Tops Article



One Hundred… and Counting!

Some folks who apparently have the time for this sort of accounting patience have combed the voluminous files of the Colon archives and determined that this particular offering from me is the one hundredth column I have offered up for readers of Abbott’s publication. You armchair economists out there are no doubt well aware of the financial generosity of the Bordner family and can realize that these multiple decades of submissions means that my declining years will be free of any monetary concern as I continue to cash the handsome residual checks drawn on the Abbott account at the First Bank of Colon.

From time to time I have been approached about assembling all the “Subject: Illusions” articles into a book, but I have never pursued this concept. I am aware that a number of magicians have already done this on their own as I have seen their homemade, photocopied, bound volumes of just my writings over the years. What about a “Best of” compilation? Well, I think that would be a fine idea because it does not suggest that what I have written is necessarily great; it just collects the columns that stand out when compared to all the rest.

After all, even a virtually talentless Hollywood director like the lamentable Ed Wood, Jr must have one film that is his “best” no matter how woeful that motion picture is (And, let’s face it, that picture is likely Plan 9 From Outer Space, Glen or Glenda? or Bride of the Monster from his many, many dreadful efforts).

As I have often openly admitted, I am ashamed of some of my first columns. I might not disagree with their informative content, but I take exception to the arrogant tone of my writing. In my defense I was only barely older than a teenager and felt that owning a few more Abbott-built illusions than was common meant that I must know more about magic than just about anybody else.

Almost four decades later I realize now that I have learned much more about magic, but still have no claim to being one of the art’s founts of knowledge.

However, I do now have experience… lots and lots of experience. Never underestimate the value of someone sharing experience. Listen to what he or she did wrong and try to profit from their errors.

In terms of response from TOPS readers the two columns I penned about my distaste at clowns performing magic drew the most letters both to me and to then-editor Gordon Miller. I am happy to remind everyone today that the comments were almost 100% positive, but I had absolutely touched on a hot-button issue.

As I recall I had been hired to perform a small show at an out-of-town summer festival in the “Kids’” or “Family” tent. I arrived about an hour before my show. I had brought what I thought was appropriate material for a youngsters-and-their-parents audience. My show was to follow the appearance of a local clown.

This fellow certainly looked like a clown with a white face, a frighteningly red wig, a polka dotted oversize outfit of garish colors and a pair of shoes that would allow him to slalom if he were inclined to ski.

His act, though, was composed of magic tricks and many were essentially the same ones I had brought along. There was no time to return home to pick something else and so I was left to suffer the chants of “We saw that already” from time to time during my performance.

The depressing experience forced me to inquire as to what do clowns “do?” They obtain make-up, wigs, costuming, big shoes, a novelty name (Buttons, Mr Jingles, Crap-O), but somewhere along the way forget that they need some form of entertainment.

So, magic is selected. After all, it’s “easy.”

“And, if I can’t do the trick it will even be funnier,” they reason, forgetting that comedians like Spike Jones were funny because he really could play the music.

I received so many letters from magicians who had similar experiences that I submitted a follow-up column which, in retrospect, only added gasoline to a roaring fire.

A couple disgruntled clowns spread the word through their affiliations and publications and Seebach was immediately on their “Most Wanted” list.

Another thread through my decades of writing has been my belief in calling to task magic’s biggest stars when their performance has not been up to their reputation.

I was very critical of several of David Copperfield’s televised “big event” illusions (?) that ---to me--- were not magic acts at all, but just Hollywood special effects.

My criteria for magic is that the effect must be one that can be performed live in front of a real audience. Clearly, several of David’s offerings stretched that definition beyond its breaking point.

I enjoyed reviewing the shows I witnessed in my travels and writing about the interesting and colorful characters I met along the way.

But, it always came back to the inside view of actually performing the major stage illusions that most magicians only read about in catalogs. For a long time it has been easy to get a set of Workshop Plans for Abbott’s Girl Cabinet & Tabouret Illusion, but where could you go to find out what is entailed in presenting this act?

Tabouret IllusionThat was what my column has been for: the inside dope on these behemoths of the stage. A person really has no idea of the many strengths and weaknesses of any illusion until he or she has moved it, packed it, set it up and performed it over and over. To me that’s the information you need before committing several thousand dollars on a piece of equipment.

I plan on continuing to share those “inside” observations here on a regular basis as well as in my every-other-month features in SAM’s M-U-M Magazine. You are also, of course, suggested to consult my book, So You Want To Be An Illusionist, for something a little meatier.

Here’s some information about the aforementioned Tabouret prop. You’ve likely seen it in the Abbott’s catalog forever, but never really considered it. That’s because it’s quite large, rather expensive and requires a fully-equipped stage to present properly.

However, it IS a wonderful illusion and accomplishes a disappearance ---a startling vanish--- in a very convincing manner. I’ve long felt that making something disappear is far more difficult than making something appear in a magical fashion.

My Tabouret packs in one very large, cumbersome and heavy wooden crate. This was a mistake, but one that likely only can be appreciated by the illusionists who regularly move big props around. Even the best builders don’t have that experience.

The entire illusion disassembles neatly. The decorative base (the Tabouret [an Oriental-styled stand or table]) unbolts to six pieces: the four cut-out sides, its top and hidden inside floor or bottom. They are roughly square-shaped and almost flat. The Cabinet is made of a top and bottom, four L-shaped wooden uprights and the curtain component. The top and bottom and curtain unit are all also square and flat and about the same dimensions of the Tabouret’s pieces.

Tabouret IllusionAll of these flat pieces ought to be packed together in a wheeled ATA case that would likely measure about 36”x36”x20”. That would leave the four, long L-shaped uprights for a second case about 10”x10”x72”.

Rigging is fairly easy because the girl never really gets raised into the air. Safety is assured.

The deceptive design and paint application on this Abbott prop is remarkable. It’s the height of the Cabinet that makes the Tabouret seem unable to conceal the assistant.

We featured this illusion at the Shrine Circus in the Twin Cities two years ago. It was sensational! I also used it once as part of a halftime show for the NBA Milwaukee Bucks in the 1970s.

For theater appearances my favored use is to pair it with the Drum Illusion for a sequence I call “The Aerial Flight.” Two assistants are used, but passed off as one. This requires rigging of a more complex nature because of the girl in the Drum. But, it’s a great effect.

The accompanying photos show Abbott’s Tabouret next to my Ford Econoline van. Please look at the deceptive design of the Tabouret base. You’re seeing a masterful stencil design and some effective black art. One photo shows the arrangement of chains at the top of the illusion for hoisting in the air. You can also see a bit of the release mechanism for the assistant’s disappearance. Finally, I’m offering a shot of the illusion at the circus going up in the air with the crowd convinced that my assistant is within the ascending Cabinet.

Tabouret IllusionDo I think any reader of this is going to rush out and commission Abbott’s to build this illusion for his or her show? No, I do not. But, I’m betting that the information I share is interesting and can add to the reader’s knowledge of magic. It’s information I don’t think you’ll find anywhere else.

Perhaps that’s really what I’ve offered for one hundred columns. I certainly invite you to suggest topics for future submissions. And, for those of you who want to catch up on missed “Subject: Illusions” articles, I believe Abbott’s has a way for you to do just that, too.

Finally, my tongue-in-cheek remark about the financial reward of penning all these articles is only half exaggerated. Over the years my real reward has been the many friends in magic I’ve made by all this writing. Nobody in Colon ---or elsewhere--- could pay any amount of money to equal that benefit.



Tabouret Illusion

David Seebach's Wonders of Magic
www.davidseebach.com
david@davidseebach.com



Return to Seebach Table of Content