MAGIC, The Magazine For Magicians

Conjuring, when presented properly, is much more than merely showing tricks or puzzles. It can attain the status of not only a performing art, but of “art” in the broader sense. A creation in a specific medium that makes the viewer experience the world in a new way, perhaps exploring universal beliefs or attempting to connect with a personal, emotional outlook. And while it is possible for magic to become art, the reverse is true as well: art can become magic. From an impressionist painting that defines a glimpsed moment in time to a surrealist landscape that morphs into faces or bodies, art can trick us into seeing that which we did not believe could be captured.

In the past, MAGIC has often focused on magicians and tricks that have been depicted in art — not merely the colorful posters advertising coming performances by globe-trotting magicians, but less common tributes as well.

Here are brief glimpses at some of the artists of today who not only walk the line between magic and art, but freely jump back and forth across that boundary — art created by magicians of magicians.

By Alan Howard



Conjuring, when presented properly, is much more than merely showing tricks or puzzles. It can attain the status of not only a performing art, but of “art” in the broader sense. A creation in a specific medium that makes the viewer experience the world in a new way, perhaps exploring universal beliefs or attempting to connect with a personal, emotional outlook. And while it is possible for magic to become art, the reverse is true as well: art can become magic. From an impressionist painting that defines a glimpsed moment in time to a surrealist landscape that morphs into faces or bodies, art can trick us into seeing that which we did not believe could be captured. In the past, MAGIC has often focused on magicians and tricks that have been depicted in art — not merely the colorful posters advertising coming performances by globe-trotting magicians, but less common tributes as well. Here are brief glimpses at some of the artists of today who not only walk the line between magic and art, but freely jump back and forth across that boundary — art created by magicians of magicians. By Alan Howard

How does a wildly creative close-up magician, who has invented tricks with gummy bears, popsicles, candy bars, and tan lines, end up a successful stand-up comedy mentalist living in Flushing, Michigan? Ask Nathan Kranzo. By Gabe Fajuri

A feature on sixteen magicians in their teens seemed to tie-in nicely with our sixteenth-year anniversary issue. As it turned out, that was painfully limiting because our announcement that we were seeking appropriate candidates brought in dozens upon dozens of pictures, stories, DVDs, videos, and Internet links. Narrowing the field was truly challenging; there are so many outstanding young performers throughout the world that the elimination process was, quite frankly, heartbreaking. The future of magic is, indeed, in good hands. If the evidence collected here over the past few months is any indication, we may be seeing the emergence of the most skilled generation of magical artists ever. We found numerous teenaged magicians who we thought deserved to be acknowledged. Those who were chosen were picked not only for their onstage skills but, in several cases, for putting their skills to use for the community. Here is our suite of sixteen outstanding, inspiring, rising stars of magic. By Rory Johnston

A review of the centenary celebration of the Australian Society of Magicians, which now is the fourth oldest magic society in the world. The convention took place July 7-9. By Brian McCullagh

If you haven’t heard of Colin Underwood before, it’s because this 47-year-old South African has been delighting primarily local audiences, with only occasional forays into Europe and the Middle East. He’s been performing for the past thirty years, twenty-five of which have been as a full-time professional. He is a two-time South African comedy magic champion, has a number of television credits to his name, and has performed close-up magic for luminaries ranging from the Governor of The Reserve Bank to a Royal Command Performance for H.R.H. Prince Edward. By Chris van der Maas

At a magic convention in Sydney almost ten years ago, Tim Ellis met the woman who would change his life forever. Sue-Anne Webster quickly became cohort, collaborator, and co-founder of one of Australia’s most successful magic duos, as well as the wife to an equally inspirational and challenging magician. The ride has not been smooth sailing — far from it. Combining the professional pressures and stresses of a business partnership and the 24/7 partnership of married life has led to some unique and formidable tensions. But in each other they have found a passion, drive, and patience that has allowed this team to persist and prosper over the years. By Mat Unwin

This month, step into Room 401, MTV’s new horror/magic show; read about all the technical problems James Brandon had to tackle to create the IcyHot commercial spot instead of just going CGI; learn of the unfortunate way Kevin James was eliminated from the America’s Got Talent competition; plus spend “A Moment With… Rick Thomas,” as he talks about the sudden closing of his Las Vegas show and what’s on the horizon for him.

Nine items are covered this month by Gabe Fajuri, Brad Henderson, Peter Duffie, Michael Claxton, and John Lovick, including: • Cardini: The Suave Deceiver by John Fisher • Radical Dice Routine by Sol Stone • WD40 by Wayne Dobson • Significant Hour by Brent Geris • Bright Ideas DVD by Christopher Williams • Fogel: In Search of the Sensational by Chris Woodward and Richard Mark • Punishment DVD by Patrick McCullagh

George Marquis to David Price By 1932, The Great Leon had given his last performance as a vaudeville headline and retired to California. Les Levante agreed to purchase Leon’s entire show for $1,000. This transaction resulted in the two men carrying on a lengthy correspondence with questions and answers, praise and thanks traveling back and forth across the Atlantic. On the third of December 1937, Levante finally found time to answer Leon’s letter that he had received nearly two months earlier. The stationery he rolled into his typewriter was impressive. Printed in two colors, it proclaimed, “Les G. Cole presents The World-Famed Australian Illusionist The Great Levante and his Wonder Show – Touring the World.” Few people who received a letter written on this stationery would have known that when Les G. Cole grew up and became a magician, he changed his name to The Great Levante.

Simon Aronson’s About Face consumes “Talk About Tricks” this month. In this blockbuster handling of the Hofzinser Ace plot, Aronson breaks new ground and offers a clean, nearly self-working method. Included with this issue is a specially printed gaffed card, required for the effect.

Simon Aronson’s About Face consumes “Talk About Tricks” this month. In this blockbuster handling of the Hofzinser Ace plot, Aronson breaks new ground and offers a clean, nearly self-working method. Included with this issue is a specially printed gaffed card, required for the effect.

Finding production or appearance effects that don’t involve a traditional “magic base” is often a challenge. Using too many bases throughout a performance adds a bit more heat every time you use one. This month, David Starr offers Wonder Sphere, a production that doesn’t rely on a deceptive base, and takes place up in the air, off the stage.

In Geatan’s hands, a standard production of silks from a Phantom Tube takes a very bizarre and puzzling turn. He explains how it’s all done in this month’s column, then he shares his latest brainstorm session — the featured object is a hammer. Also included is a bonus effect involving a hammer; two tricks for the price of one this month.

Manuel Muerte, with some help from his friend Juno, shows how he deals with his mental disorder: he sees vampires everywhere. He used to see all of his audience members as vampires, but since his recent therapy, he’s down to one per audience. While explaining how he defends himself against vampires, he performs a minor miracle. This astonishing feat breaks the spell and, finally, he no longer sees vampires in his audience... not this particular audience, anyway. In “Flicking Failures,” Manuel explains why he doesn’t do kids’ shows anymore, which involves Silk to Egg, a mess on a gym floor, and 400 screaming kids.

How much time do you spend practicing? How much time do you spend rehearsing? There’s a big difference.

Welcome to the first month of “magic class”! What’s this? Magic class? Don’t worry: there are no exams, and the homework is optional. However, what there will be in these pages for the next year are ideas and insights that will enrich your thinking about magic and enhance your practice of the art.