providing a sensation by not only divining the name, but the other details of the chosen charmer that have not been written down at all.

If you posess a clip board, use that as follows: Under the clip have two layers of paper, «ach consisting of a sheet of five perforated slips; top five are torn off and inserted as blanks in envelopes, next five are written on and the female name glimpsed in the usual manner.

If no impression device is available, the effect can be done quite impromptu, but without final disclosure of the lady's name. All that is needed are envelopes and paper.

Have the five blank slips sealed, then, tearing the next sheet into five pieces, use the ancient dodge of the male names being written on the slips with two rough edges and the female name on the slip bearing a smooth and a rough edge (a la old living and dead presentation); slips can be mixed face down, or folded and you mark envelopes accordingly as spectator inserts slips.

Actually any method to achieve the result can really be used — AFTER ALL, IT'S THE EFFECT THAT COUNTS!

THE Eastbourne Convention has come and gone. Few will disagree that it was one of the finest staged by the British Ring. One feels that it matters a great deal more to have a thoroughly sociable gathering with occasional human lapses rather than an over-organized machine with no faults to find. Slydini was as we wrote in the programme 4 incomparable' and for the first time was saw a British magical audience give a standing ovation to a lecturer. Those who went to the lecture given by Mr. Richard Blore of Leichners the famous make-up firm, showed at least that they were interested in a better presentation of stage magic. Some excellent advice was given and, we hope, heeded. Eddie Joseph, with a lecture ' Deluding the Senses', gave away some delightful material which showed a true sense of magic and misdirection. Those who saw his ring release from silk will be glad to know that it will be published in the 4 Pentagram ' (at a later date). On the 4 surprise' side, Diabolo and Deb which veiled the identity of Francis Haxton and your editor was the best kept secret of the year. One dealer asked after the evening show whether he had seen the Icelandic act, replied that he had missed the evening show but had met the couple at his stand during the afternoon. R.I.P.

It was great to meet, once again, Hans Trixer (though actually we had had a session before the Convention), and to see his delightful close-up working. From Hans we have some nice material including his two tumblers through the coat, the vanishing mini-skull, a version of the ' Travellers ' and the 4 Cards up Sleeve'. We'll have to make this a special issue.

If the Craig Cardini film was a disappointment, this great little guy made up for it with his films of Jack Miller and the Omaha film which gave a showing of the Sundmans and also Senor Maldo.

At the Civic Reception, Sitta was as immaculate as ever and Horace King and Betty introduced us to a new act in the Russian manner. With the addition of Les Girls this was the best Civic Reception Cabaret that we have seen.

Whilst the Shield Competition touched the bottom at times, the Micro Magic Competition having its send-off for the Zina Bennet Trophy produced some clever and thoughtful magic.


Corinda's 'THIRTEEN STEPS TO MEN-TALISM', Parts 1 and 2, Price 10s. each part. (Published by Corinda's Magic Studio.)

To the best of our knowledge this is the first time in the present decade that a writer has taken the subject of mentalism and attempted to analyse the various parts that go to the making of the whole. Let us take the two booklets one at a time.

Step one deals with the ' Swami' gimmick. Various types of nail attachments for surreptitious writing are detailed. The succeeding section deals with the necessary technique to give the best effect. The advice given here is excellent and apart from tips on adjusting the gimmick various aids to enhance the ultimate effect are detailed.

The final section gives twenty-four tricks making use of the gimmick. Although described briefly are easily understandable. Many of the effects are reputation makers in the right hands.

Step two gives the reader information regarding pencil reading, lip reading, sound reading,, touch reading, and muscle reading. Much of the material will be new to the average conjurer and therefore to have such a collation of material at hand he would be well advised to purchase.

The ' Steps ' are consecutively numbered, well printed and illustrated. Step two finishes on page 54 and with eleven more booklets to follow the purchaser would, when the 13th part has been published, have an excellent guide to the whole art of mentalism.



ONE came away from this show with the feeling that it was one of the best to date. More than that, it contained certain acts which hit the high in magical artistry.

Stanley Thomas as 4 Lao Tang' complete with his daughters assisting opened the bill—oriental and pseudo oriental magical to a background of Ketelby culminated in a production of a stack of fishbowls. It was a colourful act that acted as a good hors d'oeuvre. Robert O'Connor working his father's card act followed. Good appearance and effective work, but where the patter well suited Billy it didn't suit Robert with the result that the act never seemed to come to life. The next act gave a rest from magic proper for it was none other than Harry Corbett with his hand puppets, ' Sooty' and 4 Sweep.' A lovely act that made children of us all.

The music of 'Bewitched, Bothered arid Bewildered' meant only one thing—Channing Pollock. You all know the act by now. There were minor changes, however, including a beautiful production of the first silk and dove. One of the truly great acts of magic that well deserved the ovation it received. To close the first half of the show, Benson Dulay with his company of lady assistant and stooges. An act with some mystery and a great deal of laughter.

The second half opened with a hoofing act performed by two girls and though the compere gave their names we have fortunately forgotten them. Peter Pitt, the young Dutch winner of the Stage Magic prize at Vienna then proceeded to give to the dancing cane a virtuosity that we had not yet witnessed. His act concluded with a multiple production of liquor bottles. He was followed by Claudine who presented not only some delightful magical novelties but gave the stage its most colourful and artistic dressing during that evening. Outstanding was the magical production of her assistant 'Stevens' and the change of toy bricks into a pekinese dog.

The penultimate act was that of Jay Marshall. The cod production of a bowl of water, the serpent silk, linking rings and 'Lefty' were all there in an act that proved the smash hit of a grand evening. A great artist and one to be envied, for how many can walk on to a stage with empty hands and get such a vociferous reception.

Closing the bill was Randi who in turn performed a peculiar version of the substitution trunk, the Kellar tie, vanishing radio and straight jacket escape. Our thought was that a more professional straight jacket might have been used and despite the assurance that it had come from a place where such things are used it looked too much like a magical depot item.

Bob Andrews proved an excellent Master of Ceremonies and Sydney Jerome with his orchestra provided excellent musical accompaniment.



MAGICAL hoaxes are rarities and because the 'Diabolo and Deb' act was one that proved most successful I think it only right that the full details should be placed on record.

Those who attend the British Ring Conventions will know that one of the biggest surprises of the one at Brighton in 1956 was Francis Haxton and myself performing a burlesque mime "Sisters" act. The success of this encouraged us to present another number the following year at Scarborough. The make-up was much the same but instead of a mime duet we had a four-voice item, both France and myself having a large talking photograph of Goodliffe and Mystic Craig respectively. Afterwards, having finished with the animated photographs I passed them on as souvenirs to the two people they represented and I believe that Goodliffe had quite a lot of fun with his own photograph in America this year.

In the month following the Scarborough Convention I thought of a terrific hoax that could be played upon those who were going to be present at Eastbourne. An entirely new and fictitious act had to be created. The name had to trip easily on the tongue and of course it had to be an act outside the British Isles. Quite obviously it had to come from a country where magicians were rarieties. We got the name and the idea was launched with a paragraph in the January copy of the Magic Circular. ('In and Out of Town*—Peter Warlock. The paragraph was as follows:—

"Until a month ago the only Icelandic magician we had heard about was Baldur Georgs. It was through the international magical grapevine that the news came to our notice that an American magician had, after leaving the U.S.A.F., married a young Icelandic girl and settled in Recjavik. His name is Russell Sharp and his interest in magic arose during the latter war years after seeing a number of well-known magicians perform on the U.S.O. circuit. Since we heard this news we have had the pleasure of receiving a letter from him, and from this we learn that he and his wife, working under the name of' Diabolo and Deb* have brought into existence a full evening show of stage magic which has proved its popularity wherever it has been performed. Keeping in the main to good visual magic he has added several original items and we understand that some of these may be published in the near future in this country. Both he and his wife intend visiting this country in the autumn of 1958 for apart from the possibility of appearing professionally in this country they wish to visit The

Magic Circle and also take in the British Ring Convention."

That was the groundbait. Already France and I had agreed that he would be Diabolo and I would be the female assistant, Deb. Notice the matter of publication of effects. As it was necessary for this character to be known and read about tricks and a lot of them written under his name were necessary. I reckoned that about sixteen items published between March and the Convention date would suffice. It would have been of little use running them in a monthly magazine and apart from two items in the 'Pentagram' fourteen effects were written, up, and after swearing Goodliffe and Fabian to secrecy,, they were published at fortnightly intervals in 'Abracadabra' under the title of the ' Deceptions of Diabolo.' All were were written in a brash manner for it was the full intention to make this character a true bighead. Two items could have been recognised. One a silk vanish which I had used on a few occasions and a glass penetration which dated from 1944, and although little used was given in 1948 to a Nottingham magician.

In February we broached the matter to our good friend and colleague Bill Stickland and after giving him the full details he agreed that it could be a Gala show item. Apart from our families only three other people were in the know. They were Jeff Atkins, Tommy Rowe and Percy Naldrett.

The next thing was to get the act into being. We had agreed that to help the disguise, domino masks should be worn. The act was to open completely 4 straight' but was to go haywire after an initial4 accident.' As a band-call was out of the question (if we were to keep the secret up until the last moment) the act had to be ready to go on and be played with the minimum of trouble. And so after quite a deal of discussion we agreed to end on a short mime number—' Anything you can do I can do better.' It fitted in with the plot of the act for in the final trick the female assistant scores at the expense of the male.

This was the stage layout of the act. Near the front of the stage and well apart were two Wandman tables each bearing a flower-pot and a large cone. At the second tab line was set a small table slightly right of centre stage. On this table was a large die. Immediately behind this table on the floor was a much larger die about a cubic foot in size. In line with this table and to the left of the stage was a small table on which rested a stand which carried some large display cards. These cards carried the names allocated to the various tricks.

(To be concluded in November issue)


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