Bruce Elliott

Page 815

â– the loose end and start winding it around your fingers. This results in your winding up into the center of a new hall the box you've held. And it is important at this point that you keep attention more or less upon the spectator with the box, remarking perhaps that he'd best keep the tablet until later when he might find his* loaned coin missing for good.

Now you have a ball of wool wound up. Drop it in his bowl again and then remember the coin. Prom your left pocket finger palm the folded piece of newspaper. Approach the man with the coin he wrapped himself. Has he guarded it well? It's still inside?

Take it with your right fingers and, as your two hands come together, pull it back into a finger palm while you deliberately tear up the other folded paper and toss the pieces into the air. It's audacious, but it's a neat bit of misdirection and the audience as well as the holder will swear that only a miracle could have gotten the coin away from inside. Even magicians will upset themselves. Especially so because the spectator folded up the coin himself. I'll have to credit this piece of deception to Annemann with thanks that the first time it has seen print is with this effect.

As you toss the pieces high and away start back towards the person with the box. Drop the right hand palmed paper and coin in pocket as you take the box with left hand. And here, now, is the one necessary sleight. You show the box which contains the aspirin tablet. You call attention to the ball of wool which the spectator holds. You must perform a double miracle with one gesture. You make a "french drop" pass and the box is gone. And as your left hand drops to pocket with the "dropped" box, you point with your right hand to the man with the ball of yarn, saying, "I said a double miracle."

Again the ball of wool is unwound. Again a box clatters out. Now be definite. "Open the box." "Is the aspirin tablet there?" "Anything else?" "Will you have the coin identified?" "Can your wife use the yarn?" "Don't you think that you need the aspirin for your headache?"

And some performers might even feel like producing a glass of water at this point to help the spectator swallow the pill.

WILL ROCK - Civic Theatre, Portland, Maine. Reviewed by Tchatcha-em-ankh.

Opening with some productions which, though not spectacular, were both deceptive and convincing, Rock moved into a smooth-running well-handled one hour show, which lived up to its claim of Thurston's Mysteries.

The familiar "Animal Tales" production was performed with ducks, one being promptly hypnotized and carried off in Thurston style, '"xt, a levitation, not the Kellar version, but done smoothly, with no stage waits nor clap-trap.

Version of the Indian Basket Trick was a rea. surprise. Started with a girl in the basket, with the "vanish" rather doubtful, only to switch itself into a quick-change, with a boy emerging from the basket, and the girl coming from the audience. Very clever and worth the preliminary hokum it required.

The next five illusions were "The Girl Without a Middle", the "Doll House,"the "Penetrating Spikes", "Barrel to Barrel", and finally the "Stretching".

All presented cleanly, and deceptively, to the real entertainment or the audience. The "Stretching" was a proper climax to this sequence. The comedy was genuine, the illusion 100% mystifying to the audience. No emphasis on the "innocence" of the screen cabinet. There was the frame, and there was the girl, and Rock stretched her. Each gag built to the next, in logical routine, and both girl and cabinet were further beyond suspicion than Caesar's wife, when the illusion finished.

Curtains closed

In, and Rock performed a satisfactory Egg Bag routine, while stage was set for the "Million Dollar Mystery", which kept close to the Thurston pattern. Again In "one", Rock did the "Six Card Repeat" counting the cards into a glass, which definitely added to the effect.

Finale was the "Sawing a Woman". As with the "Stretching", Rock let the "Sawing" be its own convin-cer. The best of the Thurston touches were present, with no stalls or unnecessary embellishments.

Comments: Will Rock looks the part of a magician, and has a gentlemanly stage manner. Though never hurried, the tricks were done in short time. This theatre had no orchestra; a piano carried the entire score, yet Rock was unperturbed by the handicap. His assistants fulfilled all duties competently..

The Levitation and Million Dollar lystery were set too far back, with poor lighting, but those were exigencies of this particular theatre, and produced an interesting angle. Forced to use the Sawing as a finale, Instead of the Million Dollar, Rock brought the show to an abrupt close, whereupon the entire audience sat tight, waiting for more, and wanting it. Which speaks for itself.

Candidly, this reviewer believes that Rock's presentation of these particular illusions was equal to Thurston's performances of the same, and Rock deserves high credit for perpetuating them. It must be remembered that these were features of Thurston's show, not the show itself, and the reviewer makes this comparison by visualizing Thurston's demonstration of the specific items in question. By way of final note: Rock's present statement that he performs Thurston's illusions, is confined to billing only. No mention of it during the act, and no claim to. successor-ship.


This secret which I am about to impart to you is one that has been cherished by the male gender of my family for many generations.

As this pertains to liquor it may be well to say that I'm a direct descendant of a long line of two-fisted drinkers. Grandpaw never stopped until he could see double and feel single. Personally I've never refused a drink except twice.

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