Have back curtain in place with trap door closed. Black Art Frame and Top are at center or side of stage.
The two girls must be dressed exactly alike. Chinese costumes with short coats and trousers are good outfits for illusion work as they are easier to work in than skirts, Figure 31.
Other style costumes may be used, however. The illusion can be made very effective with American Indian costumes and decorations.
Performer and other assistant may be in regular clothes or in the same style outfits as the two girls.
Place one girl in costume at rear of curtain, ready to come through trap door at verbal signal. TO PERFORM:
Assistant picks up frame and brings it over in front of trap door in back curtain. He stands behind frame and opens it so that audience can see through it, setting it down about two feet in front of trap door. You will have to study Angles of Visibility and convenience of working to determine just where you will find it best to place the frame, Figure 32.
Assistant then places top on frame, causing curtains to drop down. He stands in front of frame while doing this. Next he places the stool at the right side of frame.
The moment curtains are down in frame, assistant gives a verbal signal. Girl comes through trap door and crawls under top of frame, Figure 33.
In the meantime, performer is addressing audience.
"There is a legend told of a certain cult of sun worshippers who once a year made sacrifice of the fairest and most beautiful girl of their cult, in the hope that the spirit of this fair girl would go up to the sun and become a daughter of the sun god. To become the daughter of the sun was a rare privilege. However, there came a time when a certain girl was chosen and offered for sacrifice and a strange thing happened. The story is best told in illusion."
Have other girl enter from right side. Her head is bowed. She stops a moment, turns to audience, raises her head, and then bows it again.
You take her hand and lead her to the altar, assisting her to get up on it. Girl kneels on it, facing audience, Figure 34.
Assistant picks up the cloth and gives a corner of it to you to hold. You stretch the cloth out between you in front of girl on altar. You are at girl's right and assistant is at her left, Figure 35.
Now cloth is completely spread out to screen girl. Be sure bottom of cloth is
a few inches below top of platform but not too low, so that audience believes it is looking through frame below. As soon as cloth is in proper position, girl slides down behind frame and out through the trap door in curtain. Other girl comes up from under frame and takes kneeling position on platform, Figure 36.
Cloth is then dropped down over second girl. This must be performed without hesitation so that audience is not aware of any change in girls behind the cloth, Figure 37.
Girl who is now free rushes around the outside to the back of audience in readiness to come down the aisle when called. The timing here must be perfect so that girl does not appear too soon in the audience or too late for good effect.
On the stage you adjust the cloth around the girl, folding it back a little to expose part of the girl's costume. This is to help the illusion further by convincing audience that girl is still there.
You bow to girl on altar several times and look up to sun. Assistant lights torch and places it on pedestal or holds it in his left hand.
You then walk to right side and assistant to left side of altar. Each grasps a rear corner of the cloth, then you both hold it straight up to screen girl. Girl on altar slides down quickly and crouches under top of platform.
The moment she is gone, you suddenly grasp cloth in a bunch. The girl is gone. You look at the bare altar and exclaim, "Gone! Figure 38.
You then call to her, "Ming Toy — Ming Toy — where are you?" Use some appropriate name here in accordance with costumes used.
Girl comes running down the aisle, exclaiming, "Here I am!" She comes up to stage. You take her hand and you both bow.
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