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SHOWMANSHIP CHAPTER EIGHTEEN
Under Chapter Twelve we discussed the fundamentals of routine to considerable length. Attention was called to the utter necessity of planning every minute detail specifically. It stressed particularly having a definitely planned location for every property, both before and after use. It stressed coordinating all actions, even walking onstage and exiting, to the music score. It emphasized the meticulous coordination of the movement with the spoken word. It insisted upon a COMPLETE interlocking of EVERY item, property, material, movement, talk, music and character.
So at this time we shall not again go over that. It might be well to turn once more to Chapter Twelve and road that again before proceeding, as the steps in routining several types of tricks will follow.
Any trick, to be properly weighed as entertainment material, must NOT be looked upon as a desirable piece of apparatus, as an interesting toy, as an intriguing puzzle or as a unit of anything. It is not. It must be looked upon much as a singer looks upon a piece of sheet music or as a violinist or pianist looks upon the written notations that are later to become music. In the written form, no piece of music is actually music. It is merely a notation of something, which becomes music ONLY WHEN IT IS PERFORMED. That is its real substance. Its existence becomes real only while it is being heard.
Now take a given piece of music. Let us say, for example, that it is "A Pretty Girl Is Like a Melody." You and I may look upon it as so many staffs, a collection of notes of varying time value and musical pitch, all a system of indicating symbols which when played as written will produce a melody identifiable with the given melody.
But an Andre Kostelanetz doesn't look at it that way. He is interested in the melody. But he is more interested in the CHARACTER he can incorporate in his particular performance of it. So he proceeds to arrange it so as most effectively to present his interpretation. Tone quality and timbre of instruments are considered, they are brought into prominence individually at certain places. In other places they are but a part of the ensemble, sometimes many of them are not even playing. Moods are created by phrasing, contrasts in tempo, contrasts in volume, emerging melodies and full rounded harmonies. There is no sameness anywhere in this arrangement. It is created to gain and hold interest, to convey an idea or a feeling. Played, it becomes the conductor's expression of his interpretation.
Performed, a trick becomes the entertainer's expression of his interpretation. The trick should not be looked upon as two metal cylinders, a couple of glasses and a pair of metal bottles that nest. It is not looked upon as a puzzle wherein a bottle and a glass, when covered with the cylinders, apparently change places.
On the contrary, it must be looked upon as the skeleton only OF AN IDEA. It is merely the notation, the melody, if you will, which you must EXPRESS according to your interpretation.
Routining is the making of this "arrangement." When the arrangement is performed, and only then, it becomes entertainment. Therein lies its only value.
Notice that every top entertainer, whether he is singer, dancer, instrumentalist, conductor, has a special exclusive arrangement, individual to himself, for every number he presents. This "arrangement" is his stock in trade. It carries his personality and his sales talk.
So it must be with your entertainment. That is why you must routine your material. It must be realized also that to benefit you individually the routine must be one tailored exclusively to your entertainment measure.
In the detailed routining steps to follow, please bear in mind that I am expressing MY individuality. It shows how I proceed to routine a number, to tailor it to my interpretation and personality, doubtful though the latter may be. This is the way I go about making my own "arrangements." It is extremely unlikely, since we are both distinct individuals, both of us would interpret any material identically. So these routining steps may be of value to you insofar as they reveal mechanical steps. The mechanics of routining, as I do it, are revealed. But if you value your future reputation as an entertainer, you will set your sights to a higher entertainment goal than I have achieved in my intermittent attempts. To me personally my entertainment interests have been almost exclusively of secondary importance, extremely secondary, as compared to other interests in my dubious career. The achievements of specialists in entertainment, particularly not MAGICIANS, should furnish your inspiration.
All of which is a roundabout way of saying DON'T USE THESE ROUTINES YOURSELF. They're not made to fit you.
The presentation of a trick is actually the presentation of a small act, just as the performance of an act is in reality the performance of a small show.
All shows are planned after the three-act idea. Act 1 is the opening during which all factors are brought forward and represented with a big gain in interest just before its close. Act 2 increases the interest and the complications. Act 3 brings all interests and complications to a climax, which ends in a punch.
These three steps, even though smoothly blended together as a single unit, must be part of your routine.
Let me illustrate this with a pocket trick: There is a little trick on the market called The Ball and Tube. It consists of two small metal tubes that nest closely, and a metal ball. This ball is too large to slide within the inner tube, but small enough to slip within the outer one. Substantially it is a trick wherein the nested tubes are exhibited as a single one. The ball is demonstrated to be too large for this tube, yet at the performer's will it shrinks in size to the extent that it will slowly sink within and gradually reappear.
In considering the various trick plots possible, the one I chose was to exhibit the effect as a demonstration of hypnotism. The metal ball, highly polished as it is, would do quite well as a crystal.
The simple plot is this: Attention is called to the miniature crystal that normally rests upon the small metal pedestal. The entertainer explains how hypnotism works. The subject is told to fix his attention upon the highlight of the small ball while the hypnotist passes his hand across the ball. As he passes the hand, the entertainer continues, he makes the suggestion that the ball is getting smaller and smaller until it seems to shrink in size sufficiently to fall within the tube.
During this talk, although the entertainer makes no reference to the fact that the ball has actually sunk into the tube, the ball does descend and rise to its former position.
"Now," says the entertainer, "that you understand the principle of hypnotism, let's see if it will actually work with you. Suppose you actually fix your attention on the ball. Suppose you allow yourself to dwell upon the suggestion that the ball is getting smaller." Meanwhile the entertainer is passing his hand repeatedly over the ball. "Don't you really imagine that the ball begins to shrink?" The ball starts to sink.
"Isn't it reasonable to suppose that the ball is sinking into the tube?" The ball is quite deep now. "Or suppose I reverse the suggestion. Suppose I say the ball is beginning to enlarge."' The ball starts upwards again. "Can't you almost imagine that the ball is returning to the top of the tube?" By this time the ball is back on top, and during the passing motions the outer shell has been stolen.
"Yet," says the performer plunging his free hand into his pocket and withdrawing a half-dollar, "this also is metal. You can bet real money like this that such a thing is impossible. That's why everyone knows there is no such thing as hypnotism." He puts the tube and ball in the spectator's hands, "Look at them yourself. You know it is impossible."'
Thus, we start at the trick plot. With that in mind, we realize that there are certain secret things to do and certain matters to provide for. Since it is necessary to steal the outer tube and since the passing of the hand across the crystal is a reasonable gesture with a crystal, we decide to use this movement as the cover for stealing the tube. Because we have to seize the tube we alter the normal passing gesture so that the thumb and finger is on either side of the tube every time we make the pass. Since the tube must be taken off with an upward sweeping movement, we make the passing gesture an upward sweeping one. We do this because during the one pass when we actually steal the tube, there will he no suspicious position different from the position repeatedly used. So the crucial move is well covered.
But there is still the matter of getting rid of the stolen tube. That's why we put in the business of the half-dollar. Since we use the right hand for the passing gesture, we put the half-dollar in the right trousers pocket. This is a good final depository for the discarded tube.
The routine, except for determining a position for holding the tube and ball during the operation of the effect, is complete. When we work out the position of the left hand we are ready to try the whole trick as a routine.
A knowledge of the preliminary preparation necessary : In this case, placing the half-dollar in the right pocket and nesting the tubes with the ball on top.
A knowledge of the coordination of the movements and talking lines : These have been worked out.
A knowledge of the weak parts to overcome and how they will be overcome : Here, the cramped position of the hand necessary in stealing the tube, the actual stealing of the tube and its ultimate disposal. All overcome respectively by the final hand position adopted, the repeated passing movements and the plunging of the hand into the pocket under the guise of getting the coin.
Plus a way of getting under the spectator's hide : Satisfying his curiosity as to whether he is subject to a hypnotist's suggestion.
All of these: Preparation, coordination, cover, spectator interests, constitute routine . All that is now necessary is thorough rehearsal. Yes, rehearsal of a simple pocket trick just as thoroughly as the rehearsal of a stage trick. If the trick is worth performing at all, it is worthy of a finished presentation.
Now, honestly, don't you think this little trick plot and its routine makes that effect more entertaining to the spectator?
Just as a piece of sheet music is not a finished performance, so also is a bare trick not a finished entertainment item. It is merely something to perform. It must be studied. It must be practiced. Its possibilities must be explored. Then when you begin to feel that you are familiar with it sufficiently to begin interpreting it, go over it again. Examine every possibility. Try to discover how you can make it effective from the spectator's viewpoint.
When you have properly routined it, have properly rehearsed it, you may undertake to perform it. But not until you have gone over it again and again in an attempt at perfection in every phase. If you find some portion that you do not execute perfectly, that does not coordinate smoothly, or if you find a place where your interpretation is not exactly as you would wish it, work on those parts until your misgivings disappear.
Even then it may not be perfect. But you have one tremendous satisfaction. You know it is the best you can do.
I believe good musicians are more painstaking in this regard than most magicians.
For the benefit of those who may still be doubtful of what routine means, I shall give you my definition: ROUTINE: A method of procedure, induced by circumstances, worked out with particularity, item by item, to be regularly followed until it becomes habitual, in the performance of entertainment.
The phrase "induced by circumstances," is important.
Circumstances may require you to add a card to a deck. That must be provided for. You develop a good excuse for bringing the hand concealing the card to the deck. Of course, you know you do not put the card on the deck. You put the deck in the hand containing the card. The hand thus emptied must be emptied for a purpose ostensible to the spectator. It must be a plausible purpose. Perhaps that hand may move a chair, pick up a glass or gesture towards something.
But circumstances are extremely varied. These cover a wide field. They include the appearance of the objects used, where they are placed, what is necessary to be done with them. Circumstances also include what operations may be done in the open and those that must be concealed. Every detail of every trick, together with the personal characteristics and mannerisms of the individual entertainer, induces a new and different set of circumstances.
Routine the trick with the specific circumstances brought about by that particular trick, and you, in mind.
Note that "with particularity" is included in our definition. Every minute detail upon which successful performance is contingent must be provided for.
This does not only mean the moves. It means determining the exact place where each property will be prior to its use and the exact location it will occupy when the trick is done. It means consideration given to color harmonies throughout. It means the appearance of all properties, and your appearance, too. It means the words to use at any specific moment during the procedure. It means to predetermine which hand will be doing what and when.
There should be no fumbling or stalling. You can't do that because you know ahead of time exactly what you will do, when you will do it, what you will say, where your properties will be, where you will be and what the ensemble will look like.
One other part of the definition is important. Note that the routine should be regularly followed until it becomes habitual. If the operation of the mechanics of a trick becomes habitual, it may be done subconsciously. This means that your conscious mind can be devoted entirely to the SELLING of the trick during the performance. This is as it should be. SELLING the trick is more important than doing it.
I want to make this next example of routining one with a larger trick, in a style calculated to appeal to a family type of audience. The trick which Thayer lists as "The Haunted Temple of Quong Hi" is selected because it is familiar to most. To those of you who are familiar with Doc Nixon's version it is known as the Nixon Checker Cabinet. It is a variation of an old caddy trick explained in one of the Hoffmann books.
There is a slight difference between the usual one and the cabinet I built for myself. I used a roller blind, and my stack of hollow checkers is made up of individual checkers instead of the usual scored tube.
The mechanics of the trick follow: The cabinet has three doors in the front, side by side. Each door opens into a separate compartment. There is an auxiliary sliding section inside which corresponds in size to two compartments. If the sliding double compartment is positioned at the right, and if the stack of checkers is placed in what is apparently the center compartment of the cabinet, this stack may be moved to the left compartment merely by sliding the double section to the left, thereby leaving the center compartment empty.
In addition to the cabinet, one needs two duplicate glass jars of water and a stack of solid wooden checkers, I use eleven, and a duplicate stack similar in number and color to the first. The duplicate stack of checkers is hollow from the bottom up a distance sufficient to accommodate one of the jars.
Solid checkers are placed on top of the hollow section to make the stacks equal in height.
Each stack of checkers is placed on a wooden square to facilitate handling.
An ornamental cylinder, tightly fitting the hollow stack and covered at the top, completes the equipment.
In setting up the trick the sliding compartment is moved to the left. This brings the left section of the sliding portion behind the left front door. And the right section of the sliding portion comes back of the center door.
In the left section of the sliding portion is placed the hollow checker stack with the glass jar of water inside. In the right section of the sliding portion, behind the center door of the cabinet, is placed the solid stack of checkers. The black velvet blind is closed so that with all doors open only the solid stack shows through the center door.
The other jar of water and the cylindrical cover are placed on nearby tables.
Experiment with the apparatus showed that the best location for the cabinet was the center table. The jar of water was placed on the right stand and the cover on the left stand.
The lines are delivered in a simple conversational manner without any attempt at dramatics. It is a simple narrative of a good man and how evil is overcome by good, a surefire theme with a family audience, with a bit of sentiment thrown in. You will note that a bit of dramatic character work is incorporated in the dialogue. Notice the number of audience appeals that have been deliberately included. Also, the placing of the various properties adds physical action.
The directions "right" and "left," are "stage right" and "stage left," respectively, as you face the audience.
The routine follows with the lines in quotation marks and the business and operating instructions in parentheses:
(Music: Theme song from "East Is West" background throughout.)
"I don't suppose any of you ever heard of Quong Hi. He was a wealthy Chinese philanthropist who had built a magnificent treasure house to protect his wealth." (Performer walks to the cabinet and opens the door on the right as he says:) "The treasure house had three compartments. One was for Wang Foo. China's greatest warrior, who guarded the treasure night and day." (Opening the left door.) "Another was for Taio Li, China's most sagacious detective."
"The center apartment was for Quong Hi's treasure." (Opening the center door) which consisted of eleven, (Take out solid checkers and show them), "distinct fortunes, each representing one month of the year in which Quong Hi spent doing good deeds for his fellow men." (As the checkers are squared-up and replaced in the cabinet.) "You will note that one month is missing. This represents the month during which Quong Hi retired from the world", (Close all doors and release blind.), "and spent his time in meditation and burning joss papers to the memory of his ancestors."
"Each morning it was customary for Wang Foo and Taio Li", (Open right door and walk around to back and remove back of cabinet.)", "to open the back door and make a thorough search through the treasure house", (Spectators can see through right compartment. Close right door, slide double section to right while talking and open center and left doors. Hollow stack is now visible in place of solid stack which is in compartment already shown empty.), "lest some interloper had concealed himself within during the night. The search completed", (Replace back and close all doors. during which blind is pulled down again concealing two side openings.), "the doors were once more closed. But whether closed or open'", (Open center door again.), "you may be certain that Wang Foo and Taio Li were on guard."
"Naturally, eventually evil persons heard of this treasure and to get it enlisted the services of an evil old wizard who lived far out in the Gobi desert. This sorcerer caused a spell to be cast before the eyes of Wang Foo", (Open right door.), "and Taio Li", (Open left door.), "so that to them all life was temporarily suspended."
"Then the bandits broke open the door of the treasure house", (Open center door.), "and removed Quong Hi's wealth", (Take out hollow stack of checkers.), "taking it to a place they had prepared for it", (Carry hollow stack, on square block, to left stand and put it down, covering it with the cylindrical cover. Catch on hollow stack is engaged in slot of cover so that later when cover is removed stack will be carried away with it to reveal jar of water.)
"Now the most despised thing in all China was water because it was plentiful and therefore of little value." (Pick up jar of water from right stand.) "So as a gesture of defiance to Quong Hi and to show their contempt for Wang Foo and Taio Li", (Place jar in center compartment.), "they left the water in place of the treasure." (Close door at center and while fastening it slide double section to left, taking water from center section and bringing original solid stack back to center.)
"Meanwhile Wang Foo and Taio Li slumbered peacefully. But Quong Hi's sleep was fitful and disturbed, and early the next morning he rushed to the apartment of Wang Foo."
(In a deep voice, imitating a Chinaman:) "'Wang Foo! Wang Fool’ " (Knocking at the right door.) "'Watched thou well during the night the treasure of Quong Hi?'" (Opening right door.) (In a different voice, also a Chinaman:) "’Aye, sire. Watched I well. None so much as approached the door of the treasure chamber.’"
"Then Quong Hi rushed to Taio Li’s apartment'", (Knocking on left door.), "’Taio Li! Taio Li! Watched thou well during the night the treasure of Quong Hi?'"
(In still a different voice: The left door is opened.) "’Aye, sire. Watched I well. None so much as approached the door of the treasure chamber.’"
(Resuming former narrative voice:) "But at the crack of dawn the bandits hurried to the place where they had hidden Quong Hi's treasure. To their dismay", (Lifting the cover and revealing the water.), "they found the despised water. While Quong Hi's treasure", (Opening the center door and revealing the stack of checkers. Background music begins to build up in a crescendo, louder and louder
Note the various audience appeals that have been incorporated within the routine, the background music, the various character voices, the theme, the conflict, the triumph of the kindly Chinaman, the change of pace and tempo, the music build-up and the added build-up of lights, all pointing to a definite triumphant climax.
Every maneuver in showing the conditions or operating the device has been provided for carefully under a natural
The following illusion routine is one that I used successfully with the International Magicians, and later, altered to accommodate two persons, was received favorably in night club and vaudeville performances.
The illusion used was the Thayer type
Instead of the usual red and gold decoration, it was believed that a combination of black and chromium would be more convincing, so the device was varied from the standard in this manner.
It was mounted on a three-foot high platform, which was about twelve feet long and approximately four feet deep. At each end of the platform were steps. The platform, with the guillotine upon it, was located about "in three," which is about fifteen feet from the footlights. Behind the platform was a fulled silver backdrop.
The guillotine, with the blade inserted, was located in the center of the platform, but somewhat to the front. To the right of the right leg was placed a head of lettuce and a white towel. Behind the first wing, off stage right, is a small pail, and on the opposite side is a large bucket. A ghost spot is placed in the footlights in such a manner as to throw a large ominous shadow of the guillotine upon the silver backdrop.
At the beginning of the routine the close-in curtains are closed in "one," hiding the guillotine from view.
All stage lights are out. As the performer enters from the right first entrance a white spotlight from the booth picks him up. With a perfectly straight face, and in a most serious manner, he walks onstage about five steps, stops and says in a low voice, "Removing the head from a human being is a very serious undertaking, as any of you will admit who have ever tried it." The curtains open behind him on a dark stage with the silhouette of the guillotine looming threateningly. "Therefore, I'm going to ask you to be as quiet as possible while we attempt it once more tonight, "
The performer walks upstage and ascends the steps as the lights are brought full up white. "The device is known in China as a chopper." (Taking out the blade.) "It consists of two parts, a blade, " (Blade is leaned against the right side of the guillotine.), "and a sort of a wooden collar." (Taking off the upper half of the neck yoke.) "You will note that the upper half of the collar is removable. This removable feature is always necessary during the first part of the trick, although there have been times when we haven't needed it towards the end."
(Enter comic from stage right, who, listening attentively to the performer's explanation, becomes nervous and starts biting his finger nails. Girl and 2nd comic steps onstage down left.)
"In use,'" the performer continues, "a head, " (He picks up the head lettuce.), "usually with a neck attached, is inserted within the opening of the collar." (Head placed in opening) "From then on, the operation is entirely automatic." (Performer picks up blade and inserts it in top of the channel.) "You simply insert the blade in the proper place, and push." (Blade is plunged through the lettuce, which falls to the floor in two pieces. Comic spits fingernails (beans) into footlight.)
"But I might say, in China this device is not used for making salads." (Performer withdraws blade from guillotine.)
"We learn in all surgical operations that it is necessary for the tools to be kept clean and antiseptic, so with your permission, " (Still holding blade, performer picks up towel, blows his breath on both sides of the blade and polishes it with the towel. He also wipes off the neck of the guillotine and picks up any particles of lettuce that may have fallen on the platform.)
(He puts the blade back in a leaning position against the right side of the guillotine.) "And now, what is to happen is this:
The young lady’s neck will be tightly encased with this collar, after which the razor-sharp blade will slowly descend. And then, if the lady arises intact, you will have witnessed a trick. If she doesn't, it will be something else."
(Girl starts tip-toeing off stage, but second comic grasps her and brings her to the platform, with some difficulty in view of her evident reluctance. The performer does not look at this by-play which takes place during the last two sentences.)
"I omitted to say that the young lady takes part in this demonstration of her own free will and accord."
(The girl kneels behind the guillotine and places her neck on the lower yoke. The performer tilts her chin up and gravely wipes her neck carefully with the towel, after which the second comic assists him in lowering the upper yoke and clamping all fast.)
As the performer lifts the blade to place it in the guillotine, the first comic dashes wildly off stage right and returns immediately with the small pail, which he places beneath the girl's head. But the second comic yells, "Wait a minute." and dashes off stage left, returning immediately with the much bigger bucket, which he places beneath the girl's head in place of the smaller pail.
The performer inserts the blade and starts to push. When the cutting edge of the blade is about at the level of her neck, he seems to meet with an obstruction and after a couple of attempts, stops and pulls the girl's head out a bit.
"Excuse me, please. There seems to be a vertebra there."
Slowly he pushes the blade downward, but he does it with his face averted away from the girl. Both comics hide their eyes. The girl screams. They all freeze, immobile, as if perhaps afraid the thing did not work. Looking away from the girl, the performer fumbles for the towel. He fumbles for the lower edge of the blade, head still averted, and wipes it with the towel. He brings the towel up within the range of his vision and finally dares to look. He sighs with relief and smirks with a pained expression. The others quickly look up.
The second comic, standing on the stage floor below the platform level, helps performer unhook the hasps. Performer lifts the upper yoke with right hand and helps girl to her feet with his left. Both bow.
The first comic stiffens and falls straight backward flat, in a complete pass-out. Blackout.
As in all routine examples, notice again that everything is completely provided for. A definite place has been established for all principal objects, and all auxiliary properties. Definite places and definite times have been established for all entrances. Bits of comedy and by-play have been provided for spicing and enlivening the proceedings. Definite plans have even been laid for which hand is to provide for each operation, and where everything is to go, in the last detail.
Where certain routine operations will take time and thus slow down the "lift," provision is made for assistance from the second comic in order to shorten the time.
And in order to add a final surprise punch, the pass-out of the first comic was provided at the very end, apparently after all is over.
Note how the minor bits of business add lift and take attention away from necessary preparations and operations which would otherwise cause a lull: The nervousness of the first comic. The fingernail episode. The cleaning of the blade and the "antiseptic" gag. The reluctance of the girl. The business of the pail. Even the bringing in of the second comic to speed up affairs. Of course, none of this is really a part of the trick itself, and has no place in the performance of the trick as a straight puzzle. All was added deliberately to increase entertainment value.
I chose this burlesque presentation as a travesty on the sensational tactics used by many magicians. These days sensationalism is downright "hammy" in smart company. It is my belief that modern audiences do not fall for chiller-diller hokum any more. The magician who attempts anything like this straight and in serious character is courting a horse-laugh unless the audience is ninety per cent moron. Magicians don't give the spectator credit for enough intelligence. They forget that in many audiences the average spectator is better educated, and often more intelligent, than the average magician.
Our show particularly was intended for the legitimate theater audience, whose intelligence is much higher than the average motion picture or vaudeville audience. So we felt that a travesty on the conventional presentation would be recognized for the satire it was. The audience "got it." It was always received well.
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