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Magic Magazine May 2009


Cover: The Making Of Misterios
By David Britland
With numerous television appearances behind him, Luis de Matos is a household name in Portugal. With Mistérios, he returns to television with a new series that is at last fully under his own control.

Estudio 33: An Open Box Behind Closed Doors
By Mike Caveney
It has been in the planning and building stages for years. Now, Luis de Matos’ Studio 33 facility has combined his office, warehouse, and library with a complete theater, television studio, and production center.

In His Words: Chipper Lowell
By Mark Nelson
A son of the circus, Chipper Lowell is a magician, juggler, comedian, producer, and more. A lifelong student of these various arts, here he shares his views and thought processes on performing.

Blackstone’s Floating Princess Remembers
By Tom Ewing
Bernadotta Smith was just looking for a job to earn money for college back in the 1930s. Little did she know she was in for a lifetime of magic, including floating into history as Blackstone’s famous Princess Karnac.

Swing Success in San Francisco
By Dick Newton
A purple zoot suit, performances with a neo-swing band, celebrity clients, and now symphonic evening of magic are just some of the elements that have made magician Jay Alexander a recognizable figure in Northern California

Marlo’s Magic Redux
By Lance Pierce
Ed Marlo is remembered as a prolific and skilled cardician. His friend and student Bill Malone recently paid tribute to him by recording a wealth of material, with the hope that a new generation might discover Marlo in a new light.

Five pages of news stories covering: the disappearance of Abra, “the world’s only magical weekly”; Miracles & Magic in Columbus, Ohio; the “Zingmaster” in NYC; the magic art of cruising; Penn & Teller hit the road; David Copperfield produces Taylor Swift; April Fools’ magic style; plus “Comings & Goings,” “Who’s Where,” and more.

Marketplace – Gabe Fajuri
Eighteen products are covered this month by Peter Duffie, Jason England, Gabe Fajuri, Brad Henderson, and John Lovick:

The Magic of the Pendragons
Top Shelf by Docc Hilford
The Notebook edited by Will Houstoun
Inseparable by Jay Sankey
The GatheRing by Jamie Daws
Sick by Sean Fields
Key to Your Card by Stefan Olschewski
New York Coin Magic Seminar Volumes 8, 9, and 10
Routined Manipulation 1 & 2 by Lewis Ganson
Newspaper Magic by Gene Anderson and Frances Marshall
Pentacle by Craig Petty and Steve Bates
The Thing — Platinum Edition by Bill Abbott
Subtle Card Creations, Volume 2 by Nick Trost
Andthensome by Dan and Dave Buck
The Naked Zombie Ball DVD by Raymond Crow
Captured DVD by Justin Miller
What Your Future Holds by Rich Marotta

Talk About Tricks – Joshua Jay
This month kicks off with an offbeat handling of the classic Ace Assembly by Chris Mayhew. We also explore two new ways of using the spread cull and an interesting routine to use in conjunction with your favorite Reset. David Neighbors gives us a coin quickie, and frequent contributor Doug Brewer details a new routine with a bill and some unexpected objects.

The Show Doctor - Jeff McBride
DEAR SHOW DOCTOR: I am a magician in Phoenix, Arizona, and I am trying to craft my comedy magic show to perform at comedy clubs, colleges, and corporate shows. I currently have a solid seventeen-minute act, but want to build up to a full hour, and I need more stage time. I have worked open mics at comedy clubs, and I have also tried open mics at some of the local bars, which are usually a relatively empty room with five drunk guys. Once, I was performing at an open mic and the whole venue cleared out because there was nearly a knife fight. When the crowd settled and came back in, I finished my set and packed it in. In my area there really are only two comedy clubs and I work one every few months, but I want to bring my A game and not risk the new stuff on a paid gig. Are there any good places to be bad anymore? Where should I look? — Fitz

Real World Methods – Rory Johnston
I have the finest job in the world: cruise ship entertainer. Wouldn’t starring in a Vegas show be better, you ask? Not so! In Vegas I worked six nights a week, two shows a night, never met my audience socially, and wasn’t allowed to vary my act or try new material. It quickly grew to be just a job. On a ship, I’m contracted to work two shows per cruise, no matter if that cruise runs seven days or thirty days. I can do pretty much any material I wish. I travel the world, meet wonderful people who give me great feedback on my shows, and I live like a millionaire. And for that I get paid more than a typical Vegas salary.

Braindrops – Adam Rubin
I’m always looking for quick organic ways to inject some magic into my everyday life. I particularly like routines where the magic happens quickly and unexpectedly. The following routine is easy, fast, and visual: You attempt to make a purchase from a friendly cashier, but you don’t have enough cash. Thinking quickly, you transform your dollar bill into a twenty, pay for your goods or services and then go on your merry way.

By Joanie Spina
It’s absolutely true: in watching other performers, we can see ourselves. We sometimes make the same mistakes or the same brilliant choices, but don’t recognize them until we observe them in someone else. Through this series of articles, enhanced by the accompanying videos you can find at, you can learn from watching other performers as I gently point out ways that their material can be improved, as well as the aspects of their acts that are working well. Although they refer directly to the video in question, these points also carry over as general principles of performing. There are many right ways of doing things, and these are a few options.
Magic Magazine May 2009
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