Sublime

When Steinmeyer writes about the theater a century ago, he speaks as one who's met modern versions of the characters, who's even reconstructed their tricks onstage. So when, for example, he describes David Devant's Mascot Moth (which Steinmeyer reproduced in Doug Henning's Merlin),

Murphy’s Magic, the largest wholesaler of magical effects in the world. His main job was to invent tricks for Murphy’s online store, which sold exclusive offerings and products produced by other, smaller companies. Red Pill was one of Ramsay’s most successful creations for Murphy’s.

In the 1950s and ’60s, Dutch magician Fred Kaps was considered one of, if not the most, well-respected conjuror of his generation. The man was a sensational performer, a brilliant technician, an innovator, equally charming on every platform and in multiple languages. After making a name for himself in Europe and the UK, Kaps was ready to take Ameri

Magicians are theatrical. And they use that theatricality to help perpetrate the deception. Is he waving his hands like that for dramatic effect, or does he need to move in that manner to execute the secret action? Is he wearing those out-of-date coattails to look dapper, or to hide the doves? Is he telling us this to fill time and “entertain” us,

sounds strange, but a clockmaker from France ushered in magic’s golden age. Jean Eugéne Robert-Houdin, France’s most famous magician (and from whom, in 1891, Harry Houdini sourced his stage name) used his background as an engineer to revolutionize magic not only in the ingenuity and complexity of props, but in the presentation of the craft. He saw