Magic and Magicians

Magic And Magicians

r. Ellis Stanyon published his

so

o

MAGIC hide what

l

on

ced that the study of

me, so M

monumental MAGIC magazine from 1900 to 1914. Publication was interrupted by the First World War, that terrible confrontation which changed many things in Europe. After the war, MAGIC was again

published, sadly, for a short span: from September 1919 t June 1920.

The pages of

even today we might term a veritable treasure of Magical Knowledge. Here you can find from the smallest of pocket tricks to the biggest illusions of the day, passing through the whole spectrum of magic: card and coin tricks, mental effects, silk and ball tricks, magic with liquids, chemical and fire tricks, and still a lot more.

But besides the tricks and secrets, Stanyon's MAGIC is also a priceless bibliographica and historical reference. In this latter context, Stany published what he termed "Explanatory Programmes" being the sequence of tricks in the acts of the Magic Stars of his time which he commented upon, adding his own

explanation of the effects in question.

I am convin

magicians' programs in general is a valuable learning tool. Old magicians' programs in

particular, offer us many ideas, mostly unknown in our ti

Explanatory Programmes

Nicola (Lahore, India--February 1911)

Carl Hertz (Empire--December, 1903)

Carl Hertz (Hippodrome, August, 1904)

Horace Goldin (Palace Theatre--June, 1900)

Horace Goldin (Palace Theatre--July, 1901)

Horace Goldin (Palace Theatre--May, 1907)

much so that we might even categorize them as "original." For the reason stated above, I have de essary, al. More hat allow re of cided to begin

publishing these programmes here, adding, when nec links to Mr. Stanyon's references. I hope this job meets with your approv than that.... my purpose is t by placing this information at the reach of all TLPP's members it serves as an educational tool that will all of us to further the futu the Art of Magic by gaining a better understanding of its past. Marko

Stanyon's Explanatory

Programmes

Taken from the pages of his MAGIC magazine (1900-1914 and 1919-1920)

Nicola and Company of Sensational

April-June 1911

Mystifiers

Lahore, India, February, 1911 Published in Stanyon's Magic,

Particulars of this programme very kindly communicated to me by Lieut. R.S.H. Townshend. The following

: stage assistants are used

1. A Burlesque Conjur

2. An assistant about the sa mer,

with a moustache. 3. A short lady assistant. 4. A lady assistant of medi

istan

For convenience the assistants above-named are hereafter refe d

4) then enter and stand one on either side of stage.

f the assistants who places it aside on table for use in the umbrella trick which follows.

former covers candle with handkerchief, then raising the latter reveals

d reast

n up in a piece of cloth and given to assistant (3) to hold. Performer now produces, magically, eight pieces

red A very young Nicola on

a photograph published in 1905.

er and Juggler, Prof. Dossky. me height as the perfor

um height. 5. A third lady ass t, duplicate of No. 4.

rre to by their respective numbers.

Curtain rises revealing stage set with various magical paraphernalia. Two lady assistants (3 and

Tree from Walking Stick.--Performer enters carrying stick and hat, handing the latter to one o

He then stands the stick, provided with a point for the purpose, upright in centre of stage; a moment later he raises the stick revealing a tree. Coloured features arranged on steel red previously concealed in hollow stick.

Candle Changed to Bouquet, &c.--Lady assistant (3) brings on candle in holder, also handkerchief. Per

feather bouquet, candle having disappeared; same method as tree from stick, dummy candle being laid aside in

handkerchief. He then takes bouquet from candlestick, an causes it to multiply into two bouquets, handing one to each lady assistant. Second bouquet obtained from left b

pocket in left hand, the two placed together surreptitiously then separated.

Umbrella and Ribbons.--Umbrella opened and shown, the closed and rolled

of silk ribbon these are rolled up and placed in the hat aforementioned which is held by assistant No. 4, pistol, umbrella pulled from roll of cloth and found minus cover, but with a piece of ribbon hanging from each rib. Umbrella closed and replaced in roll cf cloth, and its cover discove

in the hat in place of the ribbons. Cover replaced in hat, pistol, when the umbrella is once more pulled cut of the and found restored, and the ribbons are discovered in the hat shown otherwise empty. Trick hat with division hinged a centre to fold over to either side would be best for this trick, but I have already given a

roll cross full explanation of two methods of performing it, in MAGIC for July, 1907.

Umbrella Changes to Table.--Umbrella brought on and stuck upright in the floor changes to small table; the usual mechanical piece.

s to conjuring pistol and shoots same on to point of sword held some distance away by an attendant. The

at

length of stout black thread and place it in a pocket; pass the free end of the thread through a small eyelet at the

ck

er the muzzle. The centre of the silk is pressed over a hook held in position by a mechanical

l

r Handkerchief Shot on to Point of Sword.--Performer load silk handkerchief in

silk loaded into pistol either remains in same in separate barrel, or is palmed out by means of the well-known loose cup; the duplicate is released at the right moment from the hand of assistant, being drawn to the point of sword by tension of a length of elastic, the opposite end of which has been previously passed down inside the blade and fastened the hilt.

Another method is as follows: Tie the handkerchief to one end of a

point of the sword; then grasp it firmly in the left hand, holding the sword in the right hand. Extending the right arm will then pull the handkerchief out of the pocket on to the point of sword when the whole may be placed aside. Bla eye glass cord is perhaps better than thread, and the length is best found by experiment.

N.B.--There is another form of pistol arranged to vanish a handkerchief laid visibly ov

device and attached to a length of elastic passing down the barrel, out at the lower end, and down the side of the butt to the extreme end of which it is fixed at high tension. On a pul being imparted to the trigger the hook is released and forthwith flies to the opposite end of the barrel carrying the silk along with it. The barrel is specially made of brass tubing, 8-1/4 inches in length, and of the same diamete throughout. Percussion caps only are used with this pistol. Up to this point the performance conducted in silence.

Chinese Rings.--Performer introduces eight or nine rings, telling their history with a strong American accent, then going examination.

cloth from nd bows; throws cloth over table, then raises it, and shows candle gone out; again throws cloth over the

on ith

hands a wooden ball with a hole through it for inspection; taking back the ball drops it over rod, when it

," t th

ling "load" hanging on front of person. Body of drum placed behind front

r

;

a and

ub uced amongst audience offering each and every ring for

During the examination assistant (1) enters with small table on which is lighted candle in holder on cloth; jerks

under candle a

whole, then raises it and shows that candle has vanished--taken away in cloth--and retreats.

Performer returns to stage, changing the examined rings the way for the usual trick set of twelve. Usual business w the rings.

Rising and falling Ball on upright rod.--Shows a nickel-plated rod which he screws to an iron base and places on table. Next

rises and falls at command. It is further made to reply to questions, rising and failing, once for "Yes," twice for "No and three times for doubtful," Funny business for this effec explained at length in last issue of Magic in connection wi the talking hand. (Thread tied to top of rod).

Drum Trick.--The usual nickel-plated band and two rings made up, apparently empty, in front of audience, Assistant comes on carrying two sheets of paper concea

sheet of paper and ring pushed on to make paper end. The paper is then taken from assistant and reversed, showing drum empty. Returned to assistant in this position, and rea paper then removed and pressed over open end of drum with the remaining ring, the "load "made up similarly being pushed into drum through rear paper end at the same time this leaves both ends apparently intact. Paper end of drum now broken and quantity of small flags produced and placed on tray brought on for the purpose and containing pagod large U.S.A flag on telescopic staff. Bundle of flags lifted from tray, and pagoda produced from same (hung up), followed by flag on staff--performer retires. Ribbon running from pagoda is caught in tub held by assistant; my

correspondent does not say, but I presume this is the trick t to release ducks or pigeons and which appear to be prod from the ribbons.

Trick with Borrowed Rings.--Performer reappears borrows four finger rings, receiving same on a short stick, change in usual manner and dummy rings dropped on plate, He proceeds to dro

and

p three of the rings, one at a time, down the barrel of a rifle, forcing each down with a heavy ramrod

t go

ll ght

he rium, to the consternation cf the owners; the fourth ring will no in the rifle, and is forthwith made tractable by means of a hammer. The hammer is brought on by assistant (3) who receives the borrowed rings and retires to attach them by ribbon, one to each of a like number of the performer's business cards; they are then placed in a small box suspended behind side table to be taken on stage as required, Rifle is then fired at a nest of boxes which has been hanging in fu view from the outset. Box opened, and another one discovered inside, removed and placed on the table brou on at this moment, for the purpose. Several other boxes discovered, the last one being minus a bottom to admit of t prepared one being loaded into it from servante. Removing the last box the performer takes same into the audito

allowing the owners to open it and remove their property. N.B.--A more interesting form of this trick, and explained in greater detail will be found in Magic for July, 1910, page 76 Rising Cards.--Four persons each call out the name of a ca

. rd the performer removing each from the pack then handing the

the pack in the left hand, the right hand being held aloft. The

ght

ic whole for inspection, and allowing any person to shuffle the chosen cards with the rest. He then returns to stage, holding chosen cards then rise from the pack one after the other and pass upwards into the right hand. The fourth card started rising rather fast, and was told to return and rise slowly, which it did; then when it had reached the right hand, the performer walked away, leaving it suspended in mid-air. He then signed to the card to come down, which it did, sinking to within a few inches of the floor; it then rose again to a hei of about five feet when the performer took it, and at once showed it back and front.

As the cards are called out an assistant behind scenes takes duplicates from another pack, every card of which is provided with a "lip" on its back, as explained and illustrated in Mag for February, 1901. The duplicate cards are placed on the top of another duplicate pack, Which is then placed on the

; servante of a small side table, and carried on by the assistant all this is done while the chosen cards are being shuffled into

the pack by a spectator. Returning to stage performer walks behind table and changes the pack for the prepared one. The cards are caused to rise by means of a thread stretched right across the stage from either wing, and at a height where the performer can just reach it with the extended right hand. The thread passes over bright nails driven into each wing and to both ends, which should reach nearly to the floor, are tied a

st card. The right hand is then passed across, above, and below the pack, and seeming

the of

r y explained the few cards to act as counterweights.

The right hand is first raised (to secure the thread), and a card commanded to rise, This failing, the hand is lowered and squares the pack together at the same time the thread is passed under the "lip" of the rearmo

all round it, in order to prove the absence of any connection, the card meanwhile being kept from rising by pressure of left thumb. The right hand is then raised again, pressure left thumb relaxed, and up goes the card; it is brought down again, and placed in front of the pack in the left hand, the same action sufficing to place the thread under the "lip" of the next card to rise. Repeated for the remaining cards. The effect of the suspended card will be managed by attendants in each wing manipulating the ends of the thread as required. This trick was well executed and well applauded.

Cards Jump from Glass Tumbler.--Another pack of cards placed in glass tumbler when every card jumps out with the exception of one. My correspondent does not say whether o not this was a selected card. But I have alread

trick at great length and with variations in Magic for February and May, I904.

Throwing Cards to all parts of the House.--A full

explanation, illustrated, of this skilful trick will be found in my "Conjuring with Cards," pp. 15-17, q.v. In this case the cards so distributed bore the photograph of the performer. Chinese Rice Bowls.--Fully explained in MAGIC for 1904, in conjunction with a new method of vanishing a glass of water, the water reappearing in the bowls in place of the rice.

March,

Collapsible Table.--The above trick concluded the Rice Bowls were carried off on tray by an assistant, The performer then snatched up the table, which folded up very rapidly into

the form of a gladstone bag, carrying which in one hand he bowed and retired.

dy.--The second part of the programme is opened by Prof. Dossky, who comes on attired as a tramp

juggler, followed b ooden

cow-atcher in front; this comes on by itself, travelling from the right hand rear corner of stage to centre of footlights. Sloping

it

a, with

ts

man e oy pistol at the fisherman, who disappears. He then walks over to one of the hens, which lays

er

that

, then the whole ship disappeared. The disappearance of the fisherman was effected in a similar

End of Part I. Curtain.

Juggling and Come

y a perambulator with a w c

stage and front wheels set to describe the quarter circle would account for the movements. Performer pushes the

perambulator back the same way behind the wings, when once more rolls down the stage to the footlights. He then takes three bails from the perambulator and juggles with them; then with four balls; also tricks with cigars, hats, plates, coin on umbrella, etc. Back scene represents the se

some rocks on one side, beyond which is some pasture land. There is a cock, 2 hens and a cow on the land, a fisherman on the rock and a man o' war on the sea. Suddenly loud repor are heard and puffs of smoke come from the side of the man o' war; then a shell comes on from the side and hits the performer on the head, then two more shells arrive with a crash on the stage. First shell rubber ball painted; the other two made of wood.

The performer here produces a toy pistol and fires at the o' war, which sinks slowly. The fisherman is then seen to b struggling with his rod and line, having apparently hooked a large fish. Performer fires the t

an egg in his hand; the other then does likewise. Then suddenly noticing the cock, he advances towards it, and placing his hand near, receives another egg. He then seizes the cow's tail, which he works up and down like a pump handle, at the same time holding a glass under its udder. The glass is rapidly filled with milk, with which the perform retires to refresh himself.

The sinking of the man o' war is accounted for by the fact there is a slit in the scene through which it is pulled

(downwards). The sinking was most realistic, the bow sank first, followed by the stern

scene, and the milk was poured through a small hole

aid of a funnel. The cow's tail was made of a piece of cloth, filled with some soft material, and was sewn to the scene in a manner to enable the performer to work it about as described.

The third and last part of the programme as follows: Spiritualistic Cabinet.--Low narrow oblong platform on six

with the

short legs wheeled to centre of stage; on the platform is a creen-like arrangement which is then unfolded and arranged rou

front, a separate piece put on afterwards, consists of a

ed s, nd the

(via a secret door in the back), after the same had been shown d and

d to admit of all parts of outside being once more inspected. Other methods are a run-down

made

Handcuff Tricks.--The usual business, a full explanation of s

nd back and sides of platform to form a Cabinet. The framework having two doors each with the usual diamond shape opening with blind hanging inside each. Doors open to show the interior empty, then closed and the cabinet wheeled round to show all sides. Sticks, bells, tambourine &c., were then placed inside the cabinet, doors closed a usual manifestations took place.

Evidently done with the aid of an assistant, probably

concealed at the outset behind the screen-like arrangement on the platform when this was placed in position he would be standing on a small step at the rear, ready to enter the cabinet empty and closed, and to admit of it being turned roun

inspected as described.

In conclusion the assistant would again pass through the secret panel on to step at rear. Cabinet opened and pushed to rear of stage (to admit of assistant escaping through trap in scene), then turned roun

shot from trap in rear scene to rear of cabinet, folding mirror inside cabinet, &c.; or the several methods worked in

conjunction with one another, arrangement and timing of the various movements, &c.

The Multiplying Chair.--The performer snatches up a chair, and, pulling it quickly apart, there are two chairs. One

to telescope over the other.

which I have already given in MAGIC, for November and December, 1902, and January, February and March, 1903; se also my No. 13 Serial,

e t Handcuff Tricks."

a handbill bearing a friendly challenge to the police and others to bring their own handcuffs (regulation), and try to secure him. He came to the front of the stage and asked if anyone had brought any handcuffs. About six people walked, up and took chairs on the stage, each having pair of hand or leg-irons--evidently planted. He proceeded to have these placed on one or two at a time, then went under canopy, an came out again with his hands free and the handcuffs open. One pair of ordinary English regulation cuffs, he said, looked so easy he would take them off in front of the audience. This he proceeded to do--evidently faked.

Handcuff, Sack and Box Illusion.--I have already given a cuffs

d

full explanation of this in MAGIC for October, 1903, q.v. A later method of escape from the sack in the box, is for the performer to be genuinely tied up by anybody in an ordinary

.

he

, yet effects his escape, as is necessary under the circumstances, in

, sack and to cut this open at the bottom from corner to corner The performer gets out and the lady gets in via this rough opening. Then, in conclusion, and when the box is opened, the lady stands on the bottom of the sack so that it cannot be inadvertently raised. The committee then examine the seals and finally open the sack, which the lady pushes down into the bottom of the box, then steps out and closes the lid. As t sack was carefully examined in the first place no one wants to look at it now; all the same if they do--they don't.

Milk Can Escape.--For my explanation of this illusion, where the performer, completely immersed in water, milk or other fluid, is locked in a large galvanised iron can

less than a minute, see MAGIC, for January and February 1909.

A Topsy-Turvey Illusion.--A lady is strapped to an iron frame, which is then bolted to the back of a narrow upright cabinet, only just large enough to hold the lady in this position. Cabinet closed-pistol---opened, and lady found

sed up on ng the r of upside down, i.e., standing on her head. The two lady assistants, Nos. 4 and 5 (doubles) are necessary for this illusion. The one, fixed to a duplicate iron frame, is pas through the stage upside down, and fixed in such position the back of the cabinet; this is done under cover of fixi other lady in position at the same time. Then, under cove closing the doors in front, a hand is placed on the back of the cabinet, which is turned round, being pivotted top and bottom, and the trick is done.

N.B.--A detailed explanation of the above illusion will be found in MAGIC for November, 1906.

Doll Changed to Lady.--Box on low stand wheeled round by attendants, that all parts may be inspected. Lid and front

ox tol fired, then box opened and found to contain lady dressed like the doll. See opened to show empty, then a small doll placed in a little b and put inside the larger one--closed. Pis

my explanation of the Beau Brocade Illusion, in MAGIC for October, 1909, and which applies.

Production of Diogenes from Glass Lined Trunk.--Trunk shown empty and lined all over with pieces of plate glass, then closed, apparently empty. Pistol fired, then trunk opened revealing Diogenes inside. Evidently another version of the Beau Brocade Illusion referred to above.

ed to float upwards and continued so to move slowly until it reached the

the e

respect

. Varma, I.S.C., of Paina, India.

Novel Suspension.--Nicola laid himself down flat on the table, his hands stretched back. Dossky from behind then joined his hands together and placed his finger tips on the performer's nose. His body then commenc

perpendicular, heels in the air, and apparently balanced by finger tips on the performer's nose. Invisible wires seem th only solution.

N.B.--In addition to the valuable help rendered me in to the above programme by Lieut. R. S. H. Townshend, I have also received similar assistance from my esteemed subscriber, R. P

The above explanations are my own, i.e., they are not necessarily the methods employed by Mr. Nicola.

Carl Hertz

Empire, Dec., 1903

Published in Stanyon's Magic, January 1904 al evening attire, white gloves

aking short introductory other and vanishing ball in the act of giving it

containing two canari

and placed in paper b ed up, and suspended on brass stand made for the purpose. Blows paper bag to bits with revolver, and

Enters, convention and wand, and while m

speech, removes gloves, rolling one up inside the stage attendant (pass I. from L. H., wand, and left tail pocket).

long brass bird cage, on mahogany base, es. Both birds are openly removed from cage, ag, which is screw

Next introduces an ob

birds reappear in the same cage held by stage attendant. I have already explained, in a recent issue, the methods employed in re to the bag. The cage, in this case, was separated from the wooden base, and both parts twisted about for examination, then put together again. The base is simply a wooden frame about 2-1/2 in. deep. There is a spring blind roller at one end upon which is rolled a black blind. This is pulled out

and the free end is attached to the opposite end of cage. This is the normal condition of the cage. There is now a rod running across the centre of cloth bottom, from side to side, and to the centre of this rod is fixed a ring; if now the blind be pulled still further out, and this ring be hooked on to the end of a moveable lever on end of cage, a bag of cloth will be left hanging down, but concealed by the depth of the wooden base. It is into this bag that the duplicate birds are put; and it will now be seen that a touch of the lever will cause the "blind" to run back to its normal position setting free the birds.

Next follows the Noah's Ark Illusion, in connection with which Mdll D'Alton plays her part extremely well, and with much dispatch.

e An explanation of this illusion will be found in "Magic and Stage Illusions" (Hopkins).

al stops esire (no confederates); also tells the number thrown by a pair of dice. The dice have, doubtless, the same number oh

quests Crystal Clock Dial suspended on brass stand. The pointer is

removable, and both parts examined. Pointer set spinning on di at any hour audience d

each of their six sides, as after the throw is made, performer re

that they be not uncovered until the the pointer stops; when therefore the pointer stops and the cover is removed all attention is rivetted on the upper side of the dice to check them with the clock. Performer quickly picks up the dice, and probably changes them for a different pair when handing them to another spectator. The clock then tells the number that will be thrown, which is, of course, equally simple. To prove the absence of wires, threads, or electricity, the clock is next held by member of audience, and stops at any hour called. The construction of the clock, to stop as required, will be found explained on p. 11 of this Volume.

Vanity Fair Illusion (see "Magic" by Hopkins), follows next in Mddle D'Alton again takes part.

which

Performer next introduces a six sided bowl about 12 inches diameter. ecial stand, in line to make as much display as possible. Performer next shakes bowl which drops into the

l ropped The bowl appears empty, but from it are drawn six boquet streamers, each of which are hung upon a sp

form of a six sided pagoda; this is also hung up on stand in front of boquets, and a large quantity of paper ribbon is spun out from bottom of pagoda. One rabbit is produced from ribbon, and the one rabbit is multiplied into two rabbits in the bare hands (usual methods). The two rabbits are now placed on centre table, and one rubbed into the other (rabbit trap); the remaining rabbit is thrown in the air severa times in the vicinity of servante at rear of centre table, finally d

into servante as other hand fires pistol at rabbit supposed to be in mid air. The vanished rabbit is next produced from collar of gent's coat in audience (performer gets close up to gent and introduces with his right hand duplicate rabbit from his own pocket, under gent's coat. He then thrusts bis left hand down back of gent's coat to meet the right hand; the rabbit being passed from the right to left hand and forthwith drawn from the collar. It seemed to me the gent was a trifle ruffled, and I am pretty sure the rabbit came in for its share of the treatment.

A small oblong tub was next placed on a stool and filled (by the performer) with the ribbons extracted from the pagoda. Thre

-e liv-e ducks then made their appearance out of the ribbons, or what is more

bons.

meantime are arranged at rear of stage, one on each side, a couple of e

n

floor to ceiling.

ried unts the steps and takes up her position in the right hand cabinet as you face the stage. The door of

is

ried on to stage by attendants; she is most perfectly disguised in Chinese robes, wig., etc., and

et on

ouble (presumably performer) likely from the trick interior of tub, and into view, through the rib Chinese Pagoda Illusion. Performer next openly attires himself in a loose fitting silk chinese costume, trousers, coat and wig: and in the small cabinets, each cabinet being mounted on a skeleton scaffolding and accessible only by a pair of steps. Each cabinet is square with on door in front and only large enough to contain comfortably, one perso in a sitting posture.

The interiors of cabinets are lined with a sombre fancy design, the patterns running from

A lady attired chinese costume and seated in sedan chair is now car on to stage by attendants. This lady mo

cabinet is shut. The performer next takes up his position in the opposite cabinet, door is shut and steps removed, pistol is fired, No. 1 cabinet is opened and found empty, No. 2 is opened and in place of performer found the lady from No. 1, while the performer discovers himself in the guise of one of the stage attendants.

Here is an explanation of the Chinese Pagoda Illusion. The lady steps out of the sedan chair in which she is car

consequently it is difficult if not impossible to distinguish her from her "double" especially as the two are never seen together for comparison. This lady mounts the steps and takes up her position in the cabin the right of stage probably sits on half-round shelf attached to bottom of revolving back of cabinet, which carries her to the outside at rear so that cabinet may be shown empty.

Performer gets clear away under the pretext of pushing attendants with sedan chair off stage at wings. His d

instantly reappearing and taking up his position in cabinet on opposite side of stage, at the rear of which is now duplicate lady on half roun shelf (this lady was previously inside cabinet when it was turned about to show all sides). Spring is again released which brings duplicate performer to outside at rear and lady to inside of cabinet.

In the meantime performer has donned the attire of stage a

d

ttendant and now appears as one of several of these functionaries, fires pistol and

ed

the wooden structures supporting cabinet is considerably wider than the top, evidently necessary to obtain the

Carl Hertz

ust, 1904

yon's Magic, September

Wine Trick.--One side of stage set with lady at bar. Hertz comes on dressed as swell,

f assists in placing steps against the scaffolding supporting cabinets, doors of which are now opened and No. 1 cabinet is seen empty, the lady is found in No. 2 in place of performer (having apparently pass from one cabinet to the other)while performer pulls off his stage attendant's coat, etc., and thus discovers himself to the astonishment of an appreciative audience.

N.B.--The base of each of

desired stability of the structure for working the illusion on these lines.

Hippodrome, Aug Published in Stan 1904

Novel

goes to bar and orders drinks, &c., &c. (very much &c., &c.). He eventually receives a jug o water and several tumblers, and proceeds to perform the trick described in our "New Fire Magic" as

Tricks and Chemical Stanyon's Crystal Water Mystery, p ut he uses red wine. For the red effect,

age

11, only instead of sto see pages

9 and 10 of the book referred to above.

Eggs from the Mouth.--A couple of attendants come on, and each removes a tray used in the above trick. As they go to leave the stage performer stops them, and proceeds to remove a number of eggs from their mouths, taking an egg from the mouth of each alternately. The

turning about from the one to the other giving the necessary cover for obtaining the eggs.

Ribbons from Bottle.--Lady leaves bar and takes a seat at small round table with performer, who proceeds to pour out wine from bottle, then

" Illusion, the working of which

to take out of bottle a length of coloured ribbon (about two yards long), and continuing to remove wine and ribbon (perfectly dry the ribbon--the wine is wet), removing in all some six lengths of ribbon, which are handed to lady. In the midst of the revel a policeman rushes in,

presumably to clear the house, and performer disposes of lady by means of the

"Vanity Fair will, doubtless, be

known to most of our readers. Policeman pulls down screen from

-Performer dons long, loose robe, cap, and whiskers, completely disguising

a le

f o

s on at

Six boquet garlands are produced from bowl about couple Of inches deep. Bowl changes into pagoda with paper

ed

placed on small Indian box table, ribbons (taken from pagoda pushed into tub, and three ducks and two pigeons mirror expecting to find lady hidden behind it, but she has vanished completely. A little later she reappears at the "wings."

Cabinet and Vanishing Lady (from Table)

Illusion.-himself as a monk. Meanwhile lady (employed in previous illusion) goes into the cabinet to change her costume, handing out to monk portion at a time, her dress, stays, petticoat--well--&c., &c. The monk carries off the lady's attire, portion at a time, and eventually, and whi momentarily out of sight at the "wing," is changed for his "double," lady comes out of cabinet attired in tight-fitting costume. This done, she takes her seat on chair set on rear end of oblong table (front end o table faces audience, and table is covered with cloth reaching almost t stage. Lady is covered with red cloth by an assistant and it appears that the chair is of similar construction to that employed in the old

vanishing lady trick. The monk (the "double") now goes into cabinet; lady disappears from chair and is found in cabinet. Monk come "wings," and, divesting himself of his robes, reveals Hertz. Work it out!!

Bowl and

Pagoda.--ribbons running from the bottom. Garlands and pagoda are hung on special brass stand. One rabbit is produced from ribbon, and multipli into two rabbits. One rabbit rubbed into the other (trap on table), and other rabbit thrown into air several times, and fired at with pistol and vanishes, dropped on to the servante in last throw. Table forthwith removed by assistant.

Duck Tub.--Small tub come out of tub.

I don't know what to call the next. Call it a

Spectacular Patriotic Display, it is scarcely an illusion, A large three-Each panel is about (I am guessing; only seen it once) 5 ft. by 3 ft. The centre panel represents a

d s ce. panelled framework is seen at rear of stage,

map of the world, the panels to the right and left, respectively, the Stars and Stripes and Union Jack. Performer calls attention to the map, and proceeds to pull out from different portions of it--the different countries--flags of the particular country. Much applause was noticeable on the production of the Japanese flag. Having produced some dozen or more flags the map flies open (star trap principle), an "Britannia" (lady assistant) is seen seated on a swing. Britannia descends, shows herself at her best, and retires. As already stated, thi is scarcely an illusion, but it is nevertheless an exceedingly pretty and interesting display, and secured the plaudits of a delighted audien Chinese Rice Bowls.--Explained in a recent issue of this journal. Indian Basket and Basket Cabinet Illusion.--Performer dons Indian features), &c., &c. To remove a certain portion of his attire he, without

ens costume, loose coat, trousers, turban (which effectually masks the raising suspicion, goes behind portable screen, set close to drop scene, and here he is doubtless changed by means of trap in scene for his "double." To add realism to this ruse the certain portion of his attire is thrown over screen and "double" appears. "Double" gets into basket (the usual big bottom affair) and out again presumably to show it is empty. The basket is placed on table. Opens cabinet (this is made in straw painted green matching basket) and finds lady therein. Takes lady from cabinet and puts her into basket and covers basket with cloth. Next takes up bis position in the cabinet, and door closed. Policeman comes rushing on, removes cloth from basket and jumps into it, presumably to indicate lady has vanished, but rather, lady is there all the time curled round the big bottom. Policeman next op cabinet and finds lady therein; then forth with divests himself of his policeman's garb, revealing Hertz.

Horace Goldin

Palace Theatre, June 1900

Magic, August 1904 sting enough, for snatching a cloth he

breast high, and G

Published in Stanyon's

Performer comes on with a rush as usual, sugge nothing so much as a fire, and fire there is sure

ld in readiness by one of his several assistants, he produces a bowl of fire from its folds (for how to produce the fire bowl in the most effective manner see our issue for June last). ck.--Assistant holds up a whole sheet of newspaper,

oldin shows a nickle-plated band (drum), about 6 Novel Drum Tri

inches diameter (the diameter must be such that the performer can span it without difficulty) by 4 or 5 inches deep; also a N.P. band about 1 inch deep and large enough to pass readily over the drum. Passing the drum behind the paper anti the band in front, he presses them together, the paper thus forming one end of the drum: taking the the paper from the assistant, he shows it on all sides, returning it to assistant with the open side of drum facing audience. Taking another, and smaller piece

of paper, and another N.P. band he presses them on to the open end of drum to complete it: this movement neces. sitates pressure from behind, so behind goes the disengaged hand (now, not having been behind the paper, I am only supposing) to first remove from under the assistant's coat, a duplicate drum (but a trifle smaller) made up in exactly the same manner as above described and containing a load o flags of all sizes and nations, and secondly, and in the act of bringing the hand on to rear of drum to secretly force the second drum throu the paper into the interior of the first. Taking all from assistant, performer tears off surplus paper and attaches the drum (with the aid o rings on its sides) to the ends of cords (brought from wings by

assistants) leaving it suspended in the air in centre of stage. Flags are now produced from drum one by one and laid over th outstretched arm of assistant who stands side on to audience,

f gh

f

e when all are out the drum is removed by assistants and cords are handed to

from

f gs. jug off table without moving or upsetting anything. Observe that the

see our issues for March and May last performer who apparently attaches them to bundle of flags taken man's arm--he really attaches them to the outside corners of a pair of very large flags (Ensign & U.S.A.) joined together and taken from inside of man's coat under cover of the others, the smaller ones he grabs into a compact bundle which is hidden (as he is himself for that matter) behind the larger flags rising as the pull is put on the cords. When both large flags are fully extended performer drops bundle o small flags behind one of them to be instantly carried away by an assistant, at same time he himself emerges between the two large fla Trick of inertia.--Goes to table, takes some refreshment, replaces and glass on table, then takes two front corners of cloth and snatches it objects are placed on a tray and that the cloth does not overhang the rear corners of table.

Rice Bowl and Vanishing Water,--followed next, for a full

explanation of which . Performer

worked the usual amusing sleight with the paper bag that had

a flower

tre , on the platform is placed a light paper cube in size about a couple of feet, the cube suddenly changes to

e contained the rice. The water found in bowls was poured into pot, over which a handkerchief was waved when a tree, some 12 inches high, shot up out of pot.

Illusion No. 1--A small platform on four short legs is run over cen trap on stage close to drop scene

one double the size, platform is wheeled to the front and a lady jumps out of cube. A nickel-plated stave of music is now lowered from th "flies" (stretching nearly across stage) covered with N.P. notes; to this stave is suspended at regular interval an octave of "top" hats each hat

containing bells of a different tone. Lady produced from cube, dances in time to band and at the same time plays the accompaniment of bells by kicking the hats as required, a very good exhibition of high kicking sure, as the hats hang about on a level with the lady's shoulders. Weighing Machine Illusion.--This is drawn to centre of stage, The pans are some 3ft. in the air, the whole being mounted on a sort of box arrangement in centre. Box steps on wheels are run up to one of the

e

d pans (the steps stand over sheet of paper spread on the floor) to enabl a lady to take her position in the pan. When she is in position a curtain is dropped from beam all round her and weights ? are placed into the opposite pan to produce the supposed balance. I say supposed, because no sooner is lady covered than she must pass from pan into box steps to be wheeled away. When the balance trick is obtained a pistol is fire and pan occupied by lady goes up, while the lady or her double appears in body of hall calling out "Here I am." The curtains and skirt part of the trick are, doubtless, managed exactly similar to the illusion Escape from Sing Sing, explained and illustrated in Vol. II of "M p. 4. The way the "balance" is really effected will be found explained and illustrated at pp. 143--6 of "Robinson's Spirit Slate Writing." Production of Flowers in Pots on Special Tables.--See "Leaves from Conjurer's Scrap Books" (Burlingame) which besides an explanati

agic"

on and illustrations, gives excellent "patter" for the trick, pp. 86-90.

er smacks it heavily on the top to prove solidity, then quickly takes it by

Canary and Cage.--Explained in same artiste's programme given at p. Trick Table.--This is an oblong ordinary looking table (about 3 ft. by 2 ft.) but capable of producing an extraordinary surprise. Perform the ends in each hand and it is instantly closed up into a compact little parcel no larger than an ordinary dress suit case and carried off in the hand by the handle as the case would be.

Aga illusion.--Latest floating lady from box in centre of stage in full light.

Eggs and Duck Tub followed next.

4, Vol. II of "Magic."

Eggs on Tray.--An explanation of this trick of Inertia will be found in "Magic" for November, 1903; see also the additional effect suggested to me by Mr. Thorn and given at p. 87 of this volume.

one half of which contains what appeared to be a lion, it may be a lion but the hind quarters rather suggested "poodle" to me; he was rather

ilar effects, so as I am getting "held up" for space will omit any explanation of this part. The cage out of the

e

ned. em.

e

electric lights, is seen suspended in centre at rear of stage, quite close to special drop scene. Ropes from the ship

a

d, down at closely packed not at all ferocious or even demonstrative, and I could not get a good look at his head. (I am not attempting to under-rate the illusion, merely to explain it--use a full grown, 'forest bred LION if you like--and to cart him about, mind, and KEEP him, but that is not necessary for the illusion). The cage, for effect, is guarded by an outer cage, probably wood, but it looks like iron; the lady is introduced and having taken up her position in her part of the cage, the outer cage is removed in sections by the attendants and so quickly that no indication of weight is given. Blinds are drawn round the cage with the lion and his bride, the indispensable pistol is fired, curtains are raised and cage is seen empty and is forthwith pushed back (on wheels) into a special recess at rear (centre) of stage.

The disappearance from cage may be effected by three or four of the usual methods employed for sim

way a large trunk is seen in process of being lowered front the flies. Trunk comes down on slanting wire from front to rear of stage. The trunk is locked and corded and on being opened a second trunk is found within also locked and corded, in the second trunk is a third on also locked and corded, this is carried to footlights and on being opened the bride is discovered within. The second trunk on being removed from first is doubtless placed over the trap so that lady can enter the two via the bottoms while the second trunk is being ope The ropes on the last two trunks need not necessarily pass under th The lion was not reproduced, which rather disappointed me, as I was anxious to get another look at him, if not to pat him or shake hands--h troubled me somewhat.

New Air Ship Illusion.--A beautiful model ,of an air ship, covered all over with various colored

attach to basket, which appears to be an imitation of a basket painted or fixed on a board, the bottom of the board touching the stage. Goldin appears in evening dress and proceeds to disguise himself by donning long loose coat and slouch hat (I was not aware that aeronauts

favoured such attire) then disappears momentarily behind 'basket,' rather altogether through trap in scene, while his double, hitherto concealed behind 'basket,' climbs into the ropes. A pistol is fire come the blind, while almost at the same moment Goldin rushes on the wing and tearing off his disguise, speaks eloquently, though in dumb show, the words, "Here I am."

minutes, which goes to prove, that, whatever conjurers as a body may think, the "Show" is unique of its kind. It is certainly the most costly

al

Horace Goldin

Palace Theatre, July 26, 1901

Magic, October 1901 ening attire, and throughout in dumb-show) proceeds to produce from

l

handkerchief wh a not over

dangerous looking gun. Performer, by signs, indicates to audience that ing drawn conjuring "Show" I have ever known staged in this country. To equ it, without any attempt to surpass it, one must certainly work hard and spend much money. That the performer received the curtain nightly goes to show how much the "show" was appreciated by the audience, which after all is where, to the performer at any rate, the satisfaction lies.

Published in Stanyon's

Goldin enters, in conventional ev

without speaking (the entertainment is carried on a good sized neck-handkerchief, respectively a bow of fire (ordinary small sized bowl) and a bouquet, (ordinary Sized folding feather bouquet).

w ordinary sleights with a small sized silk ich is eventually placed over the muzzle of Next follows a fe

he is about to shoot the silk into their midst, it disappears, be

into barrel by a spring released by pulling the trigger--(no explosion) duplicate silk, ostensibly that fired from gun, is now taken from collar.

Goldin next goes to a small, but firm, square table, on his right, covered small cloth and containing sundry articles as glass jug of water, tumblers, etc, etc. Taking hold of two corners of the cloth he,

and all

t Tricks

with a quick jerk, removes it bodily from table leaving articles undisturbed. This is merely an illustration of the property of inertia may be accomplished with but little practice. To ensure success, however, observe to place any small articles i.e. articles with sm bottoms, on trays not less than 8 in. square

The next trick is that entitled New Vanishing Water, and described a length at page 4 of our "New Miscellaneous " the only exception being that a glass jug, instead of a china one, is employed.

ut 4 ft. high. Goldin standing a few paces from stand fires revolver at bag,

t a k of

be e

re-r foure-r tumblere-rs each pare-rtly filled with watere-r, on the surface of the tray near the corners are placed four metal rings,

ed an

on small round top table, performer covers the lamp with a special cover leaving only about 1 in. of top

r a A couple of canaries are now removed from a cage and placed in a paper bag. The bag is suspended on a slender wire stand abo

Whereupon the birds are seen to reappear in cage held by assistant a similar distance on opposite side of stand. The weak point of the tric is that the birds are never seen in the hand of performer, as a matter fact they never leave the cage, but are pressed through a kind of trap bottom under cover of the forearm of assistant who is holding cage. Performer must rehearse to hold his hand and shape the bag in a manner to induce the belief that all is fair and above board. Assistant still holding cage has but to release trap when birds reappear. It may found more convenient to have a second cage, duly loaded, for th appearance of the birds.

Here follows another example of the property of inertia. A small oblong tray is placed ove

one exactly over each of the tumblers. On each of the rings is plac egg small end down. All ready, performer gives the edge of tray a smart blow with the flat of the hand sending it flying into the hands of assistant--the eggs fall, into each of the four tumblers:--This

experiment forms a finale to a series of Juggling Tricks in throwing and catching the eggs (see explanatory programme on page 91, also our "New Juggling Tricks").

Vanishing Lamp. A Small lamp, about 15 in. high, fitted glass globe and chimney, is seen burning

part of glass chimney visible (cover rests on top of globe). In this condition the lamp is removed by assistant, and placed on seat of a tricky looking chair. Goldin holds a handkerchief in front of lamp fo few seconds, then, appearing dissatisfied with the arrangements, replaces the lamp still covered on table. A revolver is now fired at

lamp which collapses on table, its prototype appearing simultaneously on small shelf in centre of an elegant frame, mounted on brass

supports, and standing at rear of stage. The trick is spoiled by the necessity of removing the lamp from table to chair for the purpose of ringing the changes, this is accomplished under cover of the

handkerchief and with the aid of a chair provided with a revolving back. The lamp replaced on the table is but an upright rod and a ring surmounted with a piece of talc, the pull of a thread causes th

fall into the hollow centre support of table, the ring failing flat on th table top. A second genuine lamp would be placed in readiness on small shelf at rear of revolving piece in centre of frame or if screens were placed in convenient positions, as is the case in the show under consideration, the lamp might be secretly removed by assistant from back of chairr to back of frame.

Next in order follows the now familiar Fish Catching Trick--if the wa these fish make their presence fel

e rod to e

y t is anything to go by, they must be real indeed.

The conjuring and sleight of hand portion of this programme was given in our last issue. Respecting the trick in which figure several canaries, a cage, a paper bag etc., and which we endeavoured to explain, a

outh . ttom of reader informs us that the exact method employed is probably as follows:--One cage only is used and this contains several canaries (visible), also a duplicate set of birds concealed in a trap. In the m of the paper bag shown is gummed a smaller bag, perhaps

incombustible, reaching about one third the length of the larger bag The birds are actually removed from the cage and placed in the bag i.e., the small bag, in which they remain uninjured when the

the larger bag is blown away by the explosion from pistol. bo

Second Part of Programme--Illusions. Throughout the entire show the rear of the stage represents a garden wall with an opening in the centre (see fig. 1). This wall plays an important part in the following sketch. XX is a trap and AA a couple of metal arms about two feet long. On one side of the stage at C.T.C., are a table and two chairs. Behind the table at T, and out of the way for the moment, the

disappearing cabinet, originated, we believe, in the illusion known as the Escape fram Sing Sing. In centre of stage a carpet with trap XX corresponding to trap in stage. Cabinet is attached to rope passing over pulley wheel in "flies" that it may be readily moved about stage with a little help at the "wings."

,

enters canopy, the curtains of which are

g hief, throws it up under curtain of canopy--it catches on a

s A

es

e Goldin enters, receives a letter, and is soon afterwards joined by a lady both take seat at table and indulge freely in wine, eventually becoming excited. Goldin looks at watch and twirling it round at full length of chain, it flies back into his vest pocket. Lady dances and kicks tray held high in air by Goldin. This high kicking is made for the purpose of dispelling the idea that a "trick" skirt is used by the illusion which follows.

A man appears at garden gate and startles the lovers, lady rushes off stage (for the purpose of changing the skirt she is wearing for the" trick" skirt), and Goldin pulls canopy into centre of carpet over trap. Lady rushes on stage and

lowered to leave the bottom half of the skirt visible. Rope lowered from "flies" is attached to top of canopy, which is now raised about a yard from the floor and swung to opposite side of stage (Fig. 1). (The time taken to attach the rope to canopy corresponds to the time required, by the lady to disappear through trap on stage, her egress being hidden by the still visible skirt she had attached to cords hangin from the top of the curtains.) Here, performer, having made use of a handkerc

hook, but the supposition is that it is caught by lady.

Curtains of canopy are lowered completely hiding skirt. Performer rushes over to garden wall, and standing in front of trap, holds up lady's opera cloak to hide himself. He really hangs cloak on the arm A, and disappears through trap to change his attire to that of an inspector of police.

Ordinary policeman enters, and raising curtains of canopy a trifle, se the trick skirt, which he supposes (with the audience) to be the lady; he also looks behind cloak, and gives impression that his prisoner is there. Three more policemen enter, one an inspector (Goldin), and enact th

same business.

Now for the arrest. Cloak snatched away, Goldin has disappeared, canopy lowered, curtains dropped from the top, and with them the skirt--lady has disappeared. Lady appears in auditorium. Inspector of police removes his cap and bows to audience as Goldin.

trick

A Cage Illusion.--A tall cage sufficiently large to hold a person and to

himself from view. Party dressed as Mephisto, who has been roaming screen at side of stage (change) for revolver.

Mephisto rushes forward, fires revolver, curtains drop revealing a lady as

ks, a rather unusual proceeding, as follows:-

k of chair--paper crumbled up and duck non est. Duck was dropped behind chair.

h water some dozen pailsful being required; attendant fires a pistol, and at the same time pulls a cord

s allow for the necessary movements is now placed in centre of carpet over trap. Cage stands on trick pedestal apparently isolating it from the floor. Goldin enters cage and pulls down curtains all round hiding about stage, fastens down curtains to gain time, openly puts on masks, then goes behind

in cage. Mephisto throws off cloak and mask and bows to audience Goldin.

The programme is concluded a with another series of tric

Performer fashions, from a sheet of newspaper, a conical bag from which he produces a rabbit. A large bowl is next placed on table and covered with newspaper, paper is raised and a number of ducks put into bowl (apparently; trick table, &c.); bowl is now removed, from table, and placed on low stool and a quantity of water poured into it--water emptied out and ducks vanished.

A duck is now seemingly wrapped in a large sheet of newspaper taken from bac

A large wash-tub is next filled wit

which releases a number of ducks, previously confined in tub, and which now jump out of the water and run about stage.

The entertainment as a whole is novel and well carried out, and merit the applause it obtains.

Horace Goldin

Palace Theatre, May 1907

Published in Stanyon's Magic, June 1907

Curtain goes up and no less than five attendants, in uniform, are in readiness on the stage. The show is what is known as a "dumb" show, the tricks being presented-well, hardly in silence owing to the noise created by tons of apparatus in motion--but without any verbal accompaniment.

ire Bowl.--Performer comes on and taking cloth from an attendant roduces bowl of fire from same.

Water Bowl.--Large black cloth stretched between performer and one attendant, gathered up in hands to prove empty; "shape" suddenly appears under cloth and performer carries cloth over to table--cloth removed and large glass bowl of water, about 12 to 15 inches in diameter, seen on table.

Fish Catching.--Several live gold fish appear in net (not unlike a landing net) waved about in the air. Fish tipped out of net into bowl of F

water above mentioned.

d.--Handkerchief hung over barrel of pistol g er goes to opposite side of stage and draws

Pistol and Swor iven to

attendant; perform sword;

attendant fires an The Drum Trick

d handkerchief caught on sword.

.--See our "Original Explanatory Programmes" just

ive Ducks.--Small tub shown empty, placed on low and covered newspaper-sever

published. Production of L

hexagonal stand al live ducks appear in

of Water.--See my explanation of tub.

Rice Bowls and Vanishing Glass the trick in MAGIC for March, 1904.

Growth of Flowers.--Instantaneous growth of flowers in empty pot stood in centre of. glass top table on slender nickel stem.

Vanishing Lamp.--Attendant comes on with lamp on wooden tray; ntre performer, standing behind tray, covers lamp with cloth (hole in ce of cloth for chimney), lifts lamp from tray, comes forward and lamp vanishes, cloth falling to floor, Attendant retires with tray.

Trick of Inertia.--With four eggs on tray over four glasses. See our No, 16 serial.

Bridal Chamber Illusion.--Large four-posted canopy raised from

sed to enable attendant to reach to pull down blinds.

t

ding two red handkerchiefs (tied together) change to two blue s , and both get out of canopy.

ts (man and floor on four short feet. Right hand end blind drawn down, then back blind, then blind down at opposite end, and lastly front blind down. Box steps u

Attendant, pulling down front blind, left inside canopy. Pistol and fron blind goes up and canopy found Set as bridal chamber with lady in bed. Performer gets into canopy and makes several smaller tricks, inclu

ones; also watch hung on end of barrel of pistol vanishes when pistol i fired. Pistol wakes lady, who gets up, throws sundry garments aside, dresses, with the help of the performer

Both make merry at table, take wine, wine changes to confetti, and production of bouquet. Lady dances with tray. Salvationis

woman with drum) cross stage.

Weighing Machine Illusion.--Lady disappears from pair of scales and performer from screen at rear. Woman Salvationist returns, uncovers,

and proves to be lady; photographer uncovers and proves to be performer.

Growth of Flowers in Pots on Table.---Collapsible Table. Made to close up quickly to be carried off as a box, size of a 24 inch hand bag. Aga Illusion.--Effect as described in Magic, November 1904. Gl front of box falls down, bouquet handed to lady, back bar removed, and hoop passed over once only, i.e., attendant holding hoop at the outset probably puts it over gear before connection is made. Perfor using large magnet for effect.

Cannon and Triple Box

Illusion.--ass

mer

See our No. 16 serial.

Two new canopy illusions, effect of which we are unable to describe in m arge tub, into which pails of water had been poured.

this issue for want of space, concluding with production of rabbit fro conical Paper bag; duck pail; vanish of rabbit in paper at chair, and production of four ducks out of l

Probably the biggest and most expensive magic show yet staged.

The Chang Archives

Review of

"Un Viaje al Infierno"

(A Trip to Hades)

Details of Chang's N°1 Show, "Un Viaje al Infierno" (A Trip to Hades) as given in Teatro Calderón, Barcelona, Spain, 1948. Freely translated from notes kindly provided by Mr. Angel Bellsolá Rey of Girona, Spain, to whom I am most

grateful.

~ First Part ~

devils. Costumes glow in "Black Light" (Ultra Violet Light). Suddenly a big devil mask appears center stage. There is a smoke flash and Chang appears magically. A spotlight picks him and the dancers leave the stage. Chang walks downstage towards the audience while a backdrop falls and all stage lights go full up. Chang talks to the audience and the show is on.

A posed photograph of Chang's "The Infernal Caves" opening.

3. The Fishbowls Jar. The double cylider trick often called "Kuma Tubes" where two cylinders are shown empty and passed one through the other and a production of silks and fishbowls follow. At the end a big jar is produced from which water is poured. Finally, Chang shows that the big jar is bigger than the cylinders from which it came and it cannot be put back in.

4. The Chinese Lamp. A square chinese box about 10x10x10 inches is shown empty and a big silk production is made. The silks are piled on the floor and finally,from the silks, a big Chinese Lamp is produced. The lamp is fully lighted.

5. Alladin's Jewels. A series of effects using rings and other jewels from the audience. At the end they appear in a nest of three boxes.

6. Tea from China. The Coffee and Milk Trick (two metal tumblers filled with confetti. The confetti magically changes into coffee and milk) plus other effects.

7. It can't be Done Faster. A series of productions and vanishes using bowls, liquids and various other articles.

reappearance inside a glass tank filled with water which is in center stage.

Reappearance of the lady in the water tank

9. Paper Metamorphosis. The Egg in Fan trick.

10. From a Little House to the Mirror of Illusion. Doll's House Illusion. In the presentation Chang places a small doll inside the empty house and it turns into a real ballerina which comes out dancing, stands before a mirror and segues into the next dance number with the whole ballet.

11. The Fan Dance. Dance by the whole ballet where the girls open and close fans which change colors several times. (Color Changing Fans.)

12. Where did They Come From? Production of a huge bowl of water, Chinese style, complete with ducks swimming in the water. Then the Aerial Doves. (Catching doves with net.)

13. Where did They Go? Vanish of the doves in a breakaway box using the gag where some feathers are seen under the table and they finally prove to be a feather duster. Chang is almost alone on stage and throws all the pieces off stage to unseen assistants.

14. Walking on the Avenue. A girl with a parasol comes on stage. She also has a handbag. There is a short dialog with Chang and then he presents the Parasol Trick.

Chang performs the Parasol Trick

15. Behind the Scenes. The backdrop represents the front of the stage with an audience painted on it. Two of these painted spectators applaud (assistants who pass their arms through holes on the scenery). There is a production box center stage. A girl is hiding "behind" it, that is, in full view of the real audience. She enters the box through a door on the side but then another different person comes out of the box.

16. The Clown that Lost his Memory. A comedy dialog with a clown to introduce a juggler.

17. The Technicolor Circus. Chinese juggling with yo-yos (by a Chinese juggler, not by Chang).

18. The Hindu Rope. Tarbell Cut and Restored Rope Trick.

19. Lemon, Canary and Egg. Vanish of a canary in a paper bag and it reappears inside an egg which is inside a lemon.

20. A Cabaret in New York. Dance by the ballet to introduce the next trick. 21. Chang's Magic Cocktail Shaker. Any drink called for is magically

produced from a chrome plated cocktail shaker. Many assistants with trays and glasses. Very well performed with a lot of details in the choosing of the drinks (beer: lager? stout?; milk: hot? cold?). He never lets go of the shaker.

22. Television. The card between glass plates, jumbo version. TV wasn't yet implanted and this gave Chang his patter theme about the possibility of transmitting the image of a chosen jumbo card.

23. The Palace of Fu Yung Cha. Dance number by the ballet including several tricks like The Levitation.

* Chang performs the levitation

24. The Dream of the Prince. Dance by the ballet.

25. The Oldest Trick in Magic, but will you see? The Chinese Linking Rings with a superb presentation ending with all the rings clanging to the floor.

26. The Skeleton Rumba Dance. Chang comes on stage, in one. He's

wearing a stethoscope and announces that he is going to present a macabre dance by skeletons and flying nebulas and that persons that are especially sensible can leave the the auditorium if they want but that normally there is no accident because all measures have been taken. Lights go off and luminous skeletons begin to appear and they walk through the audience while strange luminous forms fly overhead. At the end, lights come on and the stage is bare. Chang comes out to announce the end of the first part of the show and says he is happy he didn't have to use the

stethoscope.

~ Second Part ~

27. Canaries Everywhere. Production and vanish of cages with canaries. 28. A Canary for a Lady. Chang walks towards a lady spectator to give her a

cage with a canary and it visibly turns into a flower.

29. The Modern Mata-Hari. Shooting a Ribbon Through a Girl. 30. Chinese Music. Vanishing Radio.

31. Wong Mow Ting. Chinese Juggler using two sticks.

32. Time Flies. Six alarm clocks placed on a board. They are made to ring and vanish one by one as Chang picks them and makes the motion of magically throwing them to the other side of the stage where they magically appear one by one hanging on cords from a frame.

33. Chang, the Jeweller. The Nest of Boxes but using baskets. Several pieces of jewelry from the audience are wrapped in a handkerchief (which is then exchanged for a similar parcel in a Change Bag). The handkerchief is opened and just confetti comes out.

34. In the Ruins of Ancient Greece. A dance by the ballet wearing classic Greek costumes. The have silk scarves and Chang presents the

Sympathetic Silks.

35. Marno Brothers. Circus act.

36. The Theft of the White Jade. A glass disk with a hole in the center is placed inside a holder with a nickel-plated base and a ribbon is passed through it. The ends of the ribbon are held by two assistants so it's

impossible to take the glass disk out. Chang announces that he is going to show the audience how to magically make it penetrate the ribbon.

Suddenly two spectators (man and woman) begin to argue in a box near the stage. As everybody looks up, Chang extracts the disk from the ribbon magically so when the audience again looks at him, he has it in his hand and says "And that's how you take the disk out of the ribbon," and then something about paying attention in magic and misdirection.

37. A Lesson in Fooling. The Torn and Restored Strip of Paper with sucker explanation.

38. A Surprise for Chang. The Topsy Turvy Bottles Trick. Asks for

somebody from the audience to come on stage to learn a trick. A little boy comes up (stooge) and Chang has him stand behind a tripod stand in which there is a bottle and a tube. Chang stands behind a similar stand with another bottle and tube. Chang covers the bottle and asks the kid to do the same as him and turns the tube with the bottle upside down several times. At the end Chang's bottle is always right-side up while the kid's is upside down. Finally, in a moment in which Chang is not looking, the kid

turns his bottle around... but at the end, it's still upside down.

39. Scherezade, a Tale from the Thousand and One Nights. Dance by the ballet.

40. Magical Scenification of the Great Ballet, produced and conceived by Chang with the assistance of the whole company. Grand Finale with music and dancing combining several big illusions (Cremation,

Production of two men from an empty box) with small tricks (production of flower bouquets, Cut and Restored Turban). The scene begins by showing a trunk, rigging it and raising it so it hangs over the stage during the whole number. At the end the trunk is lowered on stage and from it a second trunk is taken and from it comes the girl that was just cremated. There is a grand scene with more music and dance and some final words by Chang. (Actually this last scene had a plot line justifying all the tricks.)

The Chang Archives

Review of

"El Segundo Viaje al

Infierno"

(The Second Trip to Hades)

Details of Chang's N°2 Show, "El Segundo Viaje al Infierno" (The Second Trip to Hades) as given in Teatro Calderón, Barcelona, Spain, 1948. Freely translated from notes kindly provided by Mr. Angel Bellsolá Rey of Girona, Spain, to whom