Micromorphosis

Another one of my favorite books is “The Card Magic of LePaul”. This book is jam packed with fundamental sleights and solid magic. Many of the effects in the book can be blended together to build a significant presentation. I prefer books to DVD’s. I think that’s partly due to my being a cranky old fart. But I enjoy pulling a beautiful effect from the written word. Videos are great. For example, I own and use a few oldies like Harris, Roth and Kaufman to name a few. Although these have been very helpful I get a greater sense of accomplishment from books. Maybe I just like doing things the hard way.


Back in August I started working on my own handling of “The Substitution Envelope Mystery” from page 143 of Le Paul's wonderful book. I did some more work on it this week for presentation on Friday. It’s a great transposition effect. The handling I came up with involves a re-telling of the famous Metamorphosis illusion. This illusion was invented by John Nevil Maskelyne, but most often associated with Houdini. This handling of LePaul's card effect involves 3 spectators each with a part to play. A magician, his assistant and an audience “inspection committee”. I always try to make the audience the stars whenever possible. This routine suits itself nicely for that. In fact, the spectators have possession of the cards, envelope and rubber bands almost the whole time. The beauty of it is, after a little mental misdirection the audience is convinced that I never really handled the cards at all.

During one of the performances I performed a clumsy Turn-Over Pass. Just plain carelessness really. Only a couple people noticed. They don't know what they saw. They just saw something unnatural. That's still a couple of people too many. That'll learn me! During another performance I had a total wreck while executing the Classic Pass. I thought I was done for. But I covered for it by lifting one of the two packets with my right hand and doing a casual overhand slip shuffle. I did it while I was talking and hoping the audience would think I was just casually toying with the cards. It seemed work. During another performance one young man was "burning" my hands just as I needed to do the Classic Pass. He was so determined I couldn't have removed his stare if I yelled "Fire". So I handed him the envelope and asked him to "hold it up and open it slowly"... (He had to look at it because he thought there might be something in it)..."to make sure it's empty". By then the deed was done.
The original LePaul trick is a beautiful effect. I hope my handling of it does it justice. I enjoyed performing it and all 5 of my audiences were mystified and entertained . There are a few points to work on. I definitely need to tighten up the script. I built all the misdirection into it that I needed, but it drags just a little. I also need to punch up the first revelation. Too many spectators were aware that the trick was not over and knew that something else was coming. And finally, as I do hundreds of times every week I must continue to work on my Classic Pass. Forever and ever.
Amen.

Silver and Glass

I always loved “Touch of Midas” from Bobo’s “Modern Coin Magic”. It involves the magical appearance of 4 coins one at a time. It’s not easy but it’s a pretty and very practical effect. After all, if one is a magician, why not just produce from the air what is needed?
Long ago Jim Cellini asked me to do a trick for him. I was prepared and went right into “Touch of Midas” using half dollars. My handling and presentation were pretty sloppy though. Cellini was very kind and did not convey the coins to my colon! (Which he had every right to do)! Instead he remarked that I needed a bit more practice. (Understatement). He then asked to borrow the coins and went into a flurry of multiple vanishes and reappearances that made my head spin.

Not long after that I met Dan Fleshman at a North Carolina magic convention. It was the first day and I didn't know anybody. Dan came right up, introduced himself and started an interesting conversation. He did not mention he was one of the event’s lecturers. (Along with Daryl and Steve Beam to name a couple). During his performance/lecture he blew my mind with his coin and card work. All the while his demeanor was friendly, confident and soooo smooth. Truly, Fleshman has got to be one of the most decent and gentlemanly pros out there!

Indeed, for most of us our goal is not to challenge, fool or trick people. Who likes being fooled? The goal of a joke is not to tell a lie, but to create laughter. By the same token the goal of magic is not to trick people, but to entertain, amuse and create a sense of joyful wonder. To tickle the inner child. It’s not a battle of wits. It is (at best) an astounding joy ride. I see my role in this not as a “wonder worker” but rather, a “tour guide”. If that involves a little back stage deception so be it. We want the audience to like us personally. Unless of course we’re playing a character of some kind. Personally, I could never pull off the “fast talking wise guy” act. The reason is simple. I’m neither.

During that convention in 1988 I purchased Dan Fleshman’s lecture notes. In “Close Up with Dan Fleshman #2” there is a snappy little “Coins to Glass” number. So last week I started working on it. 22 years late but who’s counting. I found the perfect glass at the Goodwill store. (Goodwill is a magician’s paradise)! And I built a routine that combines “Touch of Midas” with “Coins to Glass” and a few sundry vanishes, reappearances and flourishes. My coins of choice are 1923 silver Morgan Peace Dollars. I like their weight, milling, visibility and the beautiful singing they create when tossed into the air or a glass. As a bonus 1923 is also the year my Dad was born.


As recent as last night there were still a few bugs in the routine. I must be blessed that I have my planning period during 1st period this year. This gave me time to smooth out the wrinkles. After about 40 minutes I felt it was ready to go. I was a little worried about the heal clip / Han Ping Chien action. I was afraid that my hands, being so close together at the crucial moment, would broadcast that there was something devious afoot.
As it turns out my fears were in vain. Each performance was smooth, magical and exciting. It looked good. It sounded great and my 5 audiences were enthusiastic in their response. I even told them that this was my first time performing this effect and asked if it was a keeper. The response from each audience was the same: “Awesome”!
Everything was going so well that before the final performance of the day I kind of got into my own head and missed the glass during one of the moves. Nothing was exposed though. (Big sigh of relief). I just picked up one of the coins and dropped it into the glass with the others. Apparently nobody thought anything of it.

God has been very patient with this thick-witted old knucklehead. Years ago I buried the gift He gave me under a tree. It just might have stayed there for the rest of my natural life too. I am grateful for the wake up call I received just about a year ago. Since August I have been working harder than ever before to become a skilled and competent sleight-of-hand performer. It doesn't feel like work though. I am getting there. I am a better magician today than I have ever been. Tomorrow I will be better still. Today's performance was everything I hoped for it to be. The difficult sleights, careful routining, and practice paid off in a successful and pretty performance involving 4 silver dollars and a champagne glass. I only wish Jim Cellini were there to see it.


.

Patrick Page. 1929-2010

On Thursday February 11th the world of magic lost one of its greatest practitioners. After a long illness, master magician Patrick Page passed away. He was 81 years old.
Patrick Page was born March 17th 1929. He was the youngest of 6 children growing up in Dundee Scotland. As a young boy he was bitten by the magic bug. Since then the world of magic gained one of its most brilliant and generous friends. Mr. page has written many books on magic. “The Big Book of Magic” published in 1976 is considered by many to be a must have in any magical library. A magician’s bible, as it were.


Mr. Page has also written many other books on topics such as sponge balls, thumb tips, and the topit. I recently purchased another book by Page called “Visual Comedy”. This book is full of all sorts of gags and bits of business to get laughs between and during effects. Very practical stuff.
Patrick Page was also famous among magicians for his encyclopedic knowledge, razor-sharp wit and generosity. Although he would have hated to hear it, he has been called a genius of our craft. He was also hilariously funny.
Sadly, (Even though his topit book was part of my library for 20 years), I didn’t even realize who he was until last year. When I began my re-entry into magic I discovered Patrick Page. I fell in love with him right away.

When I saw some of his performances on the web I knew that this was the kind of performer I had been striving to be. His manner was kind, friendly, a bit mischievous and smooth as silk. A true gentleman. And he did it all. Stand up, Parlor, stage, close up and children’s shows. He was also a regular at the 4F gatherings.


I have referred to Mr. Page as my unwitting mentor because even though I never met him, his style and manner match most closely to my own vision as a performer. In a word, he was my kind of magician. I wish I could have met Patrick Page or seen him give a lecture. I have some of his books and a couple DVD’s. I suppose that will have to do.
I don’t think I have ever been this saddened by someone’s passing that I didn’t even know. I feel like someone who was starving for friendship finally finding a best friend. Then, to have that friend move away after only a few months.
There is now a void in the heart of anyone who loves magic. There will never be anyone like Patrick Page again. I have to believe at this moment he is with old friends and legends swapping stories and having heaps of fun.
So long for now friend.

One Armed Gamblers and Space Cowboys

Due to inclement weather last week there was no Magic Friday. Since they insisted, I promised my students that they would get two tricks on the next Friday we met. That was today. There are two effects in particular I have been working on. One of them is Vernon’s “Cutting the Aces”. The other is Danny Fleshman’s “PDQ Aces in Case the Aces Leave”. I’ve also been working on Vernon’s “Ace Assembly”. It’s an alternate handling of “Slow Motion Aces” found in “Stars of Magic”. I needed a 4-ace trick in my repertoire and “Ace Assembly” was my first choice. But I am still having a hard time with the technique. It’s nowhere near ready to perform. So that went on to the back burner while I worked for a couple weeks on “Cutting the Aces” and “PDQ”. I felt these to effects would go together nicely since one ends with the 4 aces on the table while the other one starts with the 4 aces on the table. My plan was to begin with “Cutting the Aces” Then segway into “PDQ”. Although I toyed with an alternate story line for “Cutting the Aces” I decided to stick with Vernon’s original patter involving a one-armed gambler. Since I had a gambling theme, at the last minute I decided to begin with Paul Harris’ “Immaculate Connection”. (The gambler’s crimp, notch and link: Perfect). I used to do this one years ago and recently brought it out of moth balls for a rainy day. It just seemed right and would, I felt, provide a stunning and visual lead in. It’s a powerful stand alone effect but it just fit too well into the petit card act that was evolving. It seems now my students were going to be treated to a real show. I did not blend these effects into one routine. They are a string of three separate and wonderful illusions that I felt would flow nicely from one to another.

I began with the lie that I wasn’t doing a trick but a gambling presentation. I used Paul Harris’ patter just as he demonstrated on the video tape I purchased so many years ago. A very clever exposition on how gamblers mark cards. As I said, it’s quite visual, very magical and played strong.

Then I moved into Vernon’s “Cutting the Aces”. Again, I used the patter suggestion given in “Stars of Magic”. I had only one mishap. During the 3rd performance the ace of spades failed to show up on queue. I was a little disappointed but it really didn’t drive the event into the ditch either. I must have bungled the cutting during the set up. I was more careful and it did not happen again. This effect played stronger than I expected. I worried it would seem like a manipulation demonstration and smack of…”I’m so clever, see what I can do”. But my 5 teen age audiences of about 20 students each found it to be surprising and magical.


I finished with Dan Fleshman’s “PDQ Aces to Case”. I purchased Dan’s lecture notes in 1988 at a magic convention in North Carolina. I met Dan there and I must say he has got to be the nicest guy in the business! This is a beautiful routine and my first time performing it. It won’t be my last! Dan says this effect is a variation of “Where’s My Card” by Allen Akermann. I did not change any of the handling. It’s perfect just the way it is. I wrote a Star Trek themed script for it. The crew of the enterprise is introduced and boards the ship. (Card case). Three villains (chosen cards) lose themselves on the planet (Deck). A toy from a cereal box is used to beam the scallywags up to the ship, and upon opening the case, the bad guys are found trapped between the crew members. I finished by producing a 5 inch Enterprise replica from the card case. BAM! This went over great but the story line would probably play stronger to an older audience. I also need to trim the script down a little.



It was a great day. I was a little anxious this morning since I was doing a whole mini-show. I didn’t intend for it to be that way. It just seemed to build itself and I needed to get out of the way and let it happen. Each performance lasted 14-15 minutes. I felt it was entertaining and magical. In the words of my audience…”Beast Dude”!

Bill In Egg

When I was a teenager I bought a 24-page book by Milbourne Christopher for $1.75. On page 22 the author explains a trick called “Bill in Egg”. Christopher describes the effect as “messy but remarkably effective”. I must have had the book for ten years before ever trying the routine. I remember performing it once or twice for friends etc. I don’t know why but the trick sort of drifted out of my awareness. Now that I am trying to build a rigorous and professional level repertoire, this seemed like a natural addition. I didn’t know when I would perform it, but it definitely belonged on my list. Last Monday I decided to purchase a book and a few accessories form Hank Lee’s shop. I also ordered a couple packets of flash bills so I would have them on hand for “Bill in Egg”. By Thursday I still wasn’t sure what to do for Magic Friday. My plan was “PDQ Aces in Case” by Dan Fleshman. (More on that next week). I’ve been working on that effect for several weeks. The problem is I just did two card tricks in a row. I really wanted to do something else. When I got home Thursday evening I was shocked to find Hank’s package on my doorstep. That must have been the fastest delivery ever. Thanks Hank! That settles it. Tomorrow I will perform “Bill in Egg” for my students. Yes it was messy and yes it was effective. But remarkably effective? The performances ranged from fine to great. Most students were amazed and bewildered. But there was a hint of the mundane in the air. I know it was not the trick. It’s a great trick. Are my students getting used to the “impossible”? Is the magic they have been enjoying the past several months becoming ordinary? I doubt that. Maybe it was the fact that I was suffering through a miserable cold and sore throat. My voice sounded like Miss Jane Pittman. I really needed to be home resting in bed, but if I was well enough to be at work, I was well enough to perform. Yes, I suppose my illness could explain the lack of stunned disbelief. But that’s too easy. Although I framed the illusion in the indestructibility of the new money, I probably could have prepared the presentation better. That’s got to be it. Did I fail to create the right expectation? Did I create too mush expectation and spoil the surprise? One thing is for sure, I’m not giving up on the effect. Yes, It was successful and effective. But I want to get more punch out of it. I will analyze the effect and write up a formal script. What a delicate balance it is between eye misdirection, mind misdirection, expectation set up, selling the effect, surprise, revelation and satisfaction of expectancy. And all this must be gracefully and effortlessly carried in a presentation that is irresistible and entertaining. If only audiences knew what was involved in performing good magic. On second thought, it’s probably best that they don’t. At any rate, I am confident that with a little more time and work I can get more power and “remarkable effectiveness” out of “Bill in Egg”. And I intend to do just that.

I'll Take A Life Line Please

As mentioned in the previous post, life is moving way too fast. Among other things I am now teaching a six-week Sunday school class on “Astronomy and the Bible”. I have got to learn to say "no" once and a while!.
I am still working on Vernon’s “Silk and Silver”, “Three Ball Routine” and “Slow Motion Aces”. I am making reasonable progress but have a long way to go before performing any of them. Last week “Chicago Opener” went over very well. But with limited time for practice I needed something for this week that I was already good at. Something that would not require learning a new sleight, arranging a new handling or even writing a fresh script. Something that required little prep time. I had something I was saving for just an occasion as this. The Rising Cards. Okay, I’m a stinky prostitute. I admit it! But in my own defense I remember reading in one of my books that “self working” tricks are not necessarily a sin. If they are balanced with good sleight of hand effects it is perfectly acceptable to include a bit of magical cheese. It serves me to agree. But if the audience has seen you perform near miracles with ordinary objects that have been examined, than why not? Besides, there is no such thing as "no skill required" even a "self-working" effect requres presentation. My students are used to me handing out for examination whatever I have been using. So when I performed the “Rising Cards” they were intently watching me for tell-tale motions. It did not seem to occur to anyone that it might be the cards themselves that are being clever. If on the other hand I had performed the “Rising Cards” closer toward the beginning of the year, before establishing myself as a gentleman of adequate legerdemain, the focus would indeed have been on the cards. Truth be told; When the trick was over I switched the deck out for another. Just in case.
Now that I’ve used a stand-by freebie, (breathe) it’s on to more tasty sleight of hand work for next week.

Red Hot Mama

It’s been almost a month since the last posting. These have been pretty busy times with holiday travel, midterm exams and church activities. When school started back, the first magic Friday was January 8th. I’m writing 18 days behind myself. At this point, I am still working on three nice routines. All of which happen to come from Dai Vernon. Two of them come from “The Vernon Chronicles” and one from “The Dai Vernon Book of Magic”. I don’t know what I would be doing without these two incredibly rich books! (More on these routines later). For magic Friday January 8th I performed an old standard. The “Take Five” of card magic. “The Chicago Opener” aka: "Red Hot Mama". Conceived by Frank Everhart and popularized by Jim Ryan. At conventions in years past I have seen magicians lecture and perform the “Opener” with a card to wallet or pocket finish. A powerful ending to be sure. “My signed card was in his wallet the whole time”! The problem is, (As Patrick Page points out) the audience tends to forget the first part of the routine and only remembers the climax. As a result, one effect is lost.
My quest (the reason for this blog) is to refine older sleight of hand effects I already know, learn new sleights and routines, and perform all this with a polished and professional level quality. A new routine must be perfected and performed each week for six different audiences for 36 weeks. At the end of 36 weeks I will have time off from teaching. I will use this time to try my hand at a little busking, some open mike type stuff and even seek steady work a couple nights a week doing close up at one of the nicer restaurants in town. My skills and creativity seem to be on track. (Though practice time is short and precious). It’s my confidence, presentation and professionalism that will be the real test. I digress. The point is, I can’t afford to combine effects that are strong enough to stand on their own. So, as tempted as I am, I will keep “Chicago Opener” and “Card to Wallet” as two separate, stand alone effects.
The “Chicago Opener” played extremely well with my students. Using a cheap trinket, I framed the routine as a “scientific” phenomenon. When the second card was turned over to reveal the first spectator’s card, roars of joyous disbelief were raised. Timing is everything, isn’t it? However, my first period class usually has a less enthusiastic response to my effects. I’m not sure if this is because it is a smaller group, too early in the morning, or if they are just more laid back. But the common denominator is me. I must assume it is something I am doing or not doing. The most likely cause I suppose, is that since it is my first performance of the day, perhaps I’m just not in the zone yet. Maybe I’m coming off as too cautious or unconfident. It could be that I’m just not properly building or selling the effect on the first go. I know there is a valuable thing to learn here. I must pay closer attention to my presentations and create the same level of enthusiasm in this group that I have achieved with the others.