Jc Sum - Base Work

I LLUS I ON D E S I GN P AC K AG E # 8 – B AS E W OR K

BASE WORK Illusion Design Package #8

This package was purchased by Javier López Cruz and may not be copied, distributed or shared with any other person. © Copyright Concept:Magic 2009


DECEPTIVE BASE WORK Original Thoughts, Philosophy, Design and Fabrication Process for a Modern Deceptive Base



Introduction: The most important element of a Deceptive Base is the deceptiveness; hence the name. Unfortunately, we see more than a fair share of non-Deceptive Bases; especially with Bases not built by professional builders. But, I have also seen surprisingly thick Bases that are not deceptively designed by well-known builders. Over the years, like most illusion designers, I have doodled sketches of Bases in the effort to see how to make them thin. But what looks good on paper, does not necessarily translate in physical form. One reason is the thickness of material or the builder not adhering to exacting dimensions in the illusion plans. In this chapter, I will share my design philosophy for bases as well as my fabrication process to build bases that are heavy-duty but lightweight and fast (relatively) to build. As this book is not meant for the beginner, I will assume the reader has some knowledge on the design and building of Deceptive Bases. Just having a black base with an aluminum strip around all sides does not constitute a Deceptive Base. One key to making a base looking really thin is ensuring the Main Step has as large a surface area as possible. This naturally makes the prop big that takes up valuable space, onstage, offstage and transporting. So, sacrifices have to be made. I hate it when I have to design dimensions to ensure they fit into my loading cargo lift. But, it is a real-world practical consideration. Rand Woodbury’s “Base Book” and “Illusion Works Volume 1” video are essentially resources for anyone looking to build a base. Whether you are building your own base or supervising/ commissioning a builder to build one for you, his thoughts and experience are invaluable. He highlights different types of base design styles; such as a Bevel, Wedge and Step Base. However, you should not let your preference of a base style determine how you design your base. The base style is dependent on your overall show style and environment. Many of the older shows that used base work, such as Mark Wilson’s Magic Circus, used a lot of Bevel Base designs with curved French legs. It worked at that time, fitting the stage sets and costumes. Paul Osborne also featured a lot of this style base in his books. But bear in mind, these bases were designed for props to fit the 1960s – 1980s. We are coming close to the end of the first decade of new millennium. Music styles have changed countless times since 1960, shouldn’t base designs follow suit? My personal base style is a multi-step design, combined with four corner ‘feet’ to separate the Main Step and the Secondary Step. The four corner ‘feet’ is Alan Wakeling’s brilliant revolutionary contribution to base design and I incorporate it in all my base designs where possible. I also have a fairly unorthodox approach to building the base with most of the material comprising of aluminum. This is the style of base I will be focusing on in this book. It looks modern and fits my current show’s feel & style perfectly. Before I get into the details of the construction of my style of base, here are some random thoughts on the building of bases. 

Unless for a specific reason, stick to a Multi-Step Base. Make the lengths of the individual steps as varied as possible. As a rule, the longer/ wider each preceding lower step is, the more deceptive the illusion. The thicker the base needed (based on the person’s size), the wider it has to be. This will make the base look much thinner.



Adopt Alan Wakeling's corner ‘feet’/ base design feature. This is my favourite design feature to visually break down the parts of the base.





Hide as much of the base in the 'container' atop the base. I used a multi-person base once that used an all-round curtain; 3.5" of the base was hidden by the folds of the cloth.



Always use a sheet metal (aluminum) for the bottom and trapdoors of the base. This keeps the material thickness of the base to a minimum. The sheet metal bottom also has an extra 'give' which means it flexes slightly when a person’s weight is on it, giving an additional ½” of space. Woodbury also uses a 'splitopening' Spandex trap in many of his illusions, which decreases the material thickness of the trapdoors significantly.



You will be surprised how small a space a body can fit in. Realistically, a slender girl 5’ 4” tall can fit into a base as small as a 7" base with an aluminum bottom. I know this because I have tried. I myself can fit into a 7.75" deep base with reasonable effort. I currently build all my standard Bases at 8.5” deep.

My building approach is also slightly different from the usual process. Each builder has his own idiosyncratic touches & construction methods and I have some “unorthodox” construction methods as well. This is not the only correct approach to building a modern Deceptive Base. It is just an alternative that has worked well for me. But, the advantages my base building approach has are:   

The base will be lightweight The base will be strong & durable The base can be built fairly fast

Breakdown of the Base: In the design of my base, there are 4 different steps, with an optional intermediate step that can be added only if absolutely necessary.     

Main Step Secondary Step or Ledge Top Step Bottom Step Intermediate Step (If needed)

Main Step This step is the most prominent part of the prop. It is sometimes referred to the table top of the base. This is generally the thickest part of the base that is exposed to the audience’s naked eye. Secondary Step or Ledge This step has very little functional support and is almost purely decorative and really helps thin the base down visually. This step or ledge sits on the “Wakeling-style” corner ‘feet’ that creates the black art inner step. The ‘feet’ create a very strong visual separation between this Secondary Step or ledge and the Main Step. Top Step This step extends above the Secondary Step. All or most of it should be hidden by the ‘container’ that sits on the base or by the curtain that is raised up during performance.



Bottom Step This is the very bottom of the base, the part where the person is lying on when secreted in the base. While the traditional approach is to have a sheet of plywood or sheet metal screwed to the bottom frame of the base, I use sheet aluminum bent-to-shape to create extra space. This also allows some flexibility in making the base bigger or smaller than you need easily, without altering the vertical dimensions of the rest of the base steps. Intermediate Step (If needed) This step is introduced only if really needed; mainly, because you need to build a thicker base to accommodate a larger performer. If this step is included in the base design, it is positioned between the Main Step and the ‘feet’ of the Secondary Step. The visual breakdown of my base is pictured in Fig 1. Fig 1

Top Step

Secondary Step

Intermediate Step Main Step Bottom Step

Leg of Prop

Construction of the Base: Note: The dimensions I have provided may not be accurate for you so it is essential you build a mock up. The great thing about my fabrication method is that the base thickness can be adjusted slightly if needed or if your estimation or calculations are slightly off. Step 1 – Main Step & Legs The first thing to build is the Main Step. I actually build just a cover as opposed to a box; i.e. a top (with the cut out for the base hole) and four sides. There is no bottom per say. You can use 3/8” ply to fabricate this Main Step. The Main Step is 60” x 38” x 2.75”. The cutout for the base hole measures 43.25” x 25.25”. This Main Step is finished in black plastic laminate or vinyl covering and trimmed with 2” aluminum flat bar.



The legs of the base are fabricated from aluminum. This is fabricated by welding 4” x 4” aluminum plates onto the top and bottom insides edges of 4” aluminum angle. I recommend aluminum 5mm thick. The castors are bolted to the underside of one end of the legs. The legs are secured to the underside of the corners of the Main Step. They are bolted in place via wing nuts, washes and bolts. As a general rule, the taller the legs of the prop, the larger area space the base has to be in order to look thinner. Step 2 – Bottom Step The Bottom Step is formed entirely out of a single sheet of aluminum 2mm thick and is bolted to the underside of the Main Step. See Fig 2 for a side view/ cross-section view of how the sheet aluminum is exactly bent. The center bottom is ‘V-shaped’ so that the bottom step will taper upwards to the front and back of the prop to aid in the deceptiveness of the prop. My measurements have the bottom of the ‘V’ of the aluminum extending just 1” past the bottom edge of the main step. If you need a larger base, you can extend the ‘walls’ of this Bottom Step such that the bottom of the ‘V’ extends 1.5” past the bottom edge of the Main Step. The inside surface of the Bottom Step is covered with black padded PVC. The underside is covered with black carpet and the sides of the carpet extend past either exposed side of the ‘V’ of the Bottom Step and is stapled or riveted to the underside of the Main Step. Step 3 – Secondary & Top Steps These two steps are created from a single top ‘box’ which is essentially four walls with a top (trapdoors). This ‘box’ measures 44” x 26” x 4.75” and is fabricated from ¾” ply. It is built on top of the Main Step, with the inside walls flush with the cutout in the Main Step. I use 3” aluminum angle (2mm thick) on the inside to brace this ‘box’ on all sides. The Secondary Step is basically a frame resting on four corner ‘feet’ that are fabricated from four ‘L-shaped’ wooden blocks 2” wide on every side. The ‘feet’ are glued and screwed into place from the inside of the top ‘box’. They are finished in aluminum laminate on all exposed surfaces. To complete the Secondary Step, build a frame that will form the ledge of the Secondary Step. The frame is cut from a sheet of ¾” ply and measures 52” x 32” with a cut out measuring 44.25” x 26.25”. This frame should fit snugly over the top ‘box’ and are screwed onto the corner ‘feet’ from the top. The final step for this part of the base is to create the top, which includes the trapdoors. Cut out another frame from ½” ply measuring 44” x 26” with a cutout measuring 40” x 22”. This fits flush on the top edges of the top ‘box’. Four lengths of 3” aluminum angle (2mm thick) are bolted into all four inside top edges of the top ‘box’, The aluminum angles act as essential braces for the top frame as well as the subsequent trapdoors. The trapdoors are made from a combination of 3/8” wood glued to 1/8” thick aluminum sheet. The proportion of the trapdoors are 1 : 2. The smaller trapdoor will be the one that opens towards the audience. Using piano hinges, the trapdoors are hinged long side onto the top frame. They rest on the aluminum angle bracing to take the weight of the person after he/ she exits the base. See Fig 2 for a cross section view of the construction of the base from the side (leg of prop is not shown). A 1” finger hole is drilled in the smaller trapdoor. The entire top is covered with black carpet and the lines of the trapdoors are cut out using an industrial razor blade.



Fig 2

Cross Section Side View Top Frame of Top of Base Trapdoors

Top Step

2” Aluminum Angle Braces 0.75”

Secondary Step 2” Corner ‘Feet’

8.5”

2.75”

Main Step 1” Bottom Step

Based on my dimensions, the Top Step is 2” high. This depth will eventually be covered by whatever ‘container’ you will be placing on the base. For example, if you are building a Crystal Casket, the acrylic ‘casket’ will rest over the Top Step and onto the Secondary Step. If you are just placing an all-round curtain on the base, the bottom of the curtain will be attached to the Secondary Step and gathered around the base of the Top Step, thus hiding the actual thickness.

J C’s Notes: 

If you require an Intermediate Step, it will be built after the Main Step is built. This step is another frame cut from ¾” ply and will fit over the top ‘box’. You will naturally have to increase the vertical height of the top ‘box’ by ¾”.



CRYSTAL STRIPTEASE The magical vanish & reappearance of a girl while being stripped of her clothes



Effect: A girl dances sensually across the stage and steps into a rectangular prop covered with a silver cloth skirting. The prop’s lid is closed over the girl. The illusionist reaches his arm inside the prop through a hole in the lid and pulls out various articles of clothing, apparently ‘stripping’ the girl of her clothes. Just as her last articles of clothing are removed, the illusionist whisks the skirting away to reveal an empty crystal box. The girl has vanished! The illusionist displays a new different set of clothes and drops it into the crystal box. The box is covered with the cloth and revolved around. The cloth is whisked away revealing that the girl has reappeared in the new set of clothes!

Introduction: From a presentational plot angle, this is probably one of my favourite illusions in the book, along with ‘The Time Machine’, ‘Creation of Life’ and ‘Sweepstakes’. It is an example of how a standard prop can be used to create an entertaining original illusion presentation. This illusion was designed to tastefully arouse a different kind of emotion, besides astonishment, not often associated with magic performance. ‘Crystal Striptease’ will definitely turn your audience on if presented correctly. It is Alan Wakeling’s ‘Costume trunk’, John Calvert’s ‘Striptease’ and the classic ‘Crystal Casket’ illusions all rolled into one. The illusion evolved from two desires: 

To get more out of the standard ‘Crystal Casket’



To perform the ‘Crystal Casket’ in an event type of environment

The latter point means being able to perform the ‘Crystal Casket’ without the use of stage wings or a hidden backstage area where the girl has to be pre-loaded into the base prior to performance. My original ‘Crystal Striptease’ was a modified Crystal Casket built by George Kimery of Chalet Magic. In the first edition of this book, I did not provide specific dimensions or building plans for the illusion as it basically was Chalet’s design. I directed readers to seek out Chalet to build the illusion if they desired. Unfortunately, Chalet no longer builds large illusions and in 2007, I completely redesigned the look of the prop and had it fabricated. Thus, design plans for the prop are detailed in this edition of the book. A version of this illusion was first performed in Bangkok, Thailand in Apr 2004.

Method & Requirements: The central prop is basically a slightly modified ‘Crystal Casket’ illusion prop. I designed mine with a modern asymmetrical top ‘box’ atop a base. The ‘box’ comprises of four plexi-glass sides mounted in an aluminum This package was purchased by Javier López Cruz and may not be copied, distributed or shared with any other person. © Copyright Concept:Magic 2009


box frame. There are two top lids that hinge over to the sides of the prop. The lids each have a semi-circle cutout that meet to form a complete 6” hole at the top of the prop Refer to the previous chapter in this book for the design of my deceptive base. The Crystal Top Box The top box is fabricated from four panels of plexi-glass held together by an aluminum frame. Four lengths of 2” aluminum angle (2mm thick) act as vertical supports. The top and bottom edges of each panel of plexiglass are trimmed with 2” wide aluminum flat bars for consistency, See Fig 1 for the front & side views of the prop. This crystal top box can easily be made to breakdown flat for packing. Five 1” x 1” Velcro tabs are glued onto the top edge of the ‘box’ to hold up the cloth skirting.

Fig 1

Front View 44”

2”

38”

28”

15”

3”

62”



Side View 26”

38”

38”

You can, of course, choose to build the ‘box’ like a regular symmetrical box with a single solid black top that hinges back, instead of two top panels to the sides. Cloth Skirting The cloth skirting is custom-tailored to cover three sides of the ‘box’, the front and two sides. A ½” Velcro strip is sewn onto the top long edge of the skirting, so that it can be secured around the ‘box’ via the Velcro tabs on the top edge of the box. I use quality satin with black lining. Costumes You will require two sets of identical costumes, one that is worn by the girl and the other used as the duplicate set. You will also need a tear-away costume that the girl will wear over the main costume. This will be costume that will be ‘stripped’ off the girl during performance. She can also wear a wig and a headpiece to add to the visual change of the costume.



Set-up: 

The girl is attired in the main costume with the outer tear-away costume worn over it. The wig is pinned to her hair and the headpiece is donned on her head.



The skirting is attached to the central prop and the lids are hinged back in the open position.



The duplicate main costume is placed at a convenient location.

Performance & Presentation: Phase 1 As a sexy piece of music fills the performing venue, the ‘Crystal Striptease’ prop is wheeled center stage. Your assistant enters the stage and performs a sexy teasing dance. After the ‘tease’, you help her into the central prop. She seductively lowers herself into the ‘box’ as you close the lids over her. The girl extends her hand out of the 6” hole in the lid and moves it gracefully about. At the same time, she opens the trap doors with her other hand and then starts to remove her tear-away costume. You step up onto the Main Step of the prop and behind the ‘box’. Pull up the sleeve of your right hand and look knowingly to the audience. Push the girl’s hand back into the box and insert your right hand/ arm into the hole as though feeling for something. Your assistant hands you her headpiece that you pull out of the prop through the hole. Hold out the headpiece between your hands and clearly display it to the audience. Toss it to the side of the stage. Reach in once again and this time, your assistant ‘feeds’ you other parts of her costume. Take it out, show it to the audience and toss it aside as well. Be sure to keep the pace moving but play up the impression that the girl is being stripped. While you are apparently stripping the girl, your assistant removes her wig and places it into the base. Once this last piece of clothing is removed, your assistant squeezes her lower body into the base. While in this position, she reaches us and extends her hand out of the top hole once again. Kiss her hand and four things happen in quick succession: She retracts her hand back into the prop, positions herself completely in the base and allows the trapdoors to fall flat. At the same time, you jump down behind the cloth, run around the prop, grab the center of the skirting in front and rip it off dramatically. The illusion created is that a naked girl has impossibly vanished! Phase 2 Revolve the prop 180 degrees to show it empty from all sides. The back of the prop is now facing the audience. This is important for the handling of the reappearance of the girl. Pick up the duplicate main costume, display it and drop them into the prop through the 6” hole. The audience will clearly see the clothing dropping inside the prop through the plexi-glass. Be sure to drop the costume towards either the front or the back of prop, away from the trapdoors opening.



Once all of the costume is dropped in, pick up the cloth skirting from the floor. Twirl it with a flourish and locate the corners and Velcro strip at the same time. Proceed to attach the skirting back onto the prop via the Velcro. Do this as quickly and gracefully as possible. Because the back of the prop is facing the audience, the audience will still see the empty interior of the prop as you attach the skirting back. Once completed, revolve the prop 180 degrees so that the front is back facing the audience. Depending on your angles, shout out a verbal cue to the girl so that she can start getting out of the base and drop the duplicate costume into the base. After the prop is fully rotated, perform a magical gesture and rip off the skirting to reveal the girl has magically reappeared in the new costume!

J C’s Notes: 

The revelation of the girl’s vanish was inspired by Mark Kalin’s and Jinger’s ‘Transfiguration’ Illusion.

If you want to use a standard cloth to cover the prop for the reappearance, you will need to modify the shape of the ‘crystal’ top box to be a standard rectangular cube. In my above asymmetrical design, a standard cloth will not work as corners of the cloth will drop to the ground and the wheels will run over it as you try to move



LIGHT & SPACE A High-Tech Vanish & Reappearance Illusion



Effect: A large rectangular box, sitting atop a table with castor legs, is displayed on stage. The box has an open front so that the audience can see inside the box. The illusionist enters the box, practically filling up the entire interior of the box. The top panel of the box is hinged so that it can be flipped forward to cover the entire front of the box. The illusionist extends his hand out through a 6” hole in the front of the panel. Two assistants take two long strobing light staffs and insert them through the entire length of the box via holes in the sides of the box. The illusionist’s hand is seen to the last moment and when it is pulled back through the hole into the box, the assistants immediately lift up the front panel to show that the illusionist has completely vanished. The box is empty except for the two strobing light staffs that are crossed lengthwise through the center of the box. The prop is turned 180 degrees and the back door is lowered so that the audience can now see completely through the empty box. The strobing light staffs are removed from the box. A cloth screen is rolled down so that the front of the box (now facing the back) is covered from view. The back door (now facing the audience) is then closed up. The prop is rotated 180 degrees back to its original position and the instant it completes its rotation, the cloth screen is ripped away revealing the illusionist back inside the box!

Introduction: This is another illusion presentation I conceived to fully utilize a ‘Crystal Casket’ prop. My first version of an illusion that made use of a modified ‘Crystal Casket’ is ‘Crystal Striptease’; an illusion I performed on live television in Singapore and is described in an updated version in the 2nd edition of my first book, ‘Illusionary Departures’. There really is nothing dramatically new in terms of the plot or general prop design but my contributions are the use of the LED light staffs instead of the traditional spikes as well as the routining and choreography of the illusion. The use of strobing LED light staffs adds a strong theatrical element to the illusion and creates a beautiful image when performed on a dimly light stage, enhanced with fog from a smoke machine. The choreography of the illusion also makes the performance interesting. Although a ‘box’ illusion, the vanish and reappearance is presented differently. Both the vanish and reappearance also seem instant. In ‘Light & Space II’, I detail a completely different routine utilizing the exact same prop developed as a dramatic appearance illusion.



Method & Requirements: Main Prop The ‘Light & Space’ prop is essentially a modified ‘Crystal Casket’ but with no ‘glass’ sides or top. You can have this prop built by any builder who builds a ‘Crystal Casket’ or does good base work. As with a standard ‘Crystal Casket’, the main box is made from a polished aluminum or stainless steel framework. The main box has solid sides but an open front and back. Each solid side has two 2” holes cut out to accommodate the light staffs. The back of the box has a solid panel that is hinged at the bottom with chains attached so that it can open up like a drawbridge. The back panel is held closed via a simple latch. There is another panel that is hinged at the top of the front of the box. For purposes of this description, I will call it the ‘top/ front lid’. As the hinges allow the top/ front lid to rotate 270 degrees, this lid can be hinged to the top so that it acts as a lid for the box. It can also be hinged forward so that it becomes a front ‘door’ for the box. The top/ front lid has a 6” hole cut out in its centre. The hole is framed with a 1” wide ring to emphasize the hole. Overlapping spandex covers the hole so that there is a center split in the hole for your hand to pass through. The side panels and ‘top/ front lid’ are finished in black plastic laminate and the ring around the 6” hole is finished in silver plastic laminate. The entire box is mounted on a deceptive table base. The trap to the base should be solid and comprises of two trapdoors. The size difference of the trapdoors should be made to a ratio of 1:2. The smaller trapdoor is the one closest to the front of the prop. I suggest mounting the table base on high legs, as Chalet does, so that the prop is elevated high off the ground. This not only gives a cleaner feel to the prop but just looks better. There are two sets of Velcro loop holders on the back vertical sides of the framework, one each at the top and bottom of the vertical support. This is to secure the light staffs vertically onto the prop. The bottom ends of the light staffs rest on the table base. The prop can be fabricated to pack down and relatively flat. The legs come off and the box can be unbolted from the base and subsequently broken down into five pieces (four sides and one top/ front lid). See Fig 1 & 2 for Front and Side Views of the main prop.



FIG 1 FRONT VIEW - Main Prop

Light Staffs

Hinges for ‘Top/ Front Lid

Velcro Loop Holders for Light Staffs


6” Hole with Overlapping Spandex


FIG 2 SIDE VIEW - Main Prop

‘Top/ Front Lid’

Back ‘Drawbridge’ Panel

2” Holes for Light Staffs



You will also require a piece of cloth that is big enough to cover the entire front of the box. This is the cloth screen used for the finale reappearance revelation at the end of the illusion. The cloth screen should actually be slightly larger than the front of the box. I recommend a solid colour cloth with a 3” black border all around to give the optical illusion that the cloth is actually smaller than it is. A strip of black Velcro is sewn onto the entire top length of the cloth (onto the front of the cloth). A corresponding Velcro strip is glued to the inside top length of the front of the box. This allows the cloth screen to be attached on the inside front of the box. Two more 1” square Velcro tabs are sewn onto the front of the cloth screen, about 2” from the top Velcro length. The corresponding Velcro tabs of the same size are sewn onto the back of the cloth, also about 2” down from the top. This is so that when the cloth screen is rolled up (front of cloth facing out) it can be secured to itself and remains hidden behind the top front frame of the box. See Fig 3. FIG 3 FRONT VIEW - Cloth Screen

Velcro Strip on Entire Top Length Attaches to Corresponding Velcro Strip inside the Top Front of the Main Box

1” Velcro Tabs Attaches to Corresponding Velcro Tabs on the Back of the Cloth Screen When it is Rolled Up in Set-up Position

Velcro Shown in White in this Drawing. Actual Velcro Should be Black

Velcro Shown in White in this Drawing. Actual Velcro Should be Black

3” Black Border All-around to Make the Cloth Screen Appear Smaller



Light Staffs You will require two LED light staffs, each 5ft long. These LED light staffs are used by staff spinners or twirlers who create beautiful visual images with their spinning patterns. The LED light staffs are strong acrylic tubes, capped on both ends and filled with multiple LED light sticks. Each light stick has LED lights, batteries and a microchip circuit board inside which allows the lights to be switched on/ off, strobing or chase patterns. I use the strobing pattern in my presentation. The lights I use are available from a company called Neon Husky who sells both the light sticks (under the brand name ‘Street Lights’) and the LED staffs that are designed to hold the ‘Street Lights’. You will need two onstage assistants to perform this illusion.

Set-up: Just prior to the performance of the illusion, the light staffs are opened up and the individual light sticks are switched on to the strobing mode. The light staffs are capped and secured vertically in place onto the sides of the box. The cloth screen is rolled up and secured to the inside of the top edge of the front of the box. The ‘top/ front lid’ is flipped to the top of the box so that the front is opened. The trapdoors of the base are obviously in the closed position.

Performance & Presentation: The prop is wheeled out by two assistants to center stage (who remain standing by the side of the prop) while you deliver the following patter: “For centuries, magicians and illusionist have been able to defy the laws of physics. Tonight, I will attempt to manipulate light and space….” (Music starts.) Gesture towards the prop and step up onto the base. The two assistants hold the prop steady on each side as you do so. Enter the box elegantly and position your body in such a way that you seem to fill up the box as much as possible. Wave ‘goodbye’ to the audience as your assistants flip the ‘top/ front lid’ forward to cover the front of the box from view. Once the ‘top/ front lid’ covers you from view, immediately open up the bigger trapdoor, that is the one closer to the back of the prop. Maneuver your body partially into the base (specifically, half sit/ kneel in the base) and immediately place your RIGHT HAND, PALM DOWN up to your wrist, through the 6” hole. Keep it in motion to dismiss the audience’s suspicion that it is a fake hand. At the same time, open up the smaller trap door with your free hand and continue to position your body into the base but keep your right hand moving outside the hole. Important note: The hand you use to extend out of the hole depends on the position of your body in the box. If you are to use your right hand, ensure that when you enter the box, your head is on the stage left side of the box (i.e. audience’s right).



While you are busy opening the trapdoors, your assistants remove the light staffs from their holders. One of the assistants can perform a short 10 – 15 second dance sequence with the light staff in front of the prop for production value. When she finishes the dance sequence, she uses the end of her light staff to touch your hand. This is your cue to pull your hand in and lower your body into the base and close the larger trap door over you. Do not close the smaller trapdoor yet. Your assistants then each go to either side of the prop and insert their light staffs through one hole in the side panels. They help guide each other’s light staff as they pass through to the other side. You will also need to help guide the light staffs straight, from inside the base. Note: I mark the positions of the staff where they are perfectly centered across the length of the box. The markings are simply thin rings of tape that the assistants ensure are in line with the holes in the side panels. Once the staffs are completely through, your assistants move back towards the front corners of the prop. Stretching your body and avoiding the light staffs, you extend your LEFT hand, twisting at the wrist anti-clockwise almost 270 degrees so that you are palm down. Place your left hand through the hole. You should be practically inside the base fully except for your outstretched arm. In this current position, your hand and arm will be in a slightly uncomfortable contorted position. But, from the audience’s point of view, it will look just like your right hand from before. The effect you are trying to achieve is that you were in the box just before the light staffs were placed through (as indicated by your right hand). However, you still seem to be in the same position in the box after the light staffs are passed through (indicated by your ‘upside down’ left hand). With your (left) hand extended out of the hole, your assistants take hold of the sides of the ‘top/ front lid’ in preparation to flip it over to the top. You motion with your extended (left) hand one last time and pull it through the hole. Immediately pull your arm into the base and allow the smaller trapdoor to fall over you. Half a second after your hand pulls into the box, your assistants flip the ‘top/ front lid’ over to reveal an empty interior save for the two strobing light staffs. This is an apparent instant vanish and gets a solid reaction if performed well. Your assistants move to either side of the prop and take hold of the base. They rotate the prop 180 degrees, so that the back of the prop is now facing the audience. One of the assistants unlatches the back door and allows it to hinge down 90 degrees to reveal a see-through view of the prop. The other assistant goes behind the prop, poses and gestures to emphasis the empty nature of the box. Next, both assistants in a synchronized choreographed sequence remove the light staffs and place them back vertically into the holders. One assistant goes back behind the prop and releases the cloth screen so that it falls straights down and covers the entire opening of the box. The other assistant closes up the hinged door and latches it back into position. The assistants then take up position at either short side of the prop and start to rotate it another 180 degrees so that the front of the prop faces the audience once again. While your assistants are performing the above last series of actions, you are busy at work too. The moment you hear/ feel the hinged door close, quickly open up the trapdoors of the base and position yourself on top of the trapdoors; the same position as you were when you first entered the box. You should be in position as the prop is being rotated back to the front position. Once the prop is fully rotated back to the front and stops, immediately ‘rip’ the cloth screen down and to the side; revealing your INSTANT and magical reappearance. This is a very powerful moment of the illusion and gets a huge ovation.



Exit the box gracefully and pose with an assistant at either side gesturing your triumphant finale.

J C’s Notes:  I actually now perform a two-person version of ‘Light & Space’ with my onstage partner ‘Magic Babe’ Ning. She is the one who vanishes and I do the work of two assistants but obviously not simultaneously.


Jc Sum - Base Work

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