CHAPTER XXII

BLACK STAGE MYSTERIES

A WILY WORKER OF WONDERS

THE best method by which to advocate the “black stage” as a means of entertainment, will perhaps be to describe one of the many illusions that can be produced with its aid.

The audience first witnesses the performer--who is generally made up as a Chinaman--and a young lady dressed in white, standing in the center of a small “black stage,” as shown in Fig. 1.

The performer then throws a white cloth over the lady’s head. Without a moment’s pause he draws it away again, and--hey, presto!--the lady is headless! The Chinaman next takes a larger cloth, and holds it before the lady in such a manner that she is entirely hidden from the spectators. A second later, however, he drops the cloth to the ground. This time the audience is treated to the spectacle of the head of the lady floating in the air. More wonderful still, the head can speak, sing, and answer any questions that may be put to it.

After a while the illusionist picks up the cloth, and holding it before the head, once more cuts off the view of the spectators. Upon its being drawn away for the third time, nothing whatever is visible--even the mysterious head has vanished. But when the cloth is held up again and withdrawn, the young lady--in her entirety--appears, and after bowing to the audience, walks unconcernedly off the stage.

Almost every well-known conjurer has stated at one time or another that the secret of his success may be summed up in the one word--practice. But there are very few young ladies who would have either the courage or the ability to practice being decapitated. The ordeal might prove a trifle _too exciting_. However, they may pass through it without fear if the following method, given in explanation of the illusion, be adopted.

The interior of the stage must be fitted throughout with black cloth. The lights in the room are lowered, the only illumination of any brilliance being a row of candles or lamps, at the side of the stage. These are equipped with tin reflectors, so that the light, instead of shining on the stage, is projected into the eyes of the audience. The effect of this is that, whilst any white object can be seen quite plainly by the spectators, everything black remains invisible.

When the performer envelops the young lady’s head in the white cloth, he at the same moment throws over her a piece of black material of similar size and shape, attached to it by one corner. When he removes the white cloth, however, he allows the black cloth to remain, thus veiling the head and apparently causing it to disappear.

Another and larger piece of black material is similarly hidden in the folds of the second white cloth. Directly the performer spreads this before the lady assistant, so that she is hidden from the audience, she rapidly pulls off her head-veil, and taking the large black sheet, muffles herself in it up to the neck. Consequently only her head remains visible. In order to disappear entirely, it is only necessary for her to replace the head-veil or to pull the larger black cloth up over her face.

THE ESSENTIAL ASSISTANT

It is usual when working illusions of this description to have the assistance of a third person. This assistant must be dressed completely in black, with black gloves and a black mask. The latter can very easily be made from a piece of silk, or any other material that is slightly elastic. It should be stitched into the form of a cylinder sufficiently large to pull over the head. Two eyeholes are then cut in the desired position, and the mask is complete (Fig. 5).

Garbed in this somber attire, the assistant is able to move about the stage quite freely without being seen by the audience, and to lend powerful but invisible aid in accomplishing many first-class deceptions. However, this point will be referred to later, and attention should now be turned to the construction of the “black stage” itself.

Fig. 1 illustrates the appearance of the finished stage, and Fig. 2 shows the framework of which it is constructed. This framework is comprised of a number of laths fastened together by the method shown in Fig. 3. A small metal rod--a long nail with the head filed off will suffice--is driven into each upright lath. This must be done carefully or the wood will split. Next a hole is bored by means of a drill or red-hot poker in each of the laths fitting upon these uprights. By placing the hole in each cross lath over the nail in the upright lath, as shown in Fig. 3, the framework can easily be put together or taken to pieces, when it is necessary to convey the stage from one point to another.

Fig. 4 depicts the mode of fixing two laths together lengthwise. Instead of having one long lath, it considerably facilitates conveyance if two smaller laths are joined by two thumbscrews as shown in Fig. 4. A joint of this description is also shown at C, Fig. 2.

As can be seen by the diagram, the framework is simply a skeleton box; but a little way beyond the center another lath should be carried across at the top (A B, Fig. 2). Two curtains of black cloth must be obtained and fastened to this lath so that they overlap at the center (D, Fig. 2).

It will now be noticed that this curtain divides the stage into two separate compartments. The first of these is the stage proper, upon which the illusionist performs his various mysteries. The second compartment is reserved to provide an exit for the performer and his assistants, the flap in the curtains acting as a doorway. Some of the apparatus required for the various illusions may also be kept here during the performance.

The dimensions of the stage depend entirely, of course, upon the size of the room in which the entertainment is to be given. The minimum width, or “length of frontage,” should not be less than ten feet, and the distance from the front of the stage to the beginning of the partition curtain not less than six feet. The distance from the partition curtain to the back of the stage is not of great importance. Provided there is room for the assistant to move about, this is all that is required. Two and a half feet is ample.

The following dimensions will be found about as convenient as any; but if the reader is in a position to construct a larger stage, so much the better.

Frontage, 12 ft.; height, 7 ft. 6 in.; distance from front to partition curtain, 7 ft. 6 in.; from partition curtain to back of stage, 3 ft.

Having decided upon the measurements of the stage, a further supply of black cloth must be procured and fitted completely over the framework. It is preferable to have this cloth already stitched into shape (Fig. 6), so that it can be simply drawn on over the box-like structure of laths.

It is also necessary to spread another piece of black cloth upon the floor.

Lastly, the stage front must be decorated. These decorations consist merely of two curtains hooked at each side of the opening, and a frieze draped along the top lath, as shown in Fig. 1.

The lighting arrangements must be left largely to the discretion of the reader. If he be a “handyman,” he can fit four incandescent gas burners to the front of the show. A very effective, although primitive, method of lighting is illustrated by Fig. 7. Two pieces of wire are hooked to the top lath, a pair at each side, and three small bull’s-eye lanterns fastened at intervals to them (see diagram).

Yet another method is depicted in Fig. 8. About half-a-dozen holes are bored in a piece of gas-piping, which is stopped at one end. Ordinary burners are screwed into these holes and tin reflectors attached. The whole arrangement is then bound securely to the top lath after the framework has been fitted together. It is then necessary only to fix a length of gas-tubing from the open end of the pipe to the nearest gas-fitting. If the reader decides upon the latter method of illumination, his best course will be to go to a plumber and place the job entirely in his hands.

The chief thing to bear in mind is, that no light must shine into the stage, the only illumination being projected into the eyes of the spectators, thus dazzling their vision as much as possible.

The stage described can, of course, be greatly improved upon. The above description is intended simply as a rough guide for the boy whose skill in carpentry does not extend much beyond knocking a nail or tin-tack properly into a piece of wood, which, by the way, is not such an easy task as most people imagine.

Having constructed a stage suitable for working purposes, we may proceed with another illusion.

THE FLOATING BARREL

The performer, who, as previously stated, should be dressed as a Chinaman, or in a white costume of some description, stands alone in full view of his audience. Presently he makes a beckoning motion, and a large white barrel floats slowly into view. To the amazement of the spectators, it drops gently to the ground at the magician’s feet.

He then turns to the other side of the stage and repeats the beckoning motion. Immediately a second barrel makes its appearance, and deposits itself on the ground a short distance from the first.

Turning to the audience the performer borrows a dozen or so rings, chains, and other trinkets. Walking back to the stage, he holds the borrowed trinkets above the mouth of one barrel, and clearly drops the mass of jewelry into it. The next moment, without a second’s pause, the illusionist seizes the barrel and turns it upside down.

Nothing falls out. It is perfectly empty!

Thereupon he darts to the other barrel, turns it over, and out shower the trinkets.

The performer replaces them, and immediately overturns that barrel as he did the first. But once again the jewelry is found to have disappeared. Nor can it be discovered in the other barrel.

Retreating to one side of the stage, however, the illusionist waves his hands. There is a slight flash, and a small Japanese table is seen standing in the center of the stage, with the trinkets heaped upon it.

This is a very effective illusion, but it can be even improved upon, as the reader will see when he has read the following simple explanation of the trick.

Its success lies almost entirely with the “black” assistant previously referred to. The “floating” barrels are simply carried in by this assistant, who must take care to hold them in such a manner that his black-gloved hands do not show up against the white wood.

Whilst the performer is collecting the articles of jewelry the assistant holds a small bag or sack in the mouth of the barrel. Consequently, when the performer drops the trinkets into the barrel, they in reality enter the sack, when it is a simple thing for the assistant to transfer them to the second barrel--the black bag rendering them invisible during transit.

Immediately the performer appears to deposit the trinkets in the barrel for the second time, the assistant again secures them in his small sack. This time, however, he carries them to the side of the stage, where a Japanese table has been placed in readiness out of sight of the audience. This table is draped with black cloth, which, as already explained, makes it invisible. The assistant merely lifts up this cloth and empties the trinkets from the sack on to the table. Then, replacing the cloth, he carries the table and its contents to the middle of the stage.

Next he simply whisks away the black cloth when the performer gives the signal, and the table, with its small heap of jewelry, stands revealed.

As previously stated, this illusion can easily be improved upon. For instance, the “black” assistant can place a live rabbit in one of the barrels, giving the audience the impression that the jewelry has undergone a somewhat extraordinary, though unprofitable, transformation.

The performer should attempt to vary the nature of his entertainment as much as possible, and the following illusion could very well occupy the next place upon the programme.

In obedience to the performer’s command, a large white box or wicker-basket floats on to the stage. This, as the reader will have been able to gather from the explanation of the previous illusion, is simply carried on by the “black” assistant.

After having shown that the box or basket--as the case may be--is perfectly empty, the illusionist raises it from the stage by placing four blocks, one under each corner. This is to prove the impossibility of a “false bottom” or trap-door being used.

A man now walks on to the stage, with a white sheet wrapped round him, and looking like a Dervish or bernoused Arab. Stepping into the basket, he coils himself up until he is concealed at the bottom.

There is a pause of a few seconds, after which a low groan issues from the interior of the basket. A moment later the sheet is seen to shoot up into the air, and collapse in a heap upon the stage. Both sheet and basket are examined; but their human occupant has disappeared--has vanished, as it were, into thin air!

The illusionist next throws the sheet back into the basket. No sooner has he done this than it is seen mysteriously to raise itself on end. Then for a second time it collapses. A moment later, however, a second disturbance is seen to be in progress inside the basket, and this time the white-robed man rises from it, and steps out upon the stage.

The secret of this illusion lies in the fact that the “black” assistant and white-robed man are one and the same person.

Directly the assistant has carried the wicker basket in, and whilst the illusionist is showing the audience that it is perfectly empty, he slips “behind the scenes,” and, taking off his black mask and gloves, hastily arrays himself in the sheet.

In this guise he again makes his appearance, and steps into the basket. No sooner has he snuggled down at the bottom, however, than he quickly throws off the sheet and replaces the gloves and mask. Giving vent to a hollow groan, he flings the sheet into the air. This for a moment diverts the attention of the spectators, and gives the assistant time to step from the basket, behind which he remains in readiness to continue with the second part of the illusion. In his black clothes he will, of course, be quite unseen.

When the performer puts the sheet back into the basket, the assistant merely stoops and slowly lifts it up, until he can step back into the basket under cover of it.

As he allows the sheet to collapse for the second time, he sinks down with it out of sight. He then again removes his black mask and gloves, and envelops his body in the sheet.

This done, the hard-worked “black” assistant in his Dervish disguise has simply to step from his place of concealment into full view of the audience, and the illusion is complete.

THE VANISHING MAN

Another good effect, which would act as an excellent climax to the entertainment, can be brought about as follows:

The performer makes his appearance carrying a large white shawl. This he spreads upon the ground. Taking the shawl by its two top corners, he holds it before him so that he is completely hidden.

Next he commences slowly to wave the shawl to and fro, to advance to the front, and then to retreat to the back of the stage. As he is advancing for the second time, however, the shawl is suddenly dropped, and--hey, presto!--there is nothing behind it; the illusionist has gone!

But at the very moment the shawl collapses, a loud shout is heard, and the illusionist is seen standing to the rear of the audience!

In this illusion, as in the others, the “black” assistant plays an important part. His task is not nearly so difficult, however, as those he has already been called upon to undertake. In fact, the whole illusion, although it can be made one of the most effective on the programme, is the easiest to accomplish.

Directly the illusionist picks up the shawl and holds it before him, the “black” assistant steps up and takes it. Still under cover of the shawl, the two slowly retreat to the back of the stage until they come to the opening in the partition-curtain (D, Fig. 2). It is then an easy matter for the illusionist to slip through the opening and get clear away. The assistant continues to wave the shawl slowly backwards and forwards, giving the audience the impression that the original performer is still behind it.

In the meantime the illusionist has made his way out of the room by a door in the vicinity of the stage. Thence he hurries to a door leading to that portion of the room containing the audience. Pushing this slightly open so that he may obtain a view of the stage, he waits until he sees the shawl drop, when he unexpectedly and dramatically makes his presence known.

The assistant being arrayed in black apparel will, of course, remain invisible.

The only drawback to this illusion is, that it necessitates there being two doors to the room in which the “black stage” is erected. Then again, although a room may possess the requisite doors, one of them may be so placed that it is impossible for the performer to reach it without being first seen by the audience. In such a case, however, the difficulty may be overcome by an ordinary screen placed from the door to the back entrance of the stage.

As already observed, these illusions can be easily added to and improved upon. In fact the “black stage” and its “black” assistant offer tremendous scope for a really first-class entertainment, teeming with bewildering and mystifying illusions.

If the stage is large enough, two assistants may be employed, and still more complex effects attempted. But having described several illusions of an entirely different nature, and having explained the principle upon which all such illusions are worked, it must be left to the reader to invent other “black stage” mysteries with which to entertain and bewilder his friends.