y Charles Vance and The Roberts B
harles Vance and Eddie and Lucille Roberts traveled with Nicola for sixteen months.
hey toured many well-known countries, and also tramped into many remote regions.
hey played modern metropolitan areas, and visited exotic lands whose fabulous
istories are steeped in legendary antiquity. Their memories are stored with a number of rilling and exciting adventures, as well as many fascinating and amusing experiences.
C T T h th
We have been asked to pen our impress close association with him, and to tell h a traveling co
ions of Nicola after our ow he appears to us as mpanion, as a boss, and as a showman. We'll
eat wealth of information
of
complete without our pers ing to admire a
man for his showmanship a
personality off the stage. W traits
of character are an inspirat honesty and fairness in all
As pleasant as it was trav h Nicola the guide, it was of course necessary that we
neve e prim with
ies, curtains and various other illusion and
"
he was the captain of a team, a team which had a difficult job
Mrs. Nicola and The Great Nicola
take them up in that order.
We had been warned by Nicola not to consider joining his company if we entertained any thoughts of its being a "Cook's Tour." There would be plenty of hard work, we had been advised, and unless we could absorb that in large quantities, we were certainly looking for the wrong job.
Traveling with Nicola around the world is especially interesting because of his gr
concerning each place visited, and because of his vast store fascinating experiences culled from the memory of former tours.
No mention of Nicola as a traveling companion would be onal tribute to his qualities as a man. It is one th
on the stage; it is quite another thing to respect him as e sincerely respect Nicola as a friend whose admirable ion to those who work with him. We admire his sincerity, his dealings.
ling wit e
r lose sight of th ary purpose of the trip--our responsibilities in connection the show. In this regard we come to Nicola the boss.
The Nicola show, crated, consisted of over fifty tons of equipment. It required two long baggage cars to accommodate the equipment, and each of these was loaded to the roof.
Upon stages which were adequate to set up the entire production, 54 sets of lines were required to fly the large number of draper
scenery effects. In many theatres additional lines had to be added, and unless the back stage room was unusually ample, it was not infrequent that we had to move the crates down stairs or even out of the theatre after unpacking them, in order to have sufficient room for all the illusions.
As one might judge, it was no small undertaking to set-up a show of this magnitude and complexity. There could be no compromise with efficiency or such a production could never have operated successfully. When Nicola the boss walked through the door of the theatre, Nicola the traveling companion remained outside.
There is a quiet dignity about Nicola the boss which commands respect. The term "boss is not quite correct, as we always felt we were working with him, rather than merely for him. It was more as though
to perform and of which he confidently expected perfect co-operation to achieve our common objective.
This air of dignity and quiet confidence earned our devotion to the task before us. Nicola is exacting and a stickler for detail. Laxity could not be tolerated. Without these qualities
et that perfection was our eternal goal, and that we were expected to achieve it at every performance.
s were solved in the most efficient manner possible Each individual in the show had his own list of duties to perform, illusions to
It took a full day, working at top speed, to set up the entire show. Sometimes, in the
f ivable
e
ndle the responsibilities which Marion cheerfully shouldered, and it was his confidence in her and the realization that
e s ic.
his huge, elaborate show could never have operated at the amazing speed which was marveled at by every newspaper reviewer.
The success of the Nicola organization can be stated in one word--Precision. We were never allowed to forg
Nicola inspired his team, as every good captain should, by setting the example of what was expected of them. Every theatre and every stage presented different problems. He was always on hand to see that these problem
help prepare, and properties to set. These each of us was to carry out without any checking from Nicola; and the responsibility for every detail was solely ours.
smaller theatres of small towns, the amount of stage space would not permit us to use some of the more elaborate illusions, and the time required would be less. Whatever the situation, Nicola was always on hand, checking the many details that did not fall to any o us in particular. Now he would be in the orchestra, now in the gallery, again he would pop up in the boxes, or perhaps in the wings--analyzing and checking every conce angle of many things we are not at liberty to divulge.
We feel that a word should be said at this point about Mrs. Nicola. Marion has been Nicola's leading lady on several tours, and it is not detracting one bit from the credit du Nicola to say that a great deal of the success of his show is accounted for by the presence of his charming wife. Marion was a constant source of inspiration to all of us because of her almost unbelievable efficiency in handling and preparing an enormous number of small properties, and we found ourselves constantly endeavoring to emulate her excellent example. It seemed impossible for any one person to ha
she always had everything under control which permitted Nicola to avoid any worry about the situation backstage and to concentrate his efforts exclusively to the
showmanship of his presentation. In all parts of the world her hosts of friends rival in number those of Nicola. She has been the toast of Princes and Potentates Sultans and Maharajas. No woman in the field of magic can approach Marion's extensive knowledg of the art of magic and the principles of showmanship-and there are relatively few magicians even among the men who can top her in this category, for that matter. For thi reason, as well as for her gracious personality, her beauty, and her charm of manner, we sincerely believe Marion Nicola merits the distinction of being the First Lady of Mag
In discussing Nicola as a showman it is probably best that we "look at the record." Sin our owl, personal opinions might conceivably be a bit partisan because of our great regard for Nicola, we're willing to leave the verdict to the impartial record as found cold black type of the newspaper reviewer, and in the irrefutable evidence of box office statistics.
ce in the
Nicola with the late Ching Ling Foo in the latter's carriage in front of the Fun Ming Theater in Tientsin, China
Everywhere he went Nicola broke box-office records of long standing. Time and again the S.R.O. sign was out in front of the theatre long before curtain time. It seemed funny to us, when leaving the theatre in late afternoon after the matinee, to see the queue already forming for the evening performance! Only the earliest comers stood a chance of gaining admittance t
management ran, in the public apology for
his inability to seat all of the people who sought to gain admission to his theatre!
ty
tic
s their reactions.
o the relatively small section of unreserved seats. In several cities the advertisement columns of the newspapers, a
In one area of about a million inhabitants, where we encountered the stiffest kind of competition in many other fields of entertainment, the Nicola Show played for twen consecutive weeks. Five months! This would be the equivalent of a forty month season in New York, where there are eight times as many people or a run lasting over three years!
This makes an interesting comparison with the maximum runs other magicians have had in New York.
Everywhere the show merited newspaper reviews which frequently ran one or more columns in length. Through all of these the same theme was apparent--one of enthusias bewilderment. These reviewers, as exacting in every respect as the New York and London critics whom they emulate, and accustomed as they are to seeing only the finest purveyors of the mystical art, thumbed desperately through their mental dictionaries for words to expres
We come now to a review of the extravaganza which ran for nearly three hours, oper with a speed and precision which was the result of years of planning and preparation.
As the last notes of the overture die away, a fanfare from the orchestra builds to a crashing climax--and the Great Nicola steps through the curtains. Briefly, he introduces his gorgeous "Revue of Magic of t
ating
he Universe," in which he will impersonate some of the famous conjurers he has met on his tours around the world. First, he announces, he
e steps
y one of Oriental splendor. All of the scenery, including the borders and leg curtains, are of the finest embroidered Chinese design and
In rapid succession Nicola performs "The Elastic Lady," "Aerial Fishing," "The Chinese
nce e
.
scene in Hyderabad, India. Again, all of the curtains blend into the Indian scene, and all the costumes are likewise Indian.
ss into mid-air, the curtains once more whip together for an instant as Nicola, at the footlights, turns the Magic Carpet in the
e rer.
The entire stage has again changed, and this time the scene is laid in the interior of an will take his audience with him to the Emperor's Royal Court in Pekin, China, and impersonate an eminent Chinese wizard.
Nicola had appeared in full evening dress and cape for his introductory remarks. H momentarily into the Wings, the dazzling silver curtains open, the orchestra has struck up a Chinese medley, and Nicola steps immediately onto the stage, clothed in the costume of the Chinese necromancer.
The scene which greets the audience is trul
material. All the assistants who appear on the stage in this scene are likewise clad in luxurious Oriental garb. And the illusions blend unmistakably into the Chinese setting, having been designed to do just that.
Water Jar," and the "Dream of the Chinese Chop Suey Restaurant Keeper"--this latter being a bewildering series of related effects which bring the scene to a startling climax, and as Nicola steps to the footlights the silver trailer closes in behind him as the audie before him invariably pays thunderous tribute. The show has started rapidly--but the pac increases.
Announcing that he now proposes to take his spectators to India, Nicola again steps momentarily into the wings, the silver curtains part, and Nicola steps back on the stage He is now dressed as a Hindu Fakir, the orchestra is contributing Indian music--but most startling of all, the entire stage setting has been changed from China to India. The close-in had been but a matter of seconds, yet the Royal Court of Chclose-ina has been transformed into a street
Nicola's own version of the famous "Indian Basket Trick" opens this scene. Introducing several new principles, Nicola has made it a new trick entirely, in everything except name. "The Indestructable Turban" follows, and the scene closes with the "Levitation of the Princess of Karachi."
After the inexplicable disappearance of the Prince
direction of Egypt. In the twinkling of any eye the curtains part, and Nicola is back on th stage almost simultaneously-this time in the native dress of the Royal Egyptian Sorce
Egyptian temple. All the costumes are Egyptian, as is the music, and of course so are the illusions. "The Priest, the Mysterious Shawls and the Beautiful Maidens," is a lightning-like series of transformation effects, and this is followed by the "Egyptian Mummy
is nical pig eight feet in height, which promptly goes into a dance and brings down the house. As a climax to the act
s,
n
ic. Again the audience is treated to a change of scene each time the curtains open, and all of these scenic effects are different
esignated by the audience comes to life right before the eyes of the spectators. In our humble. opinion this is -one of the finest
er,"
o.
sible Cloak" Nicola Mystery," a somber and weird ritual with an unusual twist.
For the fourth time the scene changes almost instantly, as do all the settings, costumes and the music. This time Nicola appears as a burlesque magician from the Argentine. A series of small feats all have a comedy twist, interjecting the lighter vein to relieve the array of miracles which have paraded so rapidly before the eyes of the audience.
Into this series of Hobo Hocum rabbits and ducks appear and disappear, gravitation defied, and the Wonder Screen produces a huge semi mecha
Nicola, by way of explanation to show how his costume changes are effected, appears a three different people in three different parts of the stage at almost one and the same time and he turns up at the finish at the place he would least likely be expected, a situation which brings the biggest laugh of the entire show.
This concludes the review of magic, and by this time the audience is a little breathless i trying to keep pace with the rapidity of the extravaganza. The brilliant settings, contrast of costumes and subtle blending of illusions has provided the first act which literally overwhelms the audience. But this is only a start. A specialty follows in which the antics of a comedian divert the attention of the audience sufficiently so as to bring them back with brains relatively cleared for the second act. This can be described more briefly because it is Nicola's presentation of American mag
from those they saw in the first act. It is not necessary to go into these in detail. Each scene also finds all the girls in different costumes.
Nicola is first produced magically in his "A-B-C Blocks" illusion which is followed by an unique comedy mystery, "The Vanishing Chocolates." The "Pillory Escape," a rice effect, and the billiard balls precede one of Nicola's newest and greatest achievements--
"Masterpieces." In this unusual and magnificent illusion, which fills the entire stage with one of the most beautiful scenes in the whole show, the illusion evolves around sixteen large scale reproductions of famous paintings by the old masters. At the finish of the series of bewildering changes, one of the paintings d
and most beautiful illusions ever invented.
"My Lady's Birthday Presents," the "Traveling Salesman and the Farmer's Daught
"Furnishing a Flat," and the "Rising Cards" brings us up to the feature of the closing illusion of the second act. This Is the famous "Prison Escape Mystery" which has long been one of Nicola's most baffling illusions, not only for laymen but for magicians als The setting is the reproduction of a real prison, with three cells, (all elevated from the floor, of course) occupying the entire stage. Introducing the "Invi
twice performs before the very eyes of the audience a miracle which approaches the absolute limit of magical ingenuity and effectiveness.
An interval follows the Prison Escape, and to begin the final portion of the performance Miss Lucille Roberts demonstrates her remarkable mind-reading powers in a featured
how nd dreamed of several great mysteries which had been thought by magicians impossible to perform. The "Dream" is
d s well y the "Borrowed Rings."
covering of any sort. And there is no flash of flame or smoke. At the command of the "Wizard," the boy disappears and the rope, always completely in view, falls to the s. It
ts
e sentry h ead and feet but the middle section of her anatomy has disappeared. The back of this middle section is completely
the at the specialty act. This is followed by Nicola's elaborate "Wizard's Dream."
In this sequence, which opens upon yet another unique stage setting, Nicola explains he fell asleep one evening while working in his studio a
reproduced in its entirety, complete with the performance of the "impossibilities."
Because of its unusual conception and its dramatic development, the "Wizard's Dream"
was especially praised by newspapers everywhere it was performed.
Next came the "Eggs from the Hat," and this was followed by Nicola's 20th Century version of "Noah's Ark." At this point Nicola takes the audience behind the scenes an demonstrates just how it is done-but of course the ending works out differently than any one had imagined. Nicola's version of the "Chinese Rings" followed and was alway received. A "Spirit Cabinet," with Manifestations and materialization of spirits, provides good background for both mystery and comedy, and this is followed b
"The Indian Rope Trick" is the feature which fills the next part of the program. It is difficult to describe the effect this amazing feat has upon the audience. In Nicola's version, the "Wizard" throws the rope into the air and it remains suspended. The boy climbs the rope almost to the top but not quite. Both rope and boy are out in the middle of the stage, away from all curtains, and the top of the rope is in plain view. At no time is there any
ground. That is exactly the way it looks to the audience nothing more and nothing les embodies several principles never before used by magicians. As one of the large metropolitan newspaper reviewers exclaimed, "It is an illusion which in all its elemen has never been equalled on the stage in this country."
After a giant "Three-card Monte" effect Nicola nears the end of his performance by presenting his unique "Seeing through a Woman." Although this effect has -- been attempted by some other stage magicians, Nicola is still the only magician who allows a legitimate committee from the audience to come up on the stage and sit behind th
box before the young lady is mutilated. When the vicious blades have been thrust throug her neck and thighs, the doors are opened to show her h
removed, and the committee is asked to "look right through the young woman" from back. The young lady's torso is recovered and returned to her at the conclusion so th
removed, and the committee is asked to "look right through the young woman" from back. The young lady's torso is recovered and returned to her at the conclusion so th