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The Public Show - P.C.A.M. Convention. Metropolitan Theatre, Seattle, Washington. July 23, 1941. Time: 2 hours. Reviewed by Charles Bertram,jr.

With a black-out opening a la Olson and Johnson the show got off to an effective start. A scream thrilled the spectators to attention. And when lights went up, Charlie Smith, P.C.A.M. president, took over as Master of Ceremonies. Appearance and manner good. As a preface he performed Card in Cigarette, with missing tobacco found in sealed envelope. Torn corner seemed to convince audience.

Then introduced was POOGIE-POOGIE ALLSTRAND, semi-pro. Directness of action is Allstrand's crowning virtue. Stage manner and appearance good. A quick 8-thimble routine and production of 4 rabbits (each in a different manner) appealed to the audience. Clippo and Torn-4-Restored Napkin (with sucker explanish) were effectively sold. With much loud talk and a deliberate manner, all 4 rabbits were vanished at once via break-down sucker box, and the lay audience as well as magicians present acclaimed this act as "right" for an opener.

Charlie Smith, before introducing CARLYLE, foisted a thought-of card gag on the spectators. Only the audience-man who assisted was fooled because rest of audience saw the super-Jumbo card shown. Everyone seemed to enjoy it. Then, working in "one", Carlyle (a pro) presented Cane-to-Silk, Card fans upon removing gloves, and then Diminishing Cards. He followed with Cigarette Catching routine. Offering a super-smooth sequence, Carlyle's nonchalance actually slowed the show down. Music cues and stage presence very good.

Smith returned to do a production from Jap Box before introducing next act. Silks naturally came first, and an egg from the mouth of an assistant was perfect cover for double load on Jap box. On continuance, a rabbit was among other production items. Well handled. In the third spot was "TINY" CIARENCE TALBOT (Portand, Ore., amateur) introduced as "Dr. Schultz". Stage presence excellent; accent well affected. Each trick was in nature of "an experiment" and the situation comedy was far too alow to merit spontaneous laughter. The Vanishing Telephone that didn't, and the Growing Plant that didn't only helped this act to drag to point of being only slightly amusing. That Talbot maintained character throughout, in spite of two misfortunes, speaks well for his dramatic ability.

Next, 16-year old "MARVIN, THE SIUC MERCHANT" with his colorful silk act, well set to music. Stage presence fair; setting excellent. Routined to a colorful pattern were "Cobra", the Albenice Silk, a Phantom Tube with double load and exchange features, 20th Century Silks. Flower Growth and Water Production. This act is pro calibre and makes nice full stage showing. Marvin is still prone to be overly dramatic, but definitely is becoming "class". Keep your eye on this act.

The transition from Marvin to "MAGIC IN THE HAIR" (LLOYD JONES & CO.) was accomplished without benefit of M.C. — and just as well,too. Commencing with contralto solo on rundown and a stqoge wandering around in audience with fishing pole and tackle box, this act represents Jones' idea of Olson & Johnson doing magic. Everything is designed to go wrong, with comedy the objective. And some of the stunts from Tarbell's Stunt Book and elsewhere are funny bits of business. Especially the pseudo-levitation and burlesque sawing-a-wonan-in-half. But the act as a unit missed fire, because it is neither well-conceived nor well-timed. Too many disconnected events occur one after another, the melange being confusing without developing any good situation comedy. This act was misplaced on a public performance, although many magicians found the predicaments an outlet for laughter. Not so the laymen. And so the first half ended, rather flatly. Someone missed a cue, and Mrs. Houdini was introduced before the intermission. Without benefit of spotlight, she graciously took the stage and received the acclaim of magicians and laymen alike.

LEN MANTELL (vaudeville star of years gone by) dusted off KftNTELL'S MANNEQUINS and the folks really enjoyed these marionettes as a 2nd-half opener. With Dancing Girls, Wooden Soldiers, two Blackfaces and the famous Sparkplug Horse Race, this act was fast, furious and well set to music. Good hand. It might here be noted that the musical direction for the entire show was first rate — and a great help.

Len Mantell in person took over the M.C. and gave CLARENCE CAIN a nice send-off. Cain, working in "one", struggled against himself all the way. Nicely dressed, and offering Acrobatic Cane, Gloves to Ropes via change bag, 3-to-l rope trick and beautiful Sympathetic Silks, this was a neat-appearning act. Were Cain the master of himself, he easiiy could have had the acclaim of the audience. But his poor stage presence brought tears to the eyes of the onlookers. Seems that when a silent manipulative act is nervous, he has nothing to fall back upon as a cover-up.

In his wake came little KINS SYLBER — all of 2 years of age. Mantell introduced King in front of the curtain, and the tot pro ceeded to do one trick, Ifcrstic Ball. Trick or no trick, in his little cowboy outfit, King took the house by storm. The old story—human interest—and this kiddie is plenty cute for a youngster, his age or any age.

GERALDINE LARSEN had the luck to follow this mite, and presented "Garden of the Moon". While singing she produced 4 bouquets from foulard, then did Cecil Iyle's Paper Hat Trick and watched a rose bush bloom while singing "Moonlight and Roses". The blooms were cut from the bush and tossed to the ladies. Act well costumed and cued to music. Voice O.K., nice appearance. Good hand.

Followed "MALDQ" with his own Torn-and-Restored Paper Squares, that on second tearing change to bouquet in midair. Nice flash. Then Egg-on-Fan, 6-card Repeat and his now-famous Substitution Trunk. Old tricks, truly well sold, attest to the just popularity of this man who purposely garbles the King's English and thereby makes the most of his appealing Mexican personality. Costume very colorful; stage presence good. Excellent hand. A good capper to an entertaining Public Show. The folks went home early, and well pleased with what they had seen.

ELLIOTT'S ERROR

The wonder worker makes use of any deck within borrowing distance. A card is chosen, remembered, and returned amongst the others in a very rair and above-board manner. The performer takes back the shuffled pasteboards and deliberately looks over their faces. He looks wise, nicks out one card, and places it face aown upon the table. The deck also is put face down on the table a bit to one side. The performer says that he has found the selected card.

"Yes or no?", he asks. The spectator looks at

Page the single card on table, the answer is "No". The card is shown. Tne performer resignedly says he may as well let the card he (performer) picked finish the trick. He asks the spectator to spell its name off, dealing a card face down at a time for each letter. The performer takes the card arrived at on tne last letter spelled. He asks the name of the spectator's chosen card. He snows the card he holds. Where the performer has failed, the card has succeeded.

This is a strange sort 01 efrect but its a quick one and especially very clean in working. It is simply necessary tor tne performer to know tne identity of the chosen card when the deck is given out for Mixing, or, almost at once after receiving tne deck back.

The performer fans the aeck with faces toward him and notes any one card near tne race or tne aeck. He continues his look-tnrough, next looking ior tne card which has been selected. When it is found, the performer starts counting, with that card as the rirst letter, mentally spelling tne name or, not that particular (chosen) card, out the name or the card he noted first near tne race of the pacx. He then cuts tne aecx after this card's name has been spelled and looks through the pack once more. This time he removes tne pasteDoard ne iirst no tea and whose name he has used.

The wording details are over. The card picked out ana laia dovm is round not to be tne one cnosen, but when its name is spelled out in the aeck ana tne last card shown, tnat cara proves to be the one selected.

The performer, after HIS failure, can say, sadly, "This Is bad. When you let the cards themselves get the better of you a few times, it becomes more difficult than ever to control them."

The location of the selected card? It can be any one of a million (or at least there seems to be that many available) ways. I have a method of "daubing" which is almost impromptu and which can be used for many effects. Use a paper of matches, the kind you get too many of (at least in this country) for your pockets. With one of the lighted matches smoke up, or char, the inside of the pasteboard cover tab. Keep this in your right trousers pocket. Jhst a touch of your second finger-tip to this prepared cover results in a smear which can be transfered in a not-to-be-noticed shading on a card. It can be applied as the pasteboard is returned to the deck, the finger-tip touching the index corner on Its face. v/ith some it will be found more easily done by using the forefinger-tip. 'Then one fans such a marked deck towards him the shaded corner shows up like a headlight, and, in this instance, he can proceed as directed. In other cases he nay continue as his conscience and expediency may dictate.

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