Harbin loved things that folded but I eliminated most of those since they were cardboard or fibreboard (often plywood) and I wanted “paper”.  I had to take a detour to UTube to watch his performance of Zig-Zag Lady.  I also eliminated mental and mind reading stuff that used paper although he had many published ideas on these. Noted elsewhere is the fact that Harbin did not publish any tricks that involved origami.  Steinmeyer used Harbin’s ideas to invent a piece using origami for the Harbin Centenary Celebration (A Tribute to Robert Harbin, “A Trick for Lillian”).

I still think his newspaper tear (can be seen on UTube) is one of the best situational presentations of magic that makes sense.  He describes both methods he used in his works (Demon Magic and “his book”).  He also had a couple of newspaper predictions that involved tearing.  Three from from his book, Demon Magic: “Some Paper Magic”, looked interesting.

Effect No. 1: “The operator takes three or four different coloured pieces of tissue and crumples them into a ball.  A shake of the hand and they are transformed into a large floral ball.”

Effect No. 2: “A sheet of yellow and a sheet of black tissue paper are taken and screwed int a ball.  Holding this ball of paper in one hand, the operator takes a pair of scissors in the other and makes imaginary cuts around the crumpled pieces.  On opening the pieces a beautiful design is shown to be cut in thte yellow, the sheet of black setting off its beauty.”

Effect No. 3: “Three pieces of paper are taken and torn into pieces.  On being screwed into a ball, the change in a flash into a fancy box which dangles from the operator’s finger on a ribbon.”

His floating ball of paper redescribed with improvements in Lewis’ book is fun and I’ve thought of using it if I would take the time to choreograph it properly.  There are ten paper cutting designs in Something New in Magic.  And there are two torn and restored tissues or strip of tissue.

All together a small contribution to paper effects that could be used if updated to contemporary themes.

Note on Harbin books:  his previously unpublished book, Magic Marches On, is included in The Davenport Story’ Series Volume Two: ‘The Lost Legends, available from Viking Manufacturing Company and others.  It is on my list at $140 when I get around to add to the collection.  Also included are lost books from Edward Victor (late 40′s) and G. W. Hunter (1880).

Every year after the season closes I review the show and comments in order to plan revisions for next season.  The general formula is 1/3 new stuff – 15 min., 1/3 recycled from older seasons – 15 min., and 1/3 signature pieces (like “Zinger’s Magick Bottle”) – 15 min..  Pre-show, beginning, middle, climax, and encore is the framework we use for the show.  At the end of last season I did a mental review and made notes but did not put anything down on paper (paper is a good idea since mental stuff gets revised and lost); the need to put a “Victorian Show” together raised its ugly head and took over all thought.  I should write about that Victorian show, its headaches, successes, and what I learned about indoor shows that I had forgotten.

The season ends in September (unless we do Vegas in October) and I always go into “Seattle Blues Hibernation Mode” from November thru January.  Being forced to remain alert and focused during winter of 2010 upset normal behavior.  That and the main assistant’s custody battle for children that dragged on for a year really changed plans and how we adapted to changing situations.

So, here it is end of January and the 2011 season’s show has to be designed so it can be practiced and ready for the “technical rehearsal” at Boulder City NV renfaire.  Luckily that faire moved three weeks later in March in hope of getting a period of less windy weather.  But, a show has to be designed.  And we have a new “character” who needs to be fleshed out and given life.  Our merchant’s mother had been demanding more attention and home time so we moved the “merchant character” out of her shop by the side of the stage and onto the stage.  This helped solve the absence of main assistant but the smooth working and pacing of the show never quite evolved.  It was worth it as a “last season cameo”; she had wanted to get on stage for years and finally got her chance.

First, underlying theme of show has to be decided: 1) 21st century visitors assume they know what something means or what’s going on in 15th/16th century, but their modern connotations don’t actually fit; and 2) the term “wits” means “senses” in 15th/16th century and the world was view from personal experience devoid of assistance from machines like the telescope, microscope, or other precision scientific stuff.  Those two themes will underlie the show: “it ain’t what you think it is”.  That theme was shoved to 2012 but had a year to jell since we hoped to test new ideas using it.  Theme became more “I’m going to regret having a blood sucking merchant scum on stage”.

Second: what new stuff might be added has to be analyzed.  We’re thinking of doing a variation of Jim Steinmeyer’s “Thru A One Inch Hole” as the new “illusion” (people sized effect) — never actually moved beyond the prototype stage with that illusion mainly because three weekends in Utah was without both the main and second assistants and it seems counterproductive to spend the time developing a routine we would not have a chance to polish,  attempt to get the “Dragon Kite” and the process that produces it finished – I sometimes fear it will never get done since main assistant’s insights into building puppets are needed to iron out the bugs of that project, perhaps complete a routine involving a “card star” but using small swords – that’s been moved to 2012 schedule for building and then we’ll see how it develops , and at least do some testing of a large “nest of boxes”/”shooting from cannon”/”rabbit wringer” illusion — had good chance to test concepts and figure out critical dimensions for that huge illusion which resulted in putting it way on the back burner, however there are drawings, blocking scripts, and rough acting script.

Also need to revise “formal opening” so the theme can be subtly introduced; Steinmeyer’s use of an Okito move (“Black Confetti”) might make a great piece if we can add two more to complete a routine – a year of thinking made that routine easy to put into the 2012 show and we found a couple of other confetti effects that can be modified.  I tend to believe routines are best when composed of 3, 5, or grouping that divide into three (see Tommy Wonder’s thoughts on that).  The whole “formal opening” is being rewritten for 2012 to both shorten it and focus it on the fact that the audience is in both the 16th century and the 21st century, their minds in the 21st scientific mode, and their imagination jumping back and forth.  That jumping back and forth is the essence of magic — it can’t or should not be able to be done with what I know, but I just saw it happen.

Added a new piece from Martin Lewis involving audience volunteer reading audience’s mind by peering into a crystal ball (“scrying”).  Worked it around the life of Dr. John Dee who was major player in Tudor Era who was until recently written out of later histories.

Third: What stays because of “signature”.  ”Bottles” and “Humid DeFier” — and the ‘in the hands coins across” routine.  Spent more energy and time on the pre-show cut and restored rope piece routined around a shepherd taking sheep to market.

Fourth:  Recycle and revise.  ”Spit on It” since we’ll be juggling troupe members throughout season – used, “Imagination” maybe – usually used, “Classic Revealed (Rings)” as a quasi signature – used, “Lord Fredrick Carver (H’wy Signs)” – used, maybe “Privateer (Gypsy Mystery)” – never performed in 2011 even though we had cast in Utah rehearse it, and a new version of both “In the Wind (torn & restored)” plus “Thanksgiving (rice bowls)”.  Torn and restored piece moved from concept to “this might work” but dropped out after that.  Three weeks in extremely foul Utah weather (winds up to 70 mph and rain) showed how difficult outdoor work actually can be.  Rice bowls became the usual climax/closer.

Since we probably will have visiting artists at most faires, we need to have 10 – 15 minutes that can be filled with their work; that means we need to be able to drop same amount of time.  Three weekends at Utah renfaire will have a sub-trunk – dropped this and maybe a cameo/walk-on something.  Two weekends at Midsummer WA will feature effects from “The Polish Alchemists”.  Alchemists made it to both Greenwood and all three weekends of Midsummer with new material.  Utah became more of a “we can do this despite the weather”.  A non-period “umbrellas through assistant” routine was tested during one weekend at Midsummer, it will take work to fit into Tudor era but may fit into 2012 whenever the Utah group is available to perform in the show.

Zinger got a chance to audience test a new character for a routine during Midsummer.  Italian commedia dell’arte speaking broken English and enjoying himself might work with the movement to a “one man show”.  Working in a mask and having to make the speaking parts understandable are the real challenges beyond the step off the edge into humor.

The concentration changes, one year Karl Germain, David Devant, Okito, Robert-Houdin, Jim Steinmeyer, Eric Lewis, Robert Harbin, Tommy Wonder , Daryl Fritzee, and onward.  Tarbell and Hoffmann are special cases but their style of writing gives hints to their approach and thinking.

About January I create a list of the routines, types of routines, and concepts that I might want to learn.  There is a difference between know/learn/understand/perform/keep.  Like most people interested in magic, I want to know how things are done but don’t want to do most of what is out there.  Some of the routines I want to learn in order to follow how they are crafted together, some of them I want further study and (perhaps) practice in order to understand the subtle points that make them workable.  The list gets narrowed down to a few that I’m willing to perform privately or publicly.  And a minuscule few enter into my repertoire as “keepers”.

In the fall I started active working on previous decisions to include in the 2012 show: a major routine from Lewis and Okito’s thinking (it’s a card trick of sorts) is in prototype stage (large Tarot cards) with most of the script developed, one is being scripted (involving oranges) since it involves minimal apparatus,  and two from Steinmeyer (confetti) are being adapted for the opener and closer.  The confetti pieces require finding the right bowls and glasses plus another rewriting of the script so one foreshadows and the other  reviews what happens in the show.

Jeff Dial (NWRF president) provided a list of 12 themes for 2012, one theme each meeting.      This list looked like a good way to find, learn, and possibly perform a new (for me) routine each month.  Forced learning and development of twelve routines seemed an doable challenge since I’m seriously looking at branching out into different venues and characters.  Performing an “unformed routine” (not yet mine) at Ring meeting would be a challenge but doable if I was not doing anything else for that evening.

Looking at Okito & Steinmeyer’s thoughts (this and last winter’s concentration) revealed about 50 routines that appeared interesting, 20 were ones I was willing to spend time learning,  a dozen I could understand and adapt enough to perform, and five or six of those I might develop to reflect my characters instead of just lip-syncing Lewis, Bamberg, or Steinmeyer.

There are three themes that require little preparation.  Learned from print — I rarely learn anything from DVD or video so most every one one my list fits here and I’m on the road for that meeting.  Worst effect bought — I’ll have to dig something out of the junk drawer.  Same effect all night — I’m waiting for Jeff to announce what that is so I can learn or develop a unique routine for it.

Borrowed deck of cards — yuck, but I found one that had a twist that would fit the “rules”. Paper — bill counting, printing money, several newspaper tears.  Forcing — two dictionary tests that will go to October’s mental theme, so maybe a prediction; more of an education & understanding of choice/force/reveal, especially with the CAAN concept popularity.  Liquids — an Orsen Wells’ force/choice from last month, modified Devant’s teakettle, and a cocktail for Joy.  Cutting & slicing — still unknown but don’t want to do cards.  Food & supermarket — two involving oranges and fruit.  Mental & bizarre — two dictionary tests.  Requires assembly — three construction projects with concentration on Doug Henning effect.  “Never done this before” — still searching for something presentable for the “classroom style” environment of the IBM club meeting since I’d rather spend the time developing something for stage that requires different space and distance considerations.

Three years ago, during Steinmeyer’s comments at the Magic Circle’s Harbin Centenary Celebration, he related a conversation with Lillian Oppenheimer, who brought paperfolding to America, “She interrupted the conversation to point out, ‘You know, I think that Harbin also did some magic, didn’t he?’  The fact that Ms Oppenheimer could make this remark, and I could find it funny, is evidence of jus how important Harbin was in these two different fields.”

“The Magic of Robert Harbin” (1970) remains a collectors’ item at 500 copies because Harbin willed his books’ copyrights to the British Origami Society who honored his wishes not to reprint this one; BOS passed that wish and copyright to the Magic Circle for safekeeping.

Harbin’s hands were seen in 1955 on BBC in six shows (“Mr. Right & Mr. Left”); the hands “made an origami figure, then repeated it slowly step by step while he gave verbal instructions.”  Eric Lewis relates that Harbin commented that “he had made more money from the publication of his Origami books than he ever did with magic.”  Harbin died in 1978.  Origami, also published as Teach Yourself Origami and Origami 1, is qouted as selling 750,000 copies in the 1976 impression by Coronet Books. The 1976 version was the 25th since the first impression in 1968.  Origami: the art of paper folding, by Robert Harbin, originally published as Teach Yourself Origami, Hodder, 1969.  The sales of Robert Harbin’s Origami books published by Hodder paperbacks exceeded 1 million by 1978 (see BOS magazine, number 69).  Paper Magic, Oldbourne Book Co., 1956. is often suggested as the most influential Western origami book.

Harbin’s Origami Books

[This list is from several British sources, compiled for collectors, and maybe a few years out of date]

Robert Harbin’s first paperfolding book was “Paper Magic” published by the Oldbourne Book Company, a division of Express Newspapers Limited, of London, in 1956. A paper-backed edition was published by J.Maxfield Limited for many years, but appears to have gone out-of-print.

Harbin’s second book was “Secrets of Origami”, originally published in 1963 by the Oldbourne Book Company. It was reprinted in another hard-backed edition by Octopus Books in 1971, but was for long out-of-print. A new paper-backed edition was published by Dover Books Inc. of New York in 1997. This has corrections to the instructions and a new Introduction and new Preface. It is still readily available available.

Harbin’s “Origami, Step-by-Step” was published in a hard-backed edition by the Hamlyn Publishing Group in 1974. It is notable for including many of Patricia Crawford’s models. Dover Books Inc. have also recently republished this book in a paper-backed edition and it, too, is readily available.

“Teach Yourself Origami, the Art of Paperfolding” was originally published as a hard-backed edition by The English Universities Press, a division of Hodder and Stoughton Limited in 1968. A paper-backed edition under the name “Origami, The Art of Paperfolding” was published by Hodder Paperbacks in 1968. The following year the title was changed to “Origami 1″ and the book is best-known under that title.

“Origami 1″ was followed by “Origami 2″, “Origami 3″, and “Origami 4″, all of them issued in paper-back by Hodder Paperbacks. “Origami 4″ was published in 1977. Soon after is was published, Hodder and Stoughton were taken over and with change of policy the whole series was discontinued. Consequently, few copies of “Origami 4″ were ever sold and it is now eagerly sought after by collectors. “Origami 3″ is also quite difficult to obtain second-hand.

In 1980, Hodder and Stoughton reissued “Origami 1″ , still as a paper-back, in their Teach Yourself Series, with a new historical intoduction. It remains in print today. Unfortunately the other three books in the series have not been reprinted in Great Britain.

“Origami 1″ and “Origami 2″ were reprinted as paper-backs in the United States. “Origami 1″ is now published in the United States by Harper Perennial, with the new historical introduction. It goes under the title: “Origami, The Art of Paperfolding”. “Origami 2″ was published in the United States by Barnes and Noble Books, a division of Harper and Row in 1982 with the title “New Adventures in Origami”.  “Origami 3″ and “Origami 4″ do not seem to have been published in the United States.

A hard-backed edition of “Origami 1″ with coloured plates was issued in 1973 under the title “Illustrated Teach Yourself Origami” by Brockhampton Press, another division of Hodder and Stoughton

Various numbers of the series have been published in French (in Canada), in German, in Italian and in Hebrew and perhaps in other languages. Two shortened booklets were published in Swedish. Some of the foreign-language editions may still be available. I believe this is true of all four books in Hebrew. I understand that “Origami 4″ in this series is slighly shortened, but this is one way of obtaining a copy of the coveted “Origami 4″. Needless to say, a knowledge of Hebrew is not necessary to follow the diagrams.

The only other book by Robert Harbin solely devoted to paperfolding was “Have Fun with Origami”, published in both hard-backed and paper-backed editions in 1975 by Severn House Publishers Ltd. in conjuncion with Independent Televeision Books Ltd. It contains many simple models sent in to Robert Harbin in the course of his origami series on the Independent Television “Look-In” programmes for children

Robert Harbin also wrote one or two other books either solely about paperfolding or containing paperfolding, but the above are the main books for the serious paperfolder. His “Paper Folding Fun” (Oldbourne, 1960), despite its title, disappointingly contains very little paperfolding, but is a book of paper tricks and puzzles and paper-cutting. “Party Lines” (Oldbourne, 1963) is another collection of tricks and puzzles or a more general kind and not confined to paper. However, it contains a short section on origami with eight models and also sections on Handkerchief Tricks and Napkin-Folding.

The basic note for January’s theme was, “Be ready to perform a trick with a borrowed deck of cards.”  This raises some interesting subtleties and magic is all about assumptions and subtleties.

“Deck of cards” usually assumes a standard poker sized, 52 cards, probably Bicycle deck, red or blue backed; but, that’s not the only deck out there that might be borrowed.  What do we do if the deck we are given is not “standard”, perhaps one of the Tarot variations or a pinochle deck or a strangely shaped deck?  A full tarot deck contains 14 cards in each suit; low cards labeled 1-10, and court cards Valet (Jack), Chevalier (Cavalier/Knight), Dame (Queen), and Roi (King), plus the Fool or Excuse card, and 21 trump cards.  A pinochle deck consists of two copies of each of the 9, 10, jack, queen, king, and ace cards of all four suits, for 48 cards per deck.  I don’t even want to visualize the popular Japanese, other cultures, and fantasy gaming decks that might be offered.  I have circular decks and lozenge shaped decks plus various sizes of “regular decks” (Jumbo & larger).  Perhaps we need to be able to use any deck at any time if we want to save face.

At the very least, a “pick a card” trick requires knowing what or where the card is and a way to reveal that.  The dramatic challenge/tension comes in the difficulty created by mixing up the cards.  The enjoyment comes in the clear way the routine is outlined.  Most often the delight comes in a clever revelation (“Card On Ceiling”, “Stabbed Deck”, etc.).  I’ve found the simpler manipulations work for me but a basic list of “you should know how to do these moves” could be created [and argued about].  I don’t believe a show of unbelievable skill is required for a “show me a trick” effect [why come off as a egotist] — great skill can be shown if another trick is requested.

My poker deck tricks

I have two tricks I do with any Anglo-American poker deck: “Chinese Laundry Trick” (probably from Henry Hays) and “They Know Their Names” (an modest adaptation of Lewis Ganson’s “My Name — Your Name”, Routined Manipulation, Part One, 1950, pages 91 & 92, which Ganson adapted from Dr. Daly’s “Ad Lib Spelling”).  I probably know dozens of dozens other outlines for tricks but don’t have a “priceless” routine to go with them so don’t perform them, the sleights/mechanics are not a challenge but rather when, where, and why I would perform them is the stopping point.

Chinese Laundry Trick

I should check to find where I first learned this but since it was included in my “audition” for the Seattle Magic Ring about 40 years ago I assume it was from Henry Hay’s books.  SMR used to require an audition and I resisted joining mainly because it was a “men’s club who did not allow women” (MagicGals met separately); I finally decided to change it from within and did join.  I remember Seattle’s Society magician Harvey Long’s jaw dropped with this simple card trick which shows either the presentation was good or he was impressed.

“The first card trick I ever learned was from a fellow who ran a Chinese Laundry, he could clean anything and remove the most challenging spots.  Since he was so good I asked him if he could remove the center spot from a Three of Diamonds.”  {show Three of Diamonds on face of deck}.   “Simple he said, just rub it once, twice, and three times.”  {on third rub pull card off deck, show Two of Diamonds on face, and don’t hide the stolen card too well, I rub my eye with my forefinger and point to face card}.  “You are not impressed, well neither was I, he never told me what to do with the spot.”  {show card hidden in hand is Ace of Diamonds and show how it could be the center spot of the Three of Diamonds}.  “I studied hard and finally found there is a way to remove all the spots in a deck.” {reverse spread cards in fan and cover the Ace spots/pips with thumb}.

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It does require a bit of setup but since it is a stand up trick that setup can be done while standing and moving around.  The Three of Diamonds has to be placed on the face of the deck, the Ace and Two of Diamonds plus three indifferent cards need to be placed on the top of the deck. {indifferent, indifferent, indifferent, two, ace, rest of deck}  A very large break is held so you can push the five cards from the back into the fork of the thumb on the  second rub using the forefinger, move block to the face, and on third rub pull Ace off face.  The rest is all character acting except the reverse fan which takes lots of practice to hide all the pips, get the thumb over the Ace’s spots — and most challenging, to get the hand in an unnatural but necessary position to show the blank fan.

It is not the greatest trick in the world but quickly shows surprise and then skill handling cards.  A quick shuffle and it also leads perfectly into the “spelling trick” I almost always use to finish the set.

 They Know Their Names

{shuffle card and glimpse top card}  ”OK, a regular card trick.  All good card tricks require that the magician either knows what the card is or where it is, so we’ll eliminated both of those possibilities.  When you are offered to ‘pick a card any card’ ask that they use the ‘mechanics grip’ since it is makes it impossible for funny business.”  {show grip}  “Make sure they hold the cards like this and move their thumb down the edge since there is no way to force anything.  Then say stop.”  {separate deck and point to cards}   “There are four cards you could choose: the top one (chancy), the bottom one here or the bottom one here (we see what those are), or this one you stopped on.  Take that card and don’t let anyone else see what it is.”

“OK?  Let’s go, tell me when to stop.”  {side slip}  “Do you want top one, this one we can see, that one we can see, or the one you stopped at?  Take it out, look at it, remember it, and put it back — go ahead and shuffle them.”  {push deck into their hands}

{take deck back, shuffle or not, palm top card}  “Some people think I took your card out like this but I would not do that.”  {show palmed card, turn over, and put back in deck}  “As a matter of fact I don’t know where your card is, do you?  But it is still in the deck, let’s make absolutely sure.”  {thumb through cards face up, find card, count out its name with cards, note card at end of name, spell out its name with cards, separate pack}  ”Don’t tell me when you see it but make sure it is in the deck, is it in here?”  {might need to add more cards to count or take break if person wants more cards shown}

“It is there in the deck.  Do you know where it is?  That’s OK, I don’t either, but the card knows where it is.  These are smart cards, they know where they are, they know their names, and they know how to spell them.  If I would to call out one of their names and do this little riffle, that card would jump to the end of its name.  Let me show you”.  {name second card, riffle, deal one card from top for each letter of its name, turn over the last card}  ”That wasn’t your card was it?  Good.” 

“What is the name of your card.  The ——– , OK, riffle and one card for each letter of its name.”  {name of card, riffle, deal cards, pause at last card, turn over}  ”These are smart cards, They Know Their Names.”

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It works for me because all it takes is presentation and simple manipulation if glimpse, side slip, and a palm can be called manipulation.   {glimpse top card, slip force it, shuffle, palm top card & show, go through deck and count cards from glimpsed card for name, count cards from end of name, cut deck, spell name for 2nd card, spell name of forced card}.  It involves the audience member, is not too complex, seems to teach so admits the volunteer is capable of thinking, and is somewhat whimsical.  It starts with the focus on the audience member and my hands, changes from serious and tense to relaxation, moves to a wide focus, revelation, another relaxation, and builds to a much wider climax without going over board.

Craig deserved award for work on newsletter.  Pleased Hugh received Pomeroy Award but I’m still not accepting change from “Professionalism in Performance” to “… and/or Creativity” — every president/board views that award differently, it does not need to be awarded every year.  Evan’s work on lectures is noteworthy.  Club is changing and maybe we’ll get to acknowledgement of  performances for the public and advancement of the art in the region — however, we have to recognize advancements of members and can’t keep giving the same few awards.

This year a last minute substitute program of Brian Cook and Master Payne replaced a hoped for extended visit by Jeff McBride.  I’ve learned to take away some observation from most LIVE magic performances unless they deserve ignoring.  (Feel I’m channeling John Pomeroy’s disdain for those who foist practice on the public without permission.)  Brian and Payne did acceptable presentations.  I wait for the rare wit to emerge from Payne and cherish the times he just lets it sink in without comment.  Tommy Wonder philosophizes on that.  Brian plays to a solo drummer with his wit but he is maturing.

Took three notes:

• Color changing fan with modification would work well for connection & transision device.
• Classical and medieval minds actually had six directions but it took René Descartes to describe them.
• If use light bulbs make VERY BRIGHT so they can be seen.

Decide that I’d jot down more snippets and thoughts and then put them into more polished pieces instead of leaving them to vaporize in my mind’s filing system.  Therefore there will be more posts and hopefully more organized pieces plus some polished connections.  Also will play with theme and layout of this blog (include fixing bugs let in with updates) to reflect what it contains.

This is a rough rambling, long, train of thought writing — depending on when you read it, it will get cleaned up, cleared up, expanded, and edited down to size.  Thought I’d grab thoughts since they follow one way a routine develops.

First Challenge or reason for doing
I assist a startup renfaire by committing to several years of “charity fees” or only charging expenses; this is my way of helping to grow the field with hope the faire will prosper and eventually pay standard fees (Utah Renaissance Faire is a success story of this approach).  I only do one charity faires a season and it salves my conscience for raising fees to established faires.  Canterbury Faire in Silverton OR is now in its second year, it is a two weekend faire, and in 2009 I had agreed to two years of “charity”.  However, this year I will be absent the second weekend in order to attend a family reunion; therefore first challenge is: troupe performs without Zinger the second weekend.

Joy and Jesse Knight run “Gypsy Realm Productions” who supply puppet shows and storytale creatures to renfaires.  They grew up doing puppets and have run Gypsy Realm for years.  The two companies mingle performers.  Jesse started as Royal Magick’s on-stage helper and moved to main co-performer but is taking a couple of years off concentrating on raising young children and Joy started as an outside director and backstage manager but quickly jumped to on-stage co-performer when I “leaned down and shook up” the troupe.   Royal Magick has co-performers — there are many stars, the work is done in concert with each other, most secret work is aided by other than the featured person, etc., etc.   In order to accommodated both companies Jesse has performed Puss & Boots when not on stage and co-stared as Puss on stage; in Fall 2009 Royal Magick and Gypsy Realm traveled to Folsom renfaire and completely wore out Joy with both companies’ shows on Royal Magick’s stage.

Jesse and I have talked for years about a puppet Geisha in a Tea House performing magic, went so far as doing research and brainstorming ideas;  Joy and I have started brainstorming outside of the Japanese themes.  Canterbury’s second weekend challenge suggested combining puppets and magic.  We agreed that the first weekend we could do magic and some puppets and the second weekend would be puppets and some magic; Nancy White, Canterbury’s producer, also agreed to the arrangement.

Second Challenge or reason for doing:
I nicked my left forefinger building an illusion prototype for use at Utah renfaire and the healing process basically cancelled that illusion for 2010.  We had developed several new routines which we audience tested at tech rehearsal, Boulder City NV renfaire; that rehearsal weekend revealed  those new routines (when up to speed) could make an almost brand new show, but there was a 7 – 10 minute routine needed.  We had shelved two successful routines to give us the time to work out bugs and instead of adding them back, we decided to attempt a “new show” by finishing the second part of the opening effect and developing one more new routine.  Why not solve Canterbury and the new routine by doing a puppet and magic routine.

Light bulb and Third Challenge or reason for doing.
While thinking about Canterbury and puppets and having nothing to do with Showtime’s “The Tudors” Series, I decided that Herman’s Hermits’ song, “Henry the Eighth” would be a great way to introduce a puppet character.  Skinny character marches on stage, interrupting what I’m doing, and forces me to sing or sing-talk “Henry the Eighth.”  Great chance to improvise according to audience’s reactions.  Move several days of talking to myself and there is a “princess of seven or eight” (“seven times before” and “eighth old man”) holding up cue cards.  Remember,  I don’t do kids and I don’t do “can’t control the action” magic — why do completely push my limits and put myself where I have to do both.

Background idea research and brainstorming
So, I have a seven or eight year old girl on stage and we get to be interrupted by a puppet, and we have to present good magic.  A quick run to David Kaye’s “Simply Silly” book which I consider the outlined bible for working magic with children.  After listening to David talk and explain his approach I’ve glanced at his thoughts in order to both know why I avoid children and to be able to talk and consult with friends who do work with children.

A couple of mornings reading while waking up plus daytime note taking suggests: costumes for child, playing as if it is real, let child have power and possibly feel they do the magic, the journey is more important than the climax, simple story line stated at the beginning of magic, use exaggerated props, have magician in trouble, encourage interaction from audience, don’t recognize trouble, become non-powerful person, physical movements, and pages more notes.  I’m torn between doing a children’s routine and a routine with a child — decide to do compromise, usual approach where magic happens but incorporate David’s approach to focus on child having fun doing magic — our shows are for thinking adults who might bring children, this routine appeals to the child in everyone and lets adults with children enjoy the child (and our professional handling of discomfort).

An aside is necessary here
Many years ago a friend was dying of lung cancer and ask me to take over his successful children’s and birthday show business.  He had built a successful repeat and refferal business which he hoped would be there if he survived; I’d get a percentage of the fee for performing and he’d get the rest since all the background work was his.  ”John, I don’t like kids, why would you want me to do that?”  He replied, “The reason you don’t work with kids is that you respect them too much; I want someone who respects kids to do my shows.”  Most people don’t know I performed countless children and birthday shows for almost a year until he died.  I gave his show and props to Jesse and have always thought hard about what he noticed about children and Zinger.

Back to the development of the routine.  I need a princess of seven or eight, get her on stage and dress her in some sort of costume (tiara, cape, something else), coach her on meeting a historical figure out of her grandparents’ past who must have lived in the Renaissance since they are so old.  In marches Henry, the Eighth, and we do the song bit with the “7 and 8 cue cards” at the appropriate time.  Then puppet insists we do magic.

How does one do magic with a marionette?
Joy would control the strings and felt that she should be in black covering following the [find Japanese word] tradition.  She could supply the voice and I could repeat if needed for emphasis or humor.  Magnets and possible electromagnets could aid in grasping and handing off props.  Therefore, the props needed to be simple which suggested the routine be self working or at least very little manipulation of anything.  Smack in the side of the head here because this approach is an egotistical magician’s thinking — actually Zinger becomes “the assistant” while the puppet and girl become stars, assistants do most of the dirty work while the attention is elsewhere.

Props need to be simple enough that the girl and puppet can handle them, any manipulation will be done by Zinger while attention is on “stars”.  I first thought of a number related card or poster-board effect using “sevens and eights” or a dice effect since the opposite sides add up to seven or some mentalist thing.  Rejected since the impact did not seem worth the time, too complex of storyline or details, and the journey might not be fun and worthwhile.  So I fell back on a suggestion from Silly Billy’s book — mis-made flag.

Mis-made flag
Most mis-made flag routines use some sort of change bag which offers an enormous challenge considering I want the puppet and girl to handle that prop or to minimize how I handle it — need to keep the attention focused on the stars instead of me.  May have to work on story and interaction to accomplish this.  Back to writing down and storyboarding the routine so I don’t go too far off track solving problems before I know flow and climax of routine.  How I address change bag issues is later.

Mis-made Flag — take several (usually 3 or 4) scarves and put them in container but drop one without noticing, combined together they show that one scarf is missing, add missing scarf but now result of blending is incorrect, try again and correctly produce flag.

Four scarves production
This means I need to produce four scarves, I like four better than three although American Flag routine only uses three (Bruce Johnson joggled my memory)  – could just pick them up or do modified “Spit On It”.  Easily produce two scarves with regular “Spit On It” introduction; could produce third scarf by stealing two for second production and producing them one by one.
How to have girl produce fourth scarf?  One of the funny parts of “Spit On It” that causes parents problems is that I teach children to spit in their hands.  If I took tissue from box and had child put “nothing” into it and then spit on tissue, interesting solution and approach.  Most tissues are small and so could use small silks, hey the girl is small, we’ll make it bigger in a minute.  Then I could wad that tissue up so child never handles “spit”.  Bobo Exchange with small silk could put scarf into child’s hand which she then opens to produce their own scarf — could work.  All steals and disposals could be handled with attention control since silks and tissue are small enough for finger palms.  Success, I have Royal Magick method for producing four scarves.

Change bag issue
Many change bags use the “operating handle” method to switch sides of the bag.  However, “Mutilated Parasol” uses a handbag method where the “handle” is on each part of bag.  Much thinking resulted in realizing there can be three compartments in a bag controlled with four “handles” if handbag method is used.  Ask me how it is done if you are interested, otherwise just assume there are three compartments instead of just two.

Four scarves go into empty compartment of change bag.  Write business so one gets dropped or not put into bag without Zinger noticing and Zinger ignoring anyone who tells him differently.  Lots of David Kaye’s suggestions into this part.  Withdraw combined “flag” which has blank spot where missing scarf goes.  Lots more interaction which gives audience and child power while over-bearing Zinger gets frustrated.  ”Blank spot” flag into empty compartment (where it came) and withdraw “incorrect version” flag.  More interaction with possible “forgot magic words and use of wand” interaction.

Tear incorrect flag and move back to in hand magic
At this point I wanted to rip the flag into four pieces and do a Blendo since I feel it is a better ending to the flag routine — it happens in the hands instead of in the already questionable bag.  (Velcro would make it easy to take the flag apart –Bruce Johnson recommended several more workable ways instead of velcro.)

Duane Laflin’s extremely workable Blendo is outlined in Bruce’s  ”Creativity for Entertainers” triology.  Bruce has always had my greatest respect as a friend, creater, performer, and teacher; I recommend the “Creativity for Entertainers” trilogy for magicians, especially those who can get past their prejudices about clowning.  The details of handling are in Bruce’s books and pamphlets or from Duane Laflin.

The challenge here involves revolves around attaching a small bag to the group of four sections of the disected flag; can be handled by attention management.  Realized here that Joy is in black operating the puppet and has convinced audience that she is invisible.  This is a perfect body load situation and only need to figure how to steal bag from Joy.  Bruce confirmed that bag would actually be quite small.  Do Blendo to produce correct flag.  Hopefully figure how to have girl help.

Make girl big star
The whole focus of this routine is to make the girl the star and have her do the magic, hopefully in her hands.  Remove and ditch bag with four scarves and steal another bag with large flag.  Gather small flag together, do bag move, and have girl hold ring attached to one corner of big flag — produce big flag with girl holding one corner.  Steal bag ready to ditch it on Joy.

Do something with large flag, give gifts to girl, thank her, have her take another bow.  Everybody exits.  End of routine.

What are challenges for Mis-made Flag and Blendo Routine?

• First one is to make what we are going to do very easy to tell audience up front.  Seems violation of “don’t tell climax” rule but Silly Billy insists that doing this at beginning is best way for children of this age to follow and enjoy journey (“journey is more important than effect”).  Since we are doing more than just taking four scarves and making flag this “up front description” is not a problem.  So, this description is “let’s produce scarves and make flag of those scarves”.
• That points out we need to have them know what the resulting flag looks like which is another challenge.  Since Zinger’s Royal Magick has a “brand or logo” this could be the flag, we just need to refer to it so it is obvious that several things go wrong.  (We also could have a very small flag to give to child as gift for being magician and assisting.)
• Create something with logo on it that is on stage (banner, board, flag, something).
• Need to create big flag, smaller flag, incorrect flag, blank space flag, and find four small scarves the colors used in flags.  Bruce Johnson can help with advice on creating, painting, and dying “scarves” and actually has a pamphlet on that.
• Blank spot flag and incorrect or tear-apart flag  are twice or a little larger than four scarves from which they are made.  Correct flag might be slightly large than those.  Big flag is stretched between Zinger and child so can be as large as wanted.
• Black bags to go onto Joy’s costume and where to place them should be minor issue.  Attention control and blocking in order to get into correct position will be management challenge.
• Making the change bag  easy to control by puppet or minimizing Zinger’s involvement is major challenge.  Using change bag should be no problem after that.  Tear apart incorrect flag might give problem getting out of bag so those two creations relate to each other.
• Where and how to hang big flag while keeping attention and praise on girl is challenge.  This is climax or cleanup after climax issue.
• Giving gift, thanking girl, having her take another bow, and exiting are minor challenges.
• Scripting so routine is flexible and can go with flow will be major challenge.  But that’s the point.

That all the thinking at this point
Hope you enjoyed the thought process of this routine development.  I’ll update on how routine actually works and what changes happened.  Let’s hope it works for Utah Renaissance Faire.  (Otherwise we throw full “Spit On It” back into show with the preparation time involved with that tested routine.)