INFORMED OPINION

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Available from: www.EssentialMagicCollection.com Distributed by Murphy’s Magic Supplies

Price $150.00

REVIEW BY CURTIS KAM

I think most of us should purchase these discs about the magic of Paul Daniels, and here’s why: Paul Daniels is a speaking performer who does a solo stage act featuring proven, practical magic, audience interaction, and comedy. I’m a speaking performer who does a solo stage act based on classic effects, audience participa- tion, and comedy. And odds are so are you.

Paul Daniels’s act is designed to pack small and play big; it works with the basic sound and lighting available in your average club or hotel function room. That’s what’s practical for me, and, I expect, for most of you.

Paul Daniels’s stage act is light entertainment and his perform- ing persona is a guy much like himself, only a bit friendlier and funnier. That sounds pretty much like my approach. Yours, too?

Paul Daniels’s stage act was developed in front of loud, rough audiences with short attention spans and a tendency to throw things. Does this sound like your worst crowds? Even if it doesn’t, wouldn’t you like your act to work for even the toughest crowds?

Paul Daniels turned his solo stage act, and the skills he learned from doing it, into a successful career that made him a household name in his home country, a television personality, and an inter- national celebrity. Wouldn’t you like to do as much with your act? If I’m right, you’ll find these discs as engaging and informa- tive as I did. Paul Daniels does the kind of act that you and I do, only better. He has learned a great deal about performing that act, and has made a good living at it. On these four discs he shares all of that with us, including, for instance, a three-word phrase that will silence a room. It’s that simple. You walk out on stage, utter these three magic words, and you have everyone’s attention. This is essential knowledge for the speaking performer, and not something I would have thought of. In fact, it runs counter to some traditional wisdom about openings. Paul explains why this works, even in the rowdiest of clubs, and I believe him.

Then there’s the matter of applause. Most of us lack any formal training in it. But on this subject, Paul has much to tell. Among other things, he covers how to prompt the audience to applaud, how to get a standing ovation without begging for it, and how to take the applause when you do get it.

And what about rapport? Paul reveals how he builds a rela- tionship with the audience, and how he gets strangers from the audience to follow his directions without question, to hilarious

results. This is explained in the context of his famous Electric Chairs act. Paul covers this highlight of his show step-by-step and gag-by-gag. He explains how to pick the right subjects, how to gain their trust, and how to take control over them. Of course, he also tips the secret workings of his remarkable routine, in which two spectators appear to be receiving shocks from their chairs, without any apparent cause. Finally, one of the spectators finds he can’t get up out of his chair, and the other, who is standing behind his chair, can’t let go of it. Paul has carefully crafted the routine so that the performer is never seen or heard directing the spectators to do these things. But it’s also not hypnosis, and the shocks aren’t coming from the chairs.

Or what about scripting and presentation? If you’ve ever wondered how a seasoned pro crafts a presentation that makes the small play big, or that makes a child’s trick feel like a stage illusion, then you’ll find your answers here. I know I did. Paul tips the secrets that turn the simple vanish of a coin into a strong piece for the stage. I had to try it myself to believe it, but Paul’s right. This little trick stuns people on stage, and it has found a permanent spot in my act.

The first disc gives us a performance of Paul’s solo stage act from start to finish. All of the gags and bits of business are included, from his famous opening Chop Cup routine to his cel- ebrated Electric Chairs, and ending with a bulletproof borrowed bill in walnut, in egg, in lemon. The show is performed in a casino showroom in Lisbon for a live international audience that appears to be about fifty percent magicians. The effects are all familiar to close-up and parlor workers: The Chop Cup, the Professor’s Nightmare (aka Equally Unequal Ropes), Card to Wallet, the Baby Gag, the Electric Chairs, and the Bill in Walnut, Egg, and Lemon. However, Paul does this all on stage, and how he manages that, and why he bothers to, make up the lion’s share of the revelations on this project. Of course, these effects will also play in a close-up or parlor setting, if that’s your venue. And there are a few items that will perplex even the most seasoned card and coin handler. In one instance, Paul has a card chosen while he’s holding the deck behind his back. He immediately mentions that the chosen card is the Six of Clubs. Just a gag, he says, and offers the deck to the spectator to make a free choice, but he chooses the same Six. Finally, Paul hands the deck to another spectator, asking him to offer a card to the first spectator. That first guy takes a card, and he gets the same Six again, even though Paul’s nowhere near the deck. On disc three, Paul explains how he makes this happen with an ordinary deck and two lay spectators, neither of whom is stooged.

There are interviews with Luis De Matos at the end of each disc, and the interview on disc one covers the basic biographical material: Paul’s real name, his childhood, and how he came to magic. A delightful extra is an additional interview with Debbie McGee.

The Act, and most of the thinking behind it, is dissected and explained on disc two. Yes, he explains how one does the Chop Cup on stage, why he opens with it, what to look for in a cup, how to get the proper balls, how to handle the loads on television, and his systematic way of generating a presentation for this, and all of

his tricks. Paul’s advice on the timing of the final loads is essential knowledge for anyone doing a cup load, regardless of venue. His discussion of the importance of your nose in misdirection is inter- esting, as is his description of how and when he knew the routine was finished. But he also covers how The Act is packed and set up, how the tastes of the audience dictate the props you use, and things everyone needs to know about how to use a microphone. The other effects in the Act are also examined in depth, with Paul throwing in the occasional poignant or enlightening story, such as the one about the one trick in the Act that was successfully performed in the hands of a blind girl.

As the explanations proceed, we learn that some of the tricks in the Act serve a dual purpose. The Equally Unequal Ropes was included in order to allow Paul to bring two people up on stage in an entertaining way. The Card in Wallet is a solid mystery, but also serves to make the two volunteers comfortable on stage, and to become accustomed to following Paul’s directions. The way that these tricks are woven into the blocking, psychology, plot, and pace of the Act is the real education here, especially for those who are building acts for the first time. Even the hoary baby gag is given an upgrade, in this case involving a vanishing eggbeater and lessons in scripting and acting. And he does explain the secret to The Electric Chairs, which is as simple and as wonderful as one could hope for. This is one of those tricks for which every possible method you can imagine might work, and the only way to tell good from bad is to try it. In this context, I value experi- ence over ingenuity, and the lessons of years of experience are what’s offered here. Paul discusses some of the other methods as well, and his reasons for not using a chair that actually shocks the spectator might surprise you. If you’re interested in this effect, this is the best resource I’m aware of. The Act closes with a very practical handling of the Lemon, Egg, and Walnut, an effect that is open to endless variation in the handling of the vanishes and the loading. This handling requires less preparation than most, and relies almost not at all on mechanical aids. So there is little that can go wrong; as long as the performer has reasonable command of a toss vanish (Paul’s is excellent), this handling gets the borrowed bill inside a walnut, inside an egg, inside a lemon, in a magical and reliable way.

The second interview features the experience of perform- ing magic on television, in particular, a weekly television series that Paul performed for many years. While many of the things Paul learned from his experience are probably limited to televi- sion in his particular time and place, I found this discussion to be valuable, and certainly entertaining.

On disc three Paul covers basics of card handling, notably the classic force, the classic force behind your back, and the secret to that moment I alluded to earlier, where one spectator forces a card on the other. This is something I’ve never seen discussed before, and it’s brilliant. Paul then covers the tricks he holds in reserve, in case more or less time is needed, and for other emergencies. This includes one of his best-known routines, the Linking Rings, which he performs along with a little girl from the audience. He states his goals for the routine at the outset, and then dedicates every moment towards achieving them. Many of the pretty moves that magicians love are discarded, and the result is a focused and commercial piece of magic. If you are looking for a Linking Ring routine for stage, street, or parlor, I recommend that you start with this one. Paul also covers some impromptu tricks and stunts that come in handy, including the little-seen rapping pencil effect. These are good, but the standout for me, and the piece that went immediately into my act, was his handling of Malini’s vanishing coin. This is a remarkable effect with a method that I have ignored

for as long as I have been in magic. However, Paul has applied the expert advice of Ken Brooke to this simple trick and the result is a coin trick with the impact of a vanishing birdcage. There are also other lessons, like the card trick that Paul uses to “make an audience out of them again” when everyone returns from inter- mission.

Disc four is titled The Real Secrets; Paul addresses things like surviving in the business, professionalism, nervousness, taking applause, working the venue, knowing your audience, knowing yourself, and how one develops a funny and interesting presenta- tion. These are the sorts of things I wish an experienced profes- sional had told me years ago, and whether you’re just starting out on your career, if you’re right in the middle of it, or if you’re just wondering if, you’d be crazy to ignore the information that Paul is giving us here. He also has much to say about his Theory of Shapes, basically addressing the visual aspects of the different phases of a spoken act.

In the end, this project is, as I’ve said, essential information for anyone with any interest in presenting magic as commercial entertainment. Granted, that doesn’t describe us all, but even if you are a close-up performer who occasionally gets asked to do a bigger show, or a businessman who does a larger presentation every now and again, or a grand illusionist who needs to actually talk to the audience between numbers, you’ll find much to think about and a lot to use.

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Available from: www.daryl.net

Distributed by Murphy’s Magic Supplies Price $80.00 for the set or $20.00 per DVD

REVIEW BY DAN GARRETT

If you think you already know all you need to know about sponge ball magic, think again. I’m sure you do know that any magic that apparently happens in the spectator’s hands is the strongest magic of all. Whether you do sponge ball magic or not, the study of this genre is essential to all magicians in order to gain insights into magic psychology and sleight-of-hand techniques. Daryl already has the reputation of being a “magician’s magician” and one of the finest teachers of magic in the world. These DVDs are a part of his Essentials in Magic – Master

Course, produced by Murphy’s Magic Supplies. The videos set

the highest standards of performing, teaching, and inspiration for magic students of all levels.

From a production standpoint, everything is as close to perfect as one can expect. There is great camera work, picture quality, and editing. The lessons are delivered with skill, precision, and humor. Daryl has that special knack for holding your attention as he teaches. Every section is well scripted and rehearsed. It is sad that all DVDs on the magic market cannot achieve this standard of excellence. The material is taught in three languages: English, Spanish, and Japanese.

Is everything there is to know about sponge ball magic on these DVDs? No, of course not. There is so much in print about the subject, that this goal would be impossible. Even though Daryl’s

teachings cover the subject like an encyclopedia, they don’t cover everything. But, it is safe to say that (whatever your level of expertise) these four discs cover ideas that you don’t already know. Even if you are a seasoned sponge magician you will find many surprises on each disc. They are that good.

On Volume 1 Daryl sets the stage with a brief history of sponge ball magic. One name he doesn’t mention, however, is New York City magic dealer and magician Al Cohn, known as the “Sponge Ball King,” not to be confused with retired magic shop owner and legendary demonstrator Al Cohen of Washington, DC. Daryl then teaches various productions, vanishes, and routines – classics with some new twists. There is a wonderful section on the Sanada Gimmick, including one of my own handlings with this clever device. I was delighted when Daryl included some sponge ball techniques of Al Goshman, whose company Magic by Gosh has supplied the world with quality sponge balls for the last few decades.

The first half of Volume 2 deals with different approaches to sponge productions, vanishes, and color changes. The disc opens with a nice production idea from our late friend Aldo Colombini. Various moves and variations with sponge balls and other sponge items are covered, always with full credit. Included are some great ideas from the likes of Flip Halema, Gary Ouellet, Gary Darwin, Peter Samelson, Roger Klause, Steve Spill, Ray Grismer, Paul Kozak, and many other great thinkers in magic. There is a fun foray into magical squeaking sponge balls and other sound effects. Daryl asked my permission to include a few of my ideas in this area.

Next Daryl explores ideas with the routine called by many “the most commercial close-up magic trick of all time,” namely, the sponge bunnies. Daryl’s own signature bunnies and baby chicks routine is not here. Fortunately for all of us, he teaches this routine in the next volume.

Volume 3 contains more great ideas and routines by many fine magicians, including Dan Tong, Mark Leveridge, and Jack Chanin, to name but a few. I particularly enjoyed a funny idea with “spaghetti” from Steve Spill. There is a wonderful section on handling spectators, which applies to all magicians. This is something rarely seen in magic videos, but it is sorely needed. Daryl also surveys various sponge props, from rabbits to mushrooms to hot dogs to bananas. I like bananas.

In Volume 2 Daryl mentions the Benson Bowl routine, but on Volume 3, he teaches it. What a classic! Al Goshman’s sponge routine is here. Several other great routines are taught on Volume 3, including my favorite sponge bunny routine, Daryl’s own Papa Rabbit Goes to Town. This volume also gives advice on cleaning and storing sponges, as well as cutting your own. The advice is brief and incomplete, but it is a good start. As a self-proclaimed expert on the subject, let me say that the enemy of sponge ball longevity is oxidation. The two main contributing factors are air and sunlight. So I further recommend storing sponge in Ziploc- style plastic bags, out of sunlight and fully expanded. Colors should be separated to avoid bleeding of the dye.

The final volume is every bit as good as the previous three, with new productions, vanishes, transformations, and routines by more great magical minds. John Carney, Slydini, Aldo Colombini, Duane Laflin, Karrell Fox, and others not as familiar are rep- resented. Fred Kaps’s Chinese Chow routine, a variation of the Benson Bowl routine, rounds out a fabulous series of DVDs on magic with sponge.

In a recent conversation with Daryl, I got the impression that the Essentials in Magic projects were quite a labor of love. A lot of time, money, energy, research, writing, rehearsal, performing, and

work went into these DVDs, yet they are offered at a ridiculously low price by today’s standards. Although the DVDs are packaged separately, I strongly suggest that you get the full set of four. They should be available from most dealers, but I saw that Daryl offers a significant discount if you buy them from his website.

This volume of work is encyclopedic in nature. Daryl has done extensive research, and a finer reference on the subject cannot be found anywhere else. This earns my highest possible recommen- dation.

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Available from: www.BigBlindMedia.com Distributed by Murphy’s Magic Supplies Price $25.00

REVIEW BY DANNY ARCHER

Scott Thomson is a well-known “cardist” who created, and runs, Essential Cardistry, YouTube’s number one cardistry channel, which is closing in on one million views. He performs and teaches eight jaw-dropping flourishes on this DVD from Big Blind Media. The flourishes have names like Golden Gate,