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Nicola with the late Ching Ling Foo in the latter's carriage
in front of the Fun Ming Theater in Tientsin, China
Nicola again steps momentarily into the wings, the silver curtains part,
and Nicola steps back on the stage. He is now dressed as a Hindu Fakir,
the orchestra is contributing Indian music--but most startling of all, the
entire stage setting has been changed from China to India. The close-in
had been but a matter of seconds, yet the Royal Court of China has
been transformed into a street scene in Hyderabad, India. Again, all of
the curtains blend into the Indian scene, and all the costumes are
likewise Indian.
Nicola's own version of the famous "Indian Basket Trick" opens this
scene. Introducing several new principles, Nicola has made it a new
trick entirely, in everything except name. "The Indestructable Turban"
follows, and the scene closes with the "Levitation of the Princess of
Karachi."
After the inexplicable disappearance of the Princess into mid-air, the
curtains once more whip together for an instant as Nicola, at the
footlights, turns the Magic Carpet in the direction of Egypt. In the
twinkling of any eye the curtains part, and Nicola is back on the stage
almost simultaneously-this time in the native dress of the Royal
Egyptian Sorcerer. The entire stage has again changed, and this time
the scene is laid in the interior of an Egyptian temple. All the costumes
are Egyptian, as is the music, and of course so are the illusions. "The
Priest, the Mysterious Shawls and the Beautiful Maidens," is a
lightning-like series of transformation effects, and this is followed by
the "Egyptian Mummy Mystery," a somber and weird ritual with an
unusual twist.
For the fourth time the scene changes almost instantly, as do all the
settings, costumes and the music. This time Nicola appears as a
burlesque magician from the Argentine. A series of small feats all have
a comedy twist, interjecting the lighter vein to relieve the array of
miracles which have paraded so rapidly before the eyes of the
audience.
Into this series of Hobo Hocum rabbits and ducks appear and
disappear, gravitation is defied, and the Wonder Screen produces a
huge semi mechanical pig eight feet in height, which promptly goes
into a dance and brings down the house. As a climax to the act Nicola,
by way of explanation to show how his costume changes are effected,
appears as, three different people in three different parts of the stage at
almost one and the same time and he turns up at the finish at the place
he would least likely be expected, a situation which brings the biggest
laugh of the entire show.
This concludes the review of magic, and by this time the audience is a
little breathless in trying to keep pace with the rapidity of the
extravaganza. The brilliant settings, contrast of costumes and subtle
blending of illusions has provided the first act which literally
overwhelms the audience. But this is only a start. A specialty follows in
which the antics of a comedian divert the attention of the audience
sufficiently so as to bring them back with brains relatively cleared for
the second act. This can be described more briefly because it is Nicola's
presentation of American magic. Again the audience is treated to a
change of scene each time the curtains open, and all of these scenic
effects are different from those they saw in the first act. It is not
necessary to go into these in detail. Each scene also finds all the girls in
different costumes.
Nicola is first produced magically in his "A-B-C Blocks" illusion
which is followed by an unique comedy mystery, "The Vanishing
Chocolates." The "Pillory Escape," a rice effect, and the billiard balls
precede one of Nicola's newest and greatest achievements-"Masterpieces." In this unusual and magnificent illusion, which fills the
entire stage with one of the most beautiful scenes in the whole show,
the illusion evolves around sixteen large scale reproductions of famous
paintings by the old masters. At the finish of the series of bewildering
changes, one of the paintings designated by the audience comes to life
right before the eyes of the spectators. In our humble. opinion this is one of the finest and most beautiful illusions ever invented.
"My Lady's Birthday Presents," the "Traveling Salesman and the
Farmer's Daughter," "Furnishing a Flat," and the "Rising Cards" brings
us up to the feature of the closing illusion of the second act. This Is the
famous "Prison Escape Mystery" which has long been one of Nicola's
most baffling illusions, not only for laymen but for magicians also.
The setting is the reproduction of a real prison, with three cells, (all
elevated from the floor, of course) occupying the entire stage.
Introducing the "Invisible Cloak" Nicola twice performs before the
very eyes of the audience a miracle which approaches the absolute
limit of magical ingenuity and effectiveness.
An interval follows the Prison Escape, and to begin the final portion of
the performance Miss Lucille Roberts demonstrates her remarkable
mind-reading powers in a featured specialty act. This is followed by
Nicola's elaborate "Wizard's Dream."
In this sequence, which opens upon yet another unique stage setting,
Nicola explains how he fell asleep one evening while working in his
studio and dreamed of several great mysteries which had been thought
by magicians impossible to perform. The "Dream" is reproduced in its
entirety, complete with the performance of the "impossibilities."
Because of its unusual conception and its dramatic development, the
"Wizard's Dream" was especially praised by newspapers everywhere it
was performed.
Next came the "Eggs from the Hat," and this was followed by Nicola's
20th Century version of "Noah's Ark." At this point Nicola takes the
audience behind the scenes and demonstrates just how it is done-but of
course the ending works out differently than any one had imagined.
Nicola's version of the "Chinese Rings" followed and was always well
received. A "Spirit Cabinet," with Manifestations and materialization
of spirits, provides good background for both mystery and comedy, and
this is followed by the "Borrowed Rings."
"The Indian Rope Trick" is the feature which fills the next part of the
program. It is difficult to describe the effect this amazing feat has upon
the audience. In Nicola's version, the "Wizard" throws the rope into the
air and it remains suspended. The boy climbs the rope almost to the top
but not quite. Both rope and boy are out in the middle of the stage,
away from all curtains, and the top of the rope is in plain view. At no
time is there any covering of any sort. And there is no flash of flame or
smoke. At the command of the "Wizard," the boy disappears and the
rope, always completely in view, falls to the ground. That is exactly the
way it looks to the audience nothing more and nothing less. It
embodies several principles never before used by magicians. As one of
the large metropolitan newspaper reviewers exclaimed, "It is an
illusion which in all its elements has never been equalled on the stage
in this country."
After a giant "Three-card Monte" effect Nicola nears the end of his
performance by presenting his unique "Seeing through a Woman."
Although this effect has -- been attempted by some other stage
magicians, Nicola is still the only magician who allows a legitimate
committee from the audience to come up on the stage and sit behind
the sentry box before the young lady is mutilated. When the vicious
blades have been thrust through her neck and thighs, the doors are
opened to show her head and feet but the middle section of her
anatomy has disappeared. The back of this middle section is
completely removed, and the committee is asked to "look right through
the young woman" from the back. The young lady's torso is recovered
and returned to her at the conclusion so that the committee returns to
the audience relieved, but just as bewildered as those out front.
The "Human Pincushion," or "Iron Maiden," is presented just before
the closing number. Here is another exclusive Nicola miracle which has
been victimized by various copyists, but no one has as yet successfully
duplicated the Nicola version. It is by far the most effective and
convincing spike illusion, and the various original features of its
presentation render it a classic of magic in every aspect.
The performance is brought to a conclusion by Nicola's inimitable
"Substitution Trunk Mystery." It has been many years since Nicola first
became associated with this illusion when, as a small boy, he assisted
his father in performing it. Since those early days many magicians have
used the substitution effect in one form or another. Yet our humble
opinion is that you've -- never seen this transposition done until you've
seen Nicola do it.
Now that it's all over we can say that not only did the tour come up to
what we had hoped it would be, but that it actually surpassed our
fondest expectations--and that's saying something!
It is naturally a disappointment that The Great Nicola's tour could not
have ended as he had wished it. Originally, the plans had been for the
world tour to be climaxed by a triumphal swing through the United
States.
And a fitting climax it would have been, too. For The Great Nicola--the
man who has set box-office records all over the world, the man who
has had more command performances before kings, queens, emperors,
maharajas and sultans, than any other performer on earth, the man
whose name is, in 58 countries, synonymous with magic and all things
mysterious--this quiet and unassuming standard bearer of fine magic
wanted nothing more than to conclude his greatest tour before his
fellow-countrymen in his native land.