Blog Posts

A Music Box

6/13/2018

In between illusions performed by me, Smallini, in the Suitcase of Wonders, there is usually a brief period of one or two minutes during which the previous illusion is struck and the next one is set up, all behind the lowered curtain.
During this time there is an easel with a title card set out front announcing the next piece. Sometimes I will also leave program cards out and an open box of candy for the audience to help themselves while they are waiting.

In the past I have had some music playing through the theater's speakers during these brief intermission periods. But now I am going to try something a little different. Mr. Widdle will be placing a music box out front with the other items. After winding it up, the box will play a little tune while a turntable on top slowly spins. A curious object of interest will be on the turntable to view during this time.

Mr. Widdle and I have designed and crafted our own music box for this purpose, as we saw nothing like it available on the market. We are fortunate to have access to an astounding new piece of equipment called a Glowforge laser cutter that we used to create the wooden enclosure for this music box. The actual music box was purchased as part of a set of eight that play different tunes. We attached one of them to the bottom of the box using velcro so that we can switch out music boxes from the enclosure when it suits us. In addition, we replaced the winding key with a turntable that fits into the music box's winding shaft. Finally, we added a little red velvet on top to finish it off.

This arrangement not only allows us to play different tunes, but to also display different objects as we see fit. I think this custom music box will provide an additional amusement during magic intermission periods that audiences will hopefully appreciate.

Symphonie Fantastique

5/28/2018

The other night myself and Mrs. Smallini attended a performance of Basil Twist’s Symphonie Fantastique at the HERE Arts center in Soho. We were both thoroughly entertained by this masterly display of abstract puppetry, conducted entirely underwater.

I had once performed the Suitcase of Wonders in the lobby of HERE back in 2005. It is a wonderful institution that nurtures, as their website states, “innovative hybrid live performance in theatre, dance, music, puppetry, media and visual art.” That same year I appeared at HERE, I also remember seeing, “The Fortune Teller,” an amazing marionette play by Eric Sanko (with music by Danny Elfman). HERE is a small cultural treasure in New York City, and I vow not to let so much time pass again before attending another performance there.

Symphonie Fantastique was truly a sublime joy to behold. We sat in a small darkened theater facing a lighted crushed red velvet curtain measuring only approximately five feet by five feet. This is the kind of scale of theater that I, Smallini, identify with, and enjoy watching. The only other object visible was a Steinway grand piano set off to the side of curtain.

The evening began with the entrance of a man clad in black - the esteemed American pianist, Christopher O' Riley. As he began playing, the red curtain rose to present (from Mr. Twist’s website):

“...an intimate show set to the five movements of Hector Berlioz's 19th century classical composition of the same name. The hour-long Symphonie is performed entirely in a specially constructed water tank. The puppeteers manipulate feathers, glitter, plastics, vinyl, mirrors, slides, dyes, blacklight, overhead projections, air bubbles, latex fishing lures to deliver a concert of forms, shapes and moving colors.”

As Basil Twist, the creator of Symphonie Fantastique, mentioned in the program for the show, it is a challenge to create an abstract puppet show. What would that look like? How would it be experienced? Having seen this performance, I find myself asking the same questions about an abstract magic show. What would that look like? Are all magic shows inherently abstract to begin with because the performance of magic is an inherently abstract experience? When I vanish an elephant, or produce rabbits from a nondescript cabinet, what is that if not abstract live theater? I love that this show is causing me to think along these lines.

Photo: Richard Termine

I was reminded of conjuring-style magic more than once during Symphonie Fantastique. A large part of the visuals consisted of colorful flowing silks. Silk magic! Part of the experience of a typical magic show in the 19th century was the aesthetics of the production items. Audiences marveled not only at the deception of the illusions, but also at the variety and bounty of the items produced out of thin air: silks, flowers, flags, (fake) snow. There seems to be less of that these days, as more magicians look to simplicity and realism to make connections with their audiences.

Of course, I was reminded of one magic item in particular - the Dancing Hank, performed memorably on stage and on TV by legendary magicians Doug Henning and Blackstone Jr. Magicians, imagine the Dancing Hank performed underwater! An in multiples. Add some well-lighted globs of mylar, and you have a weird, spooky, magically abstract scene. But description really don't do justice to the poetic imagery of Symphonie Fantastique. Or the music.

I cannot imagine this show without the piano virtuosity of Christopher O' Riley. Looking like a twisted musical twin of actor Victor Garber, the silver-haired O’ Riley provided more than just live musical accompaniment to the show. More than once I found myself looking at O’ Riley madly playing the keys, instead of gazing at the water tank. And in between acts, when the curtain was lowered, O’ Riley commenced with some strange silent, acting-type movements. He was like a character out of a David Lynch movie, sometimes grinning disturbingly at the audience, sometimes pantomiming to the air.

Photo: Carol Rosegg

When the show ended, and O’ Riley, perspiring and hair askew, took his bow, the puppeteers came out, and joined him for the applause. They were wearing black wetsuits. Why? Were they in the tank at times during the performance, and we didn't see them? How did they accomplish some of those amazing synchronized underwater puppet dances? We could have left then, asking ourselves those questions, like at the end of a magic show. But to our surprise, the audience was immediately invited for a quick tour backstage! Single-file we were led up and behind the water tank, where puppeteers proudly showed us some of the methods used to create the effects in the show. They answered questions as they cautioned us to take care not to slip on the wet surface. I, for one, was surprised to see the elaborate harness hook-ups used by the puppeteers to move above the tank. The peek backstage was a delightful and surprising ending to the evening’s performance.

Again, I found myself wondering what if a magic show did the same thing? To offer a peek tour backstage immediately after a performance? For some magicians, that would simply be unheard of. Preposterous, they would cry. But would it be, really? The Symphonie Fantastique puppeteers gave the audience a choice, after all. Some did leave right away, without going backstage. I find myself pondering and admiring that artistic choice. So much of what magic is, is forever unseen by the audience. For those that choose to, a peek behind the curtain could enhance the appreciation of the art. But the secrets, magicians will point out. They will be revealed! Secrets over art. Is that a dictum no audience member of a magic show is ever allowed to challenge? Something to think about.

Walking Through A Brick Wall

5/25/2018

As readers of this Diary know, I, Smallini, pay tribute to two of Harry Houdini’s most famous stage illusions in my evening minature magic program: The Vanishing Elephant and the Water Cell Escape. Now, I am preparing to pay tribute to a third - Walking Through A Brick Wall.

Houdini historian John Cox has a thorough write-up of the history of this electric and short-lived illusion on his Wild About Harry website. Cox notes that Houdini wrote a short playlet about the piece in order to copyright the effect, a practice still used today by magicians such as Teller so that they can protect their creations from intellectual property thieves (As a side note, I am looking forward to hearing David Copperfield speak on this very topic next month at the New York Historical Society).

image from Houdini -The Key

It seems I am also following the Houdini tribute path blazed by the legendary Doug Henning, as he too, performed his versions of this trio of classic Houdini illusions. This is a happy coincidence, being that I’m a big fan of Henning, having seen him perform his Merlin on Broadway when I was a child.

For my version of Walking Through a Brick Wall, the curtain will rise revealing an empty stage (except for a carpet in the middle). I, Smallini, will then drive a forklift onto the stage and unload a pallet of cinder blocks. Mr. Widdle will then proceed to build a wall in front of me, in full view of the audience. When the wall is completed, and I can no longer be seen, a curtain will be briefly lifted and then then lowered, revealing that I am now in front of the wall! As Mr. Widdle’s hands will be in view the entire time, and I, of course, cannot move on my own, the effect should be perplexing as seen inside the Suitcase of Wonders Miniature Magic Theater.

image - MiniMaterials.com

I have considered many methods for this effect, including a variation of the original Houdini version, which would require modifications to my stage. However, I have chosen a method that I came up with on my own, but alas, as happens often in the magic world, I have now seen another magician (on YouTube) using this method for the Wall. Of course, he is not doing it in miniature, but the principle is the same. This is pure coincidence. But I have no qualms about using this method as I came up with it independently.

I am looking forward to acquiring the materials for this illusion. There is a Florida company called MiniMaterials that makes and sells miniature cinder blocks in various scales. These are the real thing, only in miniature. They not only carry the cinder blocks, but the mortar and mini trowel as well! Mortaring the blocks onstage would be time-consuming and not particularly cost-effective, but given the right performance situation I am tempted to try it, at least once. I would love to give the wall out as a souvenir at the conclusion of the illusion!

Dollhouse Lighting

5/9/2018

Mr. Widdle and I are finally embarking on some much need improvements to the Suitcase of Wonders Miniature Magic Theater. Beginning with the always finicky and drab-looking footlights, whose upgrade is long overdue, we have found a set of beautiful copper painted, old fashioned dollhouse lights. Their intended purpose seems to be to hang from a dollhouse ceiling, but when inverted they make for a fine-looking stage footlight. Best of all, they are battery operated!

Years ago, we had looked into dollhouse lighting for the theater, but the only kind available needed wiring and an electric supply of some sort. Instead Mr. Widdle located some battery-powered mini thumb-sized LED lights that served us well for years. But I had always hoped to someday replace them with some authentic-looking stage footlights. Well, time and technology have responded with these well-crafted and beautiful lights. Did I mention they are also magnet-mounted for easy attachment and removal? Well, they are, and it’s a delight.

To accommodate the different size and shape of these new footlights, we must now replace the wood flooring, also long overdue. We will continue to use the fine black walnut dollhouse flooring, but now it will be mounted onto a sturdy slab of maple wood, instead of poster board.

But the footlights are not all! We have also acquired two carriage lights (with the same copper coloring) that will be mounted on the Suitcase of Wonders sign. They will have tinted gels installed that will give off a lovely orange glow from above the stage. Very classy.

Last but not least, we have upgraded our apron display easel from a wooden stand to a lighted brass one. It looks stunning, and will really help to highlight the “Coming Up” signs in between illusions, as well as the “Please Take One” sign for the candy dish at intermission.

These new lighting improvements are making me consider performing more often in darker situations. After all, this programme is billed as an evening stage show.

A Visit To The Holographer’s Laboratory

5/9/2018

Last Saturday was a beautiful Spring day in NYC, so of course I decided to bring my oldest son (age 11), to see the underground Holographic Studio, located in Gramercy. The Studio is described on their website thusly:

“Located in a former blacksmith’s forge, the world’s longest operating gallery of holography is now in its fourth decade. We have been named the Number One Obscure Museum in America by Mashable. Founded by one of the original pioneers of holography, Jason Arthur Sapan, Holographic Studios is a leader in display holography.”

Mr. Sapan, better known as Dr. Laser, gave an entertaining lecture in his unique gallery of homemade holograms (Andy Warhol turning pages in a magazine, for example) before leading the group of about twenty people down into his basement lair, where he makes lasers and holograms. We were asked beforehand if anyone objected to being in a small space with a puff of cigarette smoke as part of a demonstration. No one did, and so Dr. Laser replied, “Good. I hate those people anyway!” The smoke turned out to be a medium for the laser to be projected upon in the dark, creating a dazzling, trippy effect, even if it did leave our clothes smelling of cigarette smoke for a couple of hours.

We were also shown how holograms get made, while being entertained with stories about Dr. Laser’s commercial clients over the years. In addition, Dr. Laser showed us a compilation video of his acting work; He’s had many bit parts in famous movies and TV shows since the late 70’s. Of note is his appearance in an MTV music video for the 80’s new wave band, A Flock of Seagulls. Dr. Laser claims he is the first actor to be credited on screen in a music video.

Dr. Laser puts on a good live show. He is kind of like a brasher, New York version of Bill The Science Guy. Also funnier.

Readers of this diary (and of my book), know that I have been experimenting with a hologram-type magic effect for the Suitcase of Wonders show. It’s not really a hologram, of course, but the four-sided projection is an entertaining facsimile. Other instances of the word, “hologram” that have been used to describe media effects (Tupac performing on stage, for example) are also not the real thing - they are most likely a variation of the Pepper’s Ghost illusion from the 19th century. But make no mistake, Dr. Laser’s holograms are the real deal. Some of the more elaborate (and expensive) ones are deeply realistic three dimensional images. My son and I at first mistook them to be actual objects. These are fantastic, scientific works of art, and, like magic, best seen live, in person.

The tour of the Holographer’s Laboratory was a wonderful New York experience as well. Dr. Laser is a hidden treasure here in the city. Along with being an amazing scientist, artist, showman, teacher and actor, he is also a genuine New Yorker, as demonstrated by the several interruptions of his tour so he (rather, his wife) could feed the meter.

Tiny NYC

5/9/2018

A few weeks ago I had the pleasure to perform for Suzi Siegel, the author of a new book called, “Tiny New York.” When I heard about this book I, Smallini, of course thought it to be right up my alley. The book is a compilation of tiny things in New York City - the smallest record store, the smallest first name (“E”), the smallest Yankee baseball player. But the book is so much more. It is not merely a kitchy offbeat travel guide of tiny things in New York. Many of the stories within it are emotional and inspirational tales told from New Yorkers whose voices we don’t hear and lives we don’t know about. And Siegel has a knack for finding these people and telling their stories in an entertaining and moving way.

Being the tiniest performing magician in New York (really, the world), I was disappointed not to be included in this first edition of the Tiny New York book. However, I was more than pleased to perform for Ms. Seigel and a few of her friends on a late Sunday afternoon in the ornate lobby of my building. We traded books and became social media friends.

I really hope there is a follow-up to the book (and not just for the hope of my being included), as it is one of the best books about New York I have read in a long time. Certainly, do not judge this one by its cover!

Forward>>

Smallini's Diary

A Music Box

Symphonie Fantastique

Walking Through A Brick Wall

Dollhouse Lighting

A Visit To The Holographer’s Laboratory

Tiny NYC

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