Showing posts with label Houdin. Show all posts
Showing posts with label Houdin. Show all posts

Saturday, June 21, 2014

Robert Heller's Magnifecent Peacock

Robert Heller and his Peacock Automaton

As fascinated as I am by Heller, I must now admit, I also have an odd fascination for the so-called Peacock Automaton. I had seen one in the collection of Ken Klosterman (Salon de Magie) and assumed it was Robert-Houdin's Peacock. In his book 'The Memoirs of Robet-Houdin', the author mentions seeing the 'magic peacock' in a show presented by Phillipe. Researching this unusual creature I found that according to Harry Houdini, Robert-Houdin claimed to have created it. But Houdini, in his book 'The UnMasking of Robert-Houdin' makes the claim that Houdin did not create it but rather ripped it off.

Actually, it appears that though there were Automaton Peacocks prior to the Houdin version, his was different in operation and mechanics, so Houdini got that one wrong. I actually assumed, like Houdini, that all these birds were the same. But their appearance is deceiving. They do share a few attributes, one being the realistic look of a peacock and the ability to take the tail feathers and raise them and spread the giant plumage for display. But that is where the similarities stop.

from 1815
There is a playbill from 'The Unmasking of Robert-Houdin' that belongs to Mr. Louis's Royal, Mechanical, and Optical Exhibition. The bird figures prominently on the playbill with the following description. "A Superb Mechanical Peacock-As Large as Life, In it's Natural Plumage! Which imitates, so closely, the Cries, Actions, and Attitudes of that stately and beautiful Bird, that it is not infrequently supposed to be an absolute Animal properly trained to act as an Amusing Deception."The playbill dates to 1815, certainly before Robert-Houdin was born, as Houdini points out.

An even earlier playbill from 1803, belonging to a performer named de Philipsthal, also from 'The Unmasking of Robert-Houdin' reads as follows, "The MECHANICAL PEACOCK, which exactly imitates the Actions of that flately Bird, that is has frequently been thought Alive. It eats, drinks & at command, unfold its Tail in a brilliant circle, and in every respect seems endowed with an intuitive Power of attending to the Thoughts of the Company." Frankly, that sounds pretty amazing to me.


I believe the Robert-Houdin bird was different from the above automatons and I base this on the illustration used by Heller and a similar illustration used by another Robert-Houdin imitator. Let me point out that Robert Heller began his career by doing an act which was essentially a duplication or imitation of Robert-Houdin.

Heller obtained his props from a mechanic named LeGrand who worked for Robert-Houdin. This is the same man who sold props to John Henry Anderson as well. This duplication of props was going on behind the back of Robert-Houdin, and when he found out he called the authorities and LeGrand faced prison time because of his theft. But the damage had already been done and untold props from the Houdin show were now out and being used by his competitors. These included: The Ethereal Suspension, The Fantastic Orange Tree, the Peacock, and numerous other automaton.

Other performers of the time had Automaton Peacocks in their shows which can be seen in their advertisements. I think some of these were like the automatons listed above, true actual automatons, clock-work mechanical devices that could imitate a few actions of the bird. But the Robert-Houdin automaton appears to not be a true automaton, but rather what is referred to as a false automaton. This means it was partly mechanical but also relied upon human aid to perform it's functions. If the Heller illustration is any indication, the bird sat upon a raised platform and was able to grab selected playing cards with it's beak. It probably also moved it's head and raised it's plumage, but the action of grabbing a selected card may have been the work of a hidden assistant. That doesn't lesson the impact of the effect and to my way of thinking, is just as much a mechanical marvel as the others. Houdin was known to use both true automaton and false automaton in his show, so it makes possible that the Peacock was a false automaton. And Heller, who had purchased duplicate props of Houdin, was using The Harlequin as well as the Peacock, and the Harlequin was also a false automaton.

While doing research online for this article I came across a photo for an item listed as The
Magnificent Peacock. I found this same image on several sites, including Pinterest. The first place I found it was http://blog.dugnorth.com/2008/11/19th-century-life-size-musical-peacock.html All of the pages are unsure of it's origins and they only speculate as to the date of manufacture. One website in particular has a different photo but it's very blurry. It shows that the red base in the photo is actually on an ornate raised wooden or medal pedestal. What is amazing to me is, this looks exactly like an image I saw on one of the Robert-Houdin imitator's posters. So this image to the right could actually be a piece out of a magic show.

For those who might be curious, in the late 1800s, a company called Roulette & Decamps out of Paris France was producing the Peacock Automaton for the general public. They made three versions of the Peacock, a small, a medium and a larger version with a music box inside. All three of their Peacocks had the ability to walk, moves its head and raise it's plumage. One of the Roulette & Decamps Automatons can be seen in the video below. By the way, the Peacock in the Klosterman collection is one of these Roulette & Decamps Automatons. It is identical to the bird in the video, so my initial assumption that it was Robert-Houdin's was incorrect.



*I don't have access to all of the Robert-Houdin books on magic, so I'm unsure if his Peacock and it's workings were listed in a book I missed. If anyone knows and can enlighten me, please do. I make an assumption that Houdin's automaton was a false one, which I also found similar statements online. But with Houdin's knowledge of clockworks, it's just as possible the bird was 100% mechanical. 

Saturday, June 2, 2012

Imitation Is The Sincerest Form of Flattery-Magic Style

In today's magic world we have enormous amounts of imitation, which is often more akin to theft and copying than imitation. One recent example was the fellow who stole Piff The Magic Dragon's act and presented it on TV as if it were his own. I've also seen a video on Youtube of a fellow performing Lance Burton's Dove Act copying every detail down to the costume and music. This stuff sadly has been going on forever and happens in other areas of entertainment as well. It's one thing to be inspired by another performer, it's another to steal their act. If the originator has passed on then it's a different issue. Though unless one is presenting a tribute act, it's probably best to still change the act somewhat. I thought I'd share some examples from a bygone era to show how far back this goes.

The Pastry Chef of the Palais Royal
We'll start with Robert Houdin the great french magician. Many performers ripped off the routines of Robert-Houdin. But if you read Harry Houdini's book "The Unmasking of Robert-Houdin" you'd think that everything Robert-Houdin did was stolen also. I find this book to have some interesting historical facts, but I don't always agree with Houdini's conclusions. There is a wonderful routine called The Pastry Chef of the Palais Royal which Robert-Houdin presented. In his routine, a miniature model of a bakery sits upon a table. It appears to be mechanical in nature, as Robert-Houdin must wind it up in the manner of a music box. Out comes a pastry chef holding a tray to take the order. The magician tells the chef what an audience member has selected off a menu of pastries, and the chef turns and goes back inside. The audience can see other mechanical men rolling the pastries and working in the kitchen. A few moments later the mechanical chef figure comes back out with the exact item the person from the audience requested. A marvel of the time. But was it original?

Ernest Basch
If we are to believe Houdini, no way was it original. In fact, Houdini does a fine job of proving that a routine of this nature existed before Robert-Houdin. In his book he says "the trick appears first, not as a confectioners shop with small figures at work, but as a fruitery, then again as a Dutch Coffee house, then as a Russian Inn, from which ten sorts of liquor were served. Finally in 1823, it is featured under the name that made it famous, The Confectioners Shop." So the effect did seem to exist prior to Robert-Houdin. But I tend to think Robert-Houdin was presenting his version of an already existing routine.

The image on the right is that of french magician Ernest Basch, and he is standing near what he claimed was Robert-Houdin's original Pastry Chef automaton. However, if you look at the picture above, you'll see it is clearly not the same. This black and white image was from Houdini's book. It does show that there were other automaton's of this nature out there and it also shows that Robert-Houdin's actual automaton was different. So I think this was more a case of imitation not theft.


Now let's look at William Henry Palmer. He first saw Robert-Houdin perform in London and became interested in magic. When he decided to perform magic himself he changed his name to Robert Heller. It's said that he chose the name 'Robert' from Robert-Houdin, the name Heller from pianist Stephan Heller. Ok, he was inspired by Robert-Houdin, but read on.

Robert Heller took his imitation a step further and even performed with a french accent initially.  There is no denying he copied Robert-Houdin's act. In the book 'The Annals of Conjuring' by Sidney W. Clarke, there is a list of 15 routines presented by Heller and the exact same 15 in the same order presented by Robert-Houdin. Heller did give the routines 'slightly' different names, as if that made a difference. Worse yet, he claimed to have created the magic in his show. This bit of bragging was common among many magicians.  Eventually Heller dropped the accent and found his own style.  He met with real success  when he stopped trying to be Houdin and instead performed as HELLER.

John Henry Anderson, The Great Wizard of the North, claimed to have invented a trick that he called "Suspension Chloroforeene" which was amazingly similar to Robert-Houdin's invention called "The Ethereal Suspension".  In the Houdin version, his son was placed between upright walking sticks and a bottle of ether was held below his nose briefly. Backstage, an assistant with a hand held fan made sure the smell of ether made it's way into the audience as well so as to increase the theatricality of the effect. The boy passed out from the ether and apparently became as light as a feather. To prove this, Robert-Houdin removed one of the walking sticks and lifted his son up and showed that he could actually rest easily upon the other. In the John Henry Anderson routine, Chloroform was used instead of ether, other than that the routine was exactly the same.

Anderson, also presented the Magic Scrapbook, known as the Artist's Portfolio in Houdin's act and the Second Sight routine, which went by the same name in Robert-Houdin's show.

Let's take a look at Harry Kellar.  Notice the side by side photos below. Robert Heller is on the left and a young Harry Kellar is on the right. They look very much alike. Today we most often think of Kellar as the older, clean shaven, balding gentleman, but in his younger days he sported a rather large mustache. As best I can tell, he shaved it off around 1894 because the first Kellar posters without the mustache appeared that year. I wondered if he wore this mustache to look more like Heller. However, I think it was more the fashion of the time.
Robert Heller (left) Harry Kellar (right)
Though the two gentleman do look very much alike, Kellar actually tried to distance himself from Robert Heller. Harry's last name was actually spelled KELLER, but he altered the spelling because it looked too much like HELLER.  His act was fairly different from that of Robert Heller with the exception of the spirit manifestations that many performers of the day were doing. Harry Kellar had worked for the Davenport Brothers, the creator of the Spirit Cabinet act and he left their employment somewhat disgruntled. Upon his exit he took with him another Davenport employee, William Fay. Kellar and Fay teamed up and began to present their version of the Spirit Cabinet.

Harry Kellar did get something from Robert Heller though, but it was after Heller had died. When Robert Heller presented his Second Sight Act it was always with his 'so-called' sister Ms. Haidee Heller. Well, now that Robert Heller had passed on, Haidee, who was no relation, was off presenting the act with a new partner. In 1880, Kellar met her while he was working in Scotland and hired her and her partner to present their act in his show. A few years later, Kellar and his wife Eva began presenting a Second Sight Act. I wonder where he learned that from?

Kellar's most frequent target was John Nevil Maskylene of Egyptian Hall Fame. In fact, it was at Egyptian Hall that Kellar saw Dekolta present his Vanishing Bird Cage Trick. Kellar purchased a copy of the cage from a relative of DeKolta's, though apparently DeKolta himself was unaware of this transaction. A somewhat shady deal.

Maskelyne & PSYCHO
A short time later Kellar hired a mechanic to make a copy of John Nevil Maskelyene's popular  automaton PSYCHO. Kellar even called his version PSYCHO as well, though when he played England, he changed the name temporarily to Arno. Kellar continued to go back to the 'Maskelyne Magic Well' and steal not just automaton but illusions as well. At one point he tried to get permission to do Maskelyne's new Floating Lady illusion. When Maskelyne turned him down, Kellar figured out another way of getting the illusion. He offered a job to Paul Valadon, who had been working at Egyptian Hall. Paul moved to America to become part of Kellar's show.  Together, Valadon and Kellar would build a version of the Maskelyne levitation. Theirs was actually an improvement over the original levitation because it was portable. Maskelyne's original was not made to travel.

It just goes to show, if you've got a popular trick, act or persona, there are people out there who will copy it. I mentioned at the start that this sort of thing happens in other forms of entertainment as well. Comedians are a great example. There are some performers who have no problem with stealing jokes and routines from other comedians. Carlos Mencia and Dane Cook have both been accused of stealing jokes and routines. I've noticed in the movie industry sometimes very similar  projects  come out from competing studios. An example would be the movie Tombstone and then Wyatt Earp. Same story basically, same characters, two different studios. When the movie Capote came out, it was followed quickly by a movie called Infamous, which was the same story about author Truman Capote. Very recently, the movie Battleship came out at the box office and an oddly similar movie which at first had the title American Battleships appeared on the Syfy Channel. The producers of Battleship sued the producers of the other movie over the title so the second movies title was changed to American Warships. So call it what you will, copying, imitation or whatever, it existed 100 years ago and is still going strong today.






Tuesday, May 29, 2012

The Magic of HELLER Pt 3, Second Sight


One of the features of Robert Heller's act was his presentation of Second Sight. He claimed to have invented the illusion, though that is not exactly correct. Robert-Houdin had been performing it long before Heller, in fact the first time Robert Heller had seen it was when Houdin came to London to perform. And Chevalier Pinnetti was performing Second Sight long before Robert-Houdin. So Heller's claim to have invented the effect was more bragging for promotional purposes than truth. The above poster shows Heller performing Second Sight with his assistant, the image is in the top center section of the poster.

Robert Heller did contribute to the act in a significant way however. His assistant Haidee Heller, sat upon a sofa while Heller held up hidden objects and Haidee correctly divined what they were. Most of the performers of the time who presented this type of act used a similar method. Newspapers often printed exposures claiming an elaborate code words were used. But it was when there was no dialog that audiences and magicians alike were dumbfounded. Even though, they did not speak a word, still Haidee Heller knew the answers to various questions or revealed hidden objects and so forth.

The method that Heller used in the 1800s was the piece of furniture that his assistant was sitting on!  The sofa was filled with wires and a battery which ran off the stage to a hidden assistant. A secret assistant in the audience, had a electric button underneath his seat and could tap the button using a type of code to signal the person on the couch. It was diabolical for the time and is yet another example of how magicians often used the latest advances in science to create their illusions.

The reason we even know about this Sofa is because of Henry Ridgely Evans the author of The Old And The New Magic. He wrote about visiting Francis Martinka at his home in NYC and while waiting on Mr. Martinka sat upon this odd piece of furniture. Martinka revealed to him it was Heller's Magic Sofa which he acquired after Heller's death.

I should note here that Heller had originally requested his props and paraphernalia be destroyed upon his death, but upon his deathbed he changed his mind and requested they be sent to Hartz the Magic Dealer to be sold. There is some debate though on what happened following his death. The props were apparently held by creditors in a warehouse. They obviously made it out of that warehouse somehow, whether they were sold off privately or sent to Hartz Magic Shop I don't know. Francis Martinka wound up with several of Heller's props, but this is the only one I know of specifically. I wish I knew what the others were.

Martinka later sold this sofa to a budding young mentalist by the name of Joseph Dunninger. I can't help but wonder where it is today. I will say this, if you know, contact me because I'd like to purchase this piece of furniture. It may still be in the possession of the Dunninger family or it may have been sold off. I don't know but I'd like to find out where it is and again, I'm interested in acquiring it. If nothing else, I'd love to have a color photo of this wonderful piece of magic history.

UPDATE: I just read in Houdini's book "The Unmasking of Robert-Houdin" that he believes Heller's sofa was copied after Robert-Houdin's. But I don't think the Houdin sofa is still around today and I'm not sure if Houdin left details as to the methods he used for his Second Sight routine. If it is true, then the Heller Sofa was built in England originally.

Sunday, February 5, 2012

The Inexhaustible Bottle

The Inexhaustible Bottle-A magic effect wherein a bottle is filled with water to wash it out and then emptied. Once cleaned out, dry ribbons of different colors would come out of the apparently empty bottle. But upon command of the magi, several different drinks pour forth from the bottle in a seemingly never ending succession. Some versions of the trick have the performer breaking the bottle open at the end and producing a ring, scarf and/or even a guinea pig.

I suppose it was inevitable that I would come face to face with the trick known as the Inexhaustible Bottle. In my youth, I worked with my younger brother on a version of this using a tea kettle. But back then, I hardly knew anything about the trick and really did not do the famous routine justice.

Robert Heller 1870
Over the years there have been many variations of the Inexhaustible Bottle. Of course, there is the version with bottle, and then there was also a punch bowl, a tea kettle, a milk carton and I’m sure there are variations I have yet to discover.

Robert-Houdin presented this trick for the first time on December 1, 1847 and claimed it as his own creation. It was said that Robert-Houdin produced 100 glasses of wine/port and other drinks from his bottle. Robert Heller and John Henry Anderson first brought the trick to America and made it popular. Harry Kellar, Compars Herrmann and Alexander Herrmann also presented the trick using a bottle.

In the book, The Secrets of My Magic, David Devant explains that it was his wife who came up with  the idea of using a common Tea Kettle rather than a bottle. Devant's routine was called 'The Obliging Tea Kettle'.  Charles Hoffmann or Think A Drink Hoffmann as he was known, used a cocktail shaker and built a career out of this one trick. Today, Steve Cohen presents his version using a Tea Kettle in his show Chamber Magic.  I’ve not seen Steve perform his full routine, though I have seen clips on video. I have no doubt his work is brilliant.


Although, Robert-Houdin claimed to have invented it, Houdini in his controversial book The Unmasking of Robert-Houdin actually proves that this was not the case. Ludwig Dobler, Phillippe, Henri Robin, and others all presented the Inexhaustible Bottle years before Houdin. It had been presented under a number of different names including: The Infernal Bottle, The Traveling Bottle, the Interminable Bottle, and the Bottle of Sobriety and Inebriety. But the trick is even older than the 1800s.

Houdini reveals that the trick can be traced back to the book Hocus Pocus Jr. in 1635. During this time period the trick used a barrel or wooden cask rather than a bottle but worked on a very similar principle. 

The inspiration for the trick possibly comes from two biblical stories. These two stories are when Jesus was at a wedding and turned Water to Wine, the other is the story of the loaves and the fishes certainly an ‘inexhaustible’ miracle.

I added a version of the Magic Tea Kettle to my summer show in 2011. My version was based on an idea by Jim Steinmeyer but I came up with a decidedly different climax to the trick. In all the Tea Kettle versions there is no real climax other than pouring more and more unique drinks. The ending I came up with gave the trick a definite 'ta-da' ending, but it proved to be more shocking than I expected. I actually had to rewrite the set-up for the ending in order to not freak people out.

What was my ending to the Inexhaustible Tea Kettle you ask? After pouring numerous drinks like milk, cool aid, tea and so forth I announced I would attempt Orange Juice, but I apologized in advance in case it didn't work because, as I explained, Orange Juice was the hardest drink of all. Then I told the audience for some odd reason the oranges would separate from the liquid in the strangest way. At this moment, I would pour the remaining liquid and the oranges slices could be seen separated in the water  for a brief moment....then suddenly the audience realized the orange slices were actually GOLDFISH!

Tremendous ending, I thought. First time I tried it, two of the people who took drinks of the other liquids almost puked thinking they just drank 'fish water'. It was terribly funny and somewhat embarrassing and thus required a rewrite in order to have the ending make sense and for the audience members not to get ill thinking they drank dirty fish water. The 'corrected' script solved the problem and it made for a tremendous effect in my show. As enjoyable as my twist on the trick was, I still long to one day present an actual Inexhaustible Bottle effect...if I can ever locate one.

Now if you'd like to see a novel presentation of the 'Think-A-Drink' act presented by Charles Hoffman, please watch the video below.

*portions of this blog were reprinted from my old magic blog dated Feb 9,2010.

Wednesday, August 31, 2011

The MAGIC used by Civil War Magicians

After I completed my series on Magicians of the Civil War era, I noticed that many of them did the same tricks. I wanted to give you some highlights of the types of things that could be found in many of the acts of the Civil War era magicians.


The Spirit Cabinet
There is an interesting similarity among the magicians from the Civil War period. A commonality of effects if you will. In other words, they stole from each other back then as much as today. In fact, I noticed a trend among magicians to purposely steal certain routines and then 'expose them'. Specifically, the routines presented by the Davenport Brothers. Their creation, The Spirit Cabinet, along with their spirit manifestations, or fake spirit manifestations showed up in the acts of; John Henry Anderson, Samri Baldwin, Prof. Harry Cooke and many others. Interestingly, the Spirit Cabinet would continue in the years past the Civil War and become a popular feature with Thurston, Kellar, Carter, Willard, Blackstone, Calvert and many others. Today it is being revived once again by Michael Ammar and his wife Hannah, who is the daughter of Frances Willard, the daughter of magician Harry Willard.


Second Sight
Here is an effect from the repertoire of Robert Houdin. He presented this trick with his son. While blindfolded, his son Emile could identify objects that his father held up which were in full view of the audience but unseen by his son. This same routine somehow, mysteriously ended up in the show of Compars Herrmann, who presented it along with his younger brother Alexander. Other magicians took the same trick and began to alter and adapt it. Chief among them was probably Robert Heller.

Today, second sight demonstrations are a regular part of a mentalists performance and sometimes seen in magic acts. The Evanson's come to mind as an excellent example of a modern couple presenting the Second Sight Blindfold act.

The Gun Trick
A very popular effect was notorious The Gun Trick or Bullet Catching Trick. This effect was used by John Henry Anderson with great success until he sold it to Wyman the Wizard who also had a lot of luck with it. Signor Blitz used it, but he was not always so lucky.  In one particular instance an audience volunteer loaded a button in the hole of the rifle and when it was shot the button ripped through the skin of Blitz's hand. Several close calls like this were enough for him to eventually remove it from his act. After the Civil War Alexander Herrmann added the effect to his show, as did William Ellsworth Robinson. Mr. Robinson was better known as Chung Ling Soo and was also one of the many individuals who was killed on stage presenting the Bullet Catching Feat. Today, in the 21st Century the effect lives on in the act of Penn & Teller.

The Suspended Lady
This is Robert-Houdin's Ethereal Suspension. I believe the first pirated version shows up in the act of John Henry Anderson who called it 'The Suspension Chloriforeen'. He picked up his copy of the trick from a former mechanic who had worked for Robert Houdin. Compars Herrmann was also using the Suspension Illusion as well. For those newbies to magic, though the effect might seem like a levitation, it is not. In a levitation a person apparently rises in the air. In a suspension, they are held or suspended in space. Levitations and suspensions are similar enough and generally fall in the same category in magic.

The Suspended Lady illusion actually dates back to at least the 13th Century and possibly further. Today it's commonly known as the Broom Suspension and has been used by countless performers (including me). This effect appears in the Tony Curtis Houdini movie, however I am not sure if Houdini actually ever presented the effect in his show. Richiardi Jr. had one of the most incredible presentations of the trick. It also is a highlight of the Le Grand David Show in Beverly Mass.



The Inexhaustible Bottle
Now here is a fantastic trick. Actually, all of the things I've mentioned so far are great and you'll note that they all are still used in some fashion today. Thankfully, modern artists have altered them to fit the times, but why throw out a perfectly good trick? The Inexhaustible Bottle is an illusion where a glass bottle is filled with water and rinsed out. Then any liquid called for can be poured from the bottle, typically alcoholic drinks. According to Houdini, the trick dates back to 1635 and an effect called the Inexhaustible Barrel. Basically it's the same effect but using a wooden whiskey barrel. Robert-Houdin claimed to have invented it and as has been seen before this effect showed up in the acts of many other performers. One in particular Compars Herrmann who used it during his show at the White House before President and Mrs. Lincoln and their guests.

David Devant, the great English conjurer updated the effect by using a tea kettle rather than a bottle. Later, Charles Hoffmann created an entire act around the effect and he became known as "Think A Drink Hoffmann". Today, the effect, in it's Tea Kettle form, lives on in the act of Steve Cohen, The Millionaire's Magician.

Other Staples
It will come as no surprise that the following effects could be found within the repertiore of Civil War magicians: The Cups and Balls, The Sucker Die Box, The Devils Hank/Napkin, Passe Passe Bottles, Flower Productions/Botania, The Genii Tube/Cornucopia, Early Versions of the Misers Dream in various forms, Rising Cards, Handkerchief productions/vanishes, Flag productions and more.

Ventriloquism & other variety arts & acts
While not magic, ventriloquism was a popular addition to many magicians acts from the Civil War era. Among the practitioners of this craft were Signor Blitz, Wyman the Wizard, Fred Bearns and others. Robert Heller added Punch and Judy shows to his repertoire. Blitz had trained birds. Robert Heller was a trained pianist and he added musical numbers in his show which gave it an elegance and sophistication that other acts lacked. Adding variety and skill sets beyond that of magic gave the Civil War era performers broader appeal. The tradition of adding other variety art forms to ones act continues today, though ventriloquism is rarely found in the acts of well known magicians. Rather, good ventriloquists have established their own shows minus any connection to magic.

Basically, the more things change, the more they stay the same. Well, in magic, they don't seem to change too much. Another way of looking at it is good magicians recognize quality effects and keep them! But I can't help but wonder, how many effects have fallen out of favor over the years which could be brought back, updated and still fool modern audiences?

Sunday, June 12, 2011

My Moment w Robert Houdin


About a year or so ago I really became intrigued with Robert Houdin. Understand, I've always been fascinated by him, but for some reason, it took hold extra strong about, well maybe two years now. At any rate, I was reading everything I could get my hands on. I was just devouring the existing literature on Robert Houdin. And then I had this crazy idea of putting together a small act AS Robert Houdin. It was going to be something I did for the local magic club.

Because I have no automaton and couldn't get my hands on any, those would be out. Sadly, automatons were a big part of his act and I needed to do something to mimic an automaton if not really present one.
I also went through the the literature to see if there were any modern effects I could use that dated back to his time and sure enough there were.

I don't speak a word of french, but I did try to incorporate a few french words as well as french music and a french accent and costume. I have to say the finished act, which was about 15 or 20 minutes long was really fun to do.  I presented an unusual version of Cards Across, The Cabalistic Clock, The barehanded Vanishing Scarf, and a rather strange rendition of the Orange Tree Illusion.

The Orange Tree was the automaton but not an automaton. I told the story of how I, as Robert Houdin, came upon the idea of the tree. Kind of like a 'back-story' to the trick, which formed the presentation for the routine. A box that looked like the box that Robert Houdin's Orange Tree sat on was displayed and showed that it was without any mechanical parts. But a key inserted into the side was still able to wind up the invisible clockworks. And it did end with oranges appearing, and with a chosen scarf appearing inside an orange, though without the butterflies which are in the Robert Houdin version.

All in all the short act was very well received. I thought seriously about putting together an entire show AS Robert Houdin. I even found a couple automaton that I could borrow. But in the end, I decided that I'd do better to focus on my own act, and leave the Robert Houdin idea for another time.

Sunday, December 12, 2010

Borrowing From Houdin


It is ironic that the man who took his name from Robert-Houdin and then later wrote a book slamming his former idol would use a routine of Robert-Houdin's in his very own show.

In Chapter 9 of The Unmasking of Robert-Houdin, Houdini writes “Supreme egotism and utter disregard for the truth may be traced in all of Robert Houdin’s writings…”. I really couldn’t contain my laughter reading that line because the very same thing could be said of Houdini. On top of that Houdini referred to his former idol as ‘The Prince of Pilferers’.

Books have been written about why Houdini was wrong, and it surely wasn’t his best moment to say the least. However, we should be thankful that Houdini chose to recreate a piece from RH because that piece still survives today.

In 1913-14 Houdini was in Europe and along with performing he was buying lots of magic. One of the things he purchased was from a Parisian magic dealer, Charles DeVere. The item was a replica of The Transparent Cashbox used by RH. Houdini called it The Crystal Casket.

In Robert Houdin’s show he referred to the routine as ‘The Traveling Coins’. The routine began with Houdin borrowing eight coins from members of the audience and he made sure each person marked their coin for later identification. The coins were dropped into a glass vase that he was holding. On the stage was a second glass or crystal vase. RH would tap his wand against the vase he was holding and a coin could be heard to drop into the vase on the stage.

This continued until the eighth coin which RH apparently gave to a woman to hold, yet when he tapped her hand that coin too vanished and ended up inside the crystal vase.
At this point, RH hung a crystal cashbox, about the size of a cigar box, on two ribbons and then swung it back and forth. When the box was furthest away RH would toss the eight coins in his hand and they could be heard to appear all together inside the crystal cashbox. The coins were then removed and given to their owners.

Houdini’s routine was different. In Houdini’s routine, he would first show the cashbox empty. I’m pretty sure the crystal box would already be hanging by the ribbons on the stage as he showed it and then he swung the empty cashbox in the same way the RH had done. On a table downstage was a stand holding eight coins, no doubt what we know today as a Vanishing Coin Stand. Houdini would remove the eight coins and toss them all at once towards the Crystal Casket and the audience could hear the clinking of coins as they appeared at once inside the crystal clear box.

More than one book I read said the coins appeared one at a time inside the box, but I am not sure this is accurate. Houdini did pick up the coins ‘one at a time’ but he tossed the supposed handful at the box.

This is a beautiful piece of Victorian Age magic. The Houdini Crystal Cashbox went to Dash upon Houdini’s death and later found it’s way into the McManus Collection. From their it found it’s way in 1974 into the Salon DeMagie, better known as The Ken Klosterman Collection.

I had the good fortune to see the Crystal Cashbox live and in person. It’s a beautiful piece and coincidentally it’s surrounded by other incredibly beautiful pieces of apparatus made by Robert-Houdin. It may be the only crystal cashbox that survives because in the book “The Magic of Robert Houdin-An Artist’s Life” by Christian Fechner they use a photo of Klosterman’s Crystal Cashbox/Casket. It's a breathtaking piece of apparatus.