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the left end of envelope. This action takes away the strip of adhesive FROM THE BILL, thanks to Scotch Tape attributes, and, a second later, you are seen to apparently withdraw from within the envelope the genuine dollar that either your underhanded craftiness or the inadvertence of the spectators has kept or left for your enjoyment.

(Note by Annemann: Those five pieces of paper which the spectators must get or else you lost the profit on the show might well be printed ads to serve as souvenirs. Something like "This is NOT the dollar you might have won had anyone but-------been entertaining you with his mysteries" perhaps.

Personally I'm using the stunt now in my own program. It comes next after I've done the magazine test that was published so long ago in "Hie Book Without a Name." I have four mags on the table, use three for the test, toss them back, and then pick up the fourth to use as the tray. The audience is used to mags being around and nothing is thought of it.)

"BOOM-BOOM", presented by Herman Weber at the Heckscher Theatre, N.Y.C., October 6, 1941. Reviewed by Annemann.

As far as this metropolitan audience was concerned, the show title "Boom-Boom" should have been "Thud-Thud". Mr. Weber wrote a book for magi in 1926 and called it "Money From Magic". Including the fact that no profit was evident because of a dearth of audience beyond the 8 rows of $2.20 seats, Mr. Weber did an excellent job of proving how bad things could be if one paid no attention whatever to his book which covered showmanship, stage deportment, program building, clothing, etc.

Mr. Weber's inexcusable crime against magic lovers breseht was in his ads of "Talented Broadway Artists" and "40 people on the stage 40 - Count them." This deviation from exactness might not have been so bad if, with the exception of the performer himself, who we accept as being over the age of free transportation (with parent or adult), almost the entire remaining cast had not been made up of children recruited from a neighboring school or settlement and rehearsed for only an hour or two according to Mr. Weber's own admission.

With music from an offstage record player (non-union house) whose needle seldom sounded "in the groove" the show wound its devious path from a sensationally slow opening school-room scene in which a couple of young stooges kicked the word-memory test around and made little or nothing of several simple Lulu Hurst or Annie Abbott push and pull principles. In The Parade of America, the kin-degarten group ganged up before a tremendously produced flag and sung of our country with timidity, if at all, while milling about in a protective mass as if punishment were irmninent for not bringing teacher Weber an apple.

The second act contained a little more action and variation than the first. Costumes began to be seen.

The third act had a fantasy motif and leaned heavily on cloaks and wearing apparel for the kiddies. The Pagliacci finale ended in a collection of neck-hanging boards depicting animal bodies for the cast. t.'r. Weber graciously if not coyly added to this by letting his head protrude from the pouch of a kangaroo. The action should get laughs galore and hilarious emanations of glee in the grade schools,if not at the Heckscher Theatre.

Mr. Weber did not bungle any tricks; that is, he did not expose. But he handed a magic-wise audience of well-wishing friends a lemon with this uncooked show planned for hinterland schools at a fraction of the prices charged here. It is too bad that a law can't be invoked to prevent bookings on the strength of "Original New York Production" with, presumably, mention of the $2.20 top.

We are not saying that the show, smoothed out, can't be entertaining to the audiences for which it obviously was planned. Using local youngsters is a sound idea. It worked long ago to good success in decoying parents and friends, the kids all getting a few tickets to sell for premiums, (finished on page 830)






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