AN APPEARANCE IN MID-AIR WHILE LEVITATING i aval\| ava Ve leyV | 42 1 ee ee Ea ee i La ee YOUR DRESSING ROOM DOOR IS ASSEMBLED FOR YOUR ARRIVAL MIDE ANGI ET ee CN Ue @ Ne Owe] g NNO tO Ar SLE eee) eeDedicated to hard working performers everywhere. -Chris Stolz, Author Contents About The Author Page 3 Aerial Arrival Page 5 An appearance in mid-air while levitating “Honey, I’m Home!” Page 10 An appearance from an empty doorway Dressing Room In A Box Page 17 A door is assembled in pieces before making your magical appearance Walk The Plank Page 22 A board is placed on two tables and a cloth raised above them to reveal your lovely assistant Wide Angled Platform Page 29 A black art platform modification making setup and angles considerably easier and more versatileAbout The Author Stolz Productions is a magic consulting and theatrical illusion design company based out of Toronto, Canada. Drawing from the expertise of company owner and designer Chris Stolz, Stolz Productions works with clients from all over the world designing and consulting for the stage. a eee Chris brings to the table a mastery of theatrical BAG COS TANT lighting and sound systems and design, rigging, scenic design for the theatre and has worked both on and off stage in hundreds of theatrical and magic productions over the years. His ability to create practical, creative solutions for theatrical illusion and special effect challenges is what has identified him as a true expert in his field. Asa result, he is known as one of the top young illusion designers in the industry today. On stage, Chris has performed for audiences all over North America and an actor and a magician and studied with a friend and one of the top expert card magicians of the century, the late Martin A. Nash, aka "The Charming Cheat". When combining theatrical and magic concepts, Chris also follows his own unique process. Using top-of-the-line 3D and drafting technology, he can digitally build each stage illusion piece by piece with the ability to see the entire prop with materials, lights, shadow, and reflections from every possible angle. This process has proven to be very successful, saving clients both time and money before fabrication by allowing them to see exactly what a live audience would see. While 3D rendering is a very important part of the design process, Chris does not feel that it is a replacement for physical testing, research and real life experience. 3D renderings are created only after the utmost attention to exact physical scale and real world limitations have been established.The Stolz Productions focus is primarily on magic and illusion however every illusion is designed with a key focus on theatrical content. With his strong theatrical background, Chris Stolz is able to create original illusions that are more than just "tricks" but true pieces of theatrical art. Chris believes that, "Without story, there is no magic." "Chris Stolz is one of the most innovative minds leading the way in the future of magic today. I highly recommend Chris to any illusionist looking to add creativity and originality to their show. He can do it all - from ingenious conception, to state-of-the-art 3D design, to contracting the builders for the finished product." ~ Reza Illusionist- “In over 30 years of performing and inventing magic, I have never seen better graphics. Chris Stolz is the Leonardo DeVinci of modern stage magic!" - DonDrake Magic Consultant & Black Art ExpertAERIAL ARRIVAL Cr A Stow Motion AppeaRANCE WHILE LEVITATING PROCS Lee ERS)The Effect: Two female assistants pick up a foulard from the stage floor. The foulard is stretched out tightly and after a few moments, something begins to form beneath it. The audience can see above, below and to the sides of the foulard at all times. The object appears to be the shape of aman pushing ward from beneath the foulard. Slowly, it begins to float upward. Upon reaching a height of almost 5 feet in the air, the assistants let go of the foulard which remains suspended. The assistants both reach up and give it a sharp downward pull to reveal the performer floating horizontally in mid air! The performer slowly floats downward landing on a thin board now held by his assistants. Landing gently on the board, he turns and walks forward to receive his applause. The Setup: To begin, the performer is lying on the end of a “see-saw” lift unit backstage behind the black backdrop. The lift is on locking wheels and is counterweighted for a smooth and easy rise. Whenever | have used a lift such as this, we used sandbags for weight as they were always immediately handy in any theater. The lifting arm is generally 10-14 feet long with a triangular shaped base. The arm is welded to a piece of steel tubing which into which is inserted the top bar of the triangular base. The base should be approximately 3 feet high, 3 feet wide and 3 feet deep. A small rectangular shelf is attached to the lifting arm to support the body of the performer. The exact size will depend entirely on the strength of the performer although it should be as small as possible: usually 18 inches wide and 6 inches deep. This entire structure is painted flat black.The foulard is actually two sheets sewn together on the downstage side: one white, and the other black velvet. The black sheet is sewn 6 inches from the downstage edge of the white. Each sheet should be 4 to 5 feet wide. Both are neatly folded with the white on top of the board and the black sheet bunched up neatly behind the board. See below: Lighting This illusion will require careful lighting. Avoid lighting this or any other effect which uses black art, directly from the front and try to light fromthe sides, rear and top as much as possible. Gentle blue tones from above, behind and to the sides will help reduce the possibility of the black velvet being seen. To Present This Effect: Your 2 assistants walk on stage, bend down and take the corners of the white sheet. When the sheet is first stretched out and lifted by the assistants the black velvet is allowed to unroll. By tilting the sheets slightly downward at the downstage end, the audience will be able to see the surface of the top sheet without exposing the line where the velvet is sewn beneath it. The left and right edges of the velvet are covered by the bodies of the two assistants while the board resting on the stage floor masks the bottom edge of the hanging velvet. With the black velvet against the black background, the audience will believe they can still see beneath the white sheet to the black curtains behind as shown below: As soon as this black velvet is in place, the lift backstage is pushed forward through the curtains bringing the performer directly behind the black velvet. See below:As the levitation unit is pushed downward backstage, the performer's body is pressed upward against the white sheet. After a view rises and falls, the performer is brought straight upward until he has reached a height of 5 feet. To reveal the performer, the assistants reach up and take hold of the sheet and pull it straight down depositing it in a heap on the floor. This will leave the white sheet to rest directly on top of the black velvet. The assistants will pick up the board and allow the performer to float back down on to it. As the board is tilted downward for him to step down, the levitation unit is pulled straight backward and out behind the curtain. Final Thoughts This illusion is a wonderfully visual way to produce the lead performer at the top of the show. Avoid attempting to “prove” the levitation or lack of wires in any way. Hoops and waving hands are not required needed as long as you let the visual effect speak for itself. There is also no need to have the performer rise and fall, or levitate for too long. A few upward pushes against the white sheet and a smooth rise followed by the immediate appearance is all you need. If you attempt to stretch out the effect too much, it will lose its sense of rhythm and give the audience far too much time to start questioning methods.The Effect The curtains open to reveal a door in its frame with a nice white railing around each side of the 1 inch thick platform and a welcome mat (For decoration and theme only. There is nothing inside the platform). An assistant is on the upstage side of the railing leaning on it casually, her legs visible between the bars. She steps around to the front, opens the door and walks through it to prove that it is indeed vacant. Upon closing the door, a knock is instantly heard, the door swings open and the magician walks through with a “Honey, I’m home!”. The Method The method, while simple, uses a clever little dodge to cancel itself out. Essentially, there is a piece of black masking along the back of the one railing to give the audience the illusion that they are looking straight through to the back (black) curtain. What makes this interesting is that the assistant appears to be standing behind it when the effect begins. This is because the black velvet is not fixed to the back of the railing. Rather, our velvet is glued to a piece of 1/8” plywood which is fixed to the back of the railing on one side only (the door side) with a spring hinge. This simplicity of the setup is that makes it both effective and reliable. When the assistant stands behind the railing, she stands between the panel and the railing with her white pants clearly visible through the bars, Because of our spring hinge, the panel pushes gently against the back of her legs. When she steps out, the panel closes behind her finishing flush up against the back of the railing. The magician is hidden behind this black panel until the door closes, at which time he merely stands up behind the door, knocks and enters. Once the door has opened, the lighting can also make a dramatic shift and brighten substantially as the railing is now completely covered by the open door. But we'll get into lighting later - first, let’s look at the materials:Materials Required Platform 1” thick plywood — 24” x 70” Platform legs 4 blocks measuring 4”x4” x2” high Doorframe Standard door frame made from pieces of 1”x4” : 30” wide and 80” tall Railing A top & bottom 28” long pieces of 2”x4” Railing A vertical bars 4 railing bars measuring 36” long by 2"xa” Secret black art panel 1/8” thick plywood measuring 22” x 35” Railing B top & bottom 24” long pieces of 2”x4” Railing B vertical bars 3 railing bars measuring 36” long by 2”x4” Also Needed: 2 strong spring hinges, 4 wheels, 1 cabinet handle, a door in its frame with hinges, a strip of white felt 1” wide x 35” long, some black velvet large enough to completely cover the panel on both sides, 8 bolts (1/4” is fine) measuring 3” long with washers and nuts. Door Tip: Buy it, don’t build it. You should be able to walk into any building center (Home Depot for me here in Toronto) and pick up a pre- built door in a frame for relatively cheap. It’s already built, it’s perfectly square and balanced and even pre-painted in white. It’s a no-brainer! The whole point is that this looks like a household door. Putting It All Together Here’s how we're going to build this: First, we’ll put the railings together, then we'll mount A on the platform, we'll add the door and finish with railing B. The railings are pretty simple. You can screw each together as its own solid unit as it will never need to come apart. The 4 railing bars are11 screwed in between the top and bottom from the ends. Paint the entire railing white. Cut the velvet to fit around the panel, glue and then staple it down. This is attached to the back of railing A with the spring hinges so that is it held tight to the back of the railing when it is not held open. Paint the cabinet handle black and affix it to the back of the panel. This is to make your assistant’s life easier as she opens the panel before the effect begins. Finally, glue the and staple down the strip of white felt along the back of the vertical railing bar which the panel closes onto (opposite the hinges). This is to ensure that the panel doesn’t make a sound when it closes. The rest from here on in is pretty easy. Screw your platform legs onto the platform (screw down into them from the top of the platform) and attach the wheels. Paint the entire platform any color you wish. I like anice wood stain to break things up and contrast against the white pieces. Paint the door with the same wood stain. Now, drills holes in the bottom of railing A and matching holes in the platform into which you can insert two 3” long bolts. Bolt this railing down onto the platform. Do the same for the bottom of the door frame to the platform and the side of the door frame to the side of railing A. Bolt railing B to the platform and doorframe in exactly the same manner, this time with the railing running from upstage to downstage. Tighten everything up and she’s ready to go.13 In Performance The effect itself is very easy to present. First however, it is important that check your angles carefully prior to the show to make sure you cannot be seen. If there is any chance of flashing the method, move the entire prop a little further upstage to tighten up the angles. If you are still nervous about flashing, attach an additional piece of black fabric to the back of the panel along the top edge which hangs down. This can be thrown over your head to further protect you from inadvertently poking your head up and being seen. Under cover of either a blackout or closed curtain, your assistant walks in, pulls the panel open and stands in between the panel and the railing. The door is closed and you are hiding behind the panel. When your assistant steps around to open the door, she comes out from behind the railing and walks downstage to open the door from the audience side, the panel having slipped closed behind her. She opens the door, walks through and passes around the stage left side of the door (letting house-left see through railing B), and closes the door. She stands in front of railing A with her attention focused on the door. The moment the door closes, you simply crawl behind the door, stand, knock and open. Your assistant must of course step to the side to clear as the door opens. Additional Performance Notes There are a few key things to remember here. To start with, the black art is usually not left on its own for very long. To start, her legs cover a good portion of it, followed by the open door as she displays the empty doorframe, followed by her legs and body and she stands awaiting your appearance and finally the door again once you have opened it and entered. This is an important detail to remember when you begin staging this effect. Lighting Do not be scared of the black art principle. This effect is actually quite easy to light, particularly because the vertical bars break up the space infront of the black art. The key to this effect is to avoid lighting railing A from the front, instead light it from directly above with some gentle backlighting (coming over the top of the railing, but shuttered as to not cast a shadow on the floor on front of it). Most of the lighting should be focused on the door which should be lit mainly from house-left. Any lighting from house-right needs to be gentle or shuttered as to not cast a shadow of railing B across the panel. Again, you are lighting the door, not the railings, as it is the focus of the magic that is to happen. Vinal Thoughts This effect is fairly easy to build and incredibly easy to perform. This means that you should be able to focus your energies on the presentational aspects. Where did this door come from? Was it taken from an old home? Is it your dressing room door? Use your imagination, have some fun with it and make sure you tell a captivating Story to bring everything all together.CHRIS STOLZ’ DRESSING ROOM In A[ Box]The Effect The curtain opens and we find nothing but a packing crate on stage. Apparently they ran out of time and had yet to assemble the first illusion! Two assistants enter, open the lid and remove two halves of a door frame - each with its own half door. The bottom half is put on top of the crate and the top half is fixed upon it to create one full door. The assistants realize that they have forgotten the doorknob so the front of the crate is opened to show the empty interior while they retrieve the knob. The knob is screwed onto the front of the door and the entire crate is spun around show both sides of the crate (which is still open on the front) and door. The assistants knock on the door and it opens to reveal the magician. A Quick Introduction This effect was originally conceived as a unique motorcycle illusion (the door was replaced with a curtain hung between two lamp posts and the motorcycle was raised out of the crate like an elevator) which | later converted into this effect mainly because the motorcycle concept would have been very expensive to build. | had also come up with Motobox at that time and Michael Pignataro and | were already hard at work on that project. | think that this plays much better in this doorway version anyway as it tells more of a story and has a nice progression from crate, to door, to knob, to appearance. Besides, I’m quite font of effects where the props are “built” on stage. It adds a nice sense of burning curiosity to the whole thing. “What is he making? What will it do!?” What I like most about this illusion is that everything has a reason. The crate is there to protect the door during travel and the front is opened not to show its interior empty, but to innocently retrieve the knob which must have come off during transport. Whenever you can create logical reasons, or at least reasons which make sense within the context of the story, you remove the “challenge” from your actions. If it seems too contrived or “put out there”, movements or phases of routines can arouse too much suspicion...even if there is nothing to be suspicious of. Always keep the plotline at the forefront. Without theatre, there is no magic.17 The Method To The Madness The door, while strange in its cut in half nature, is perfectly ordinary and contains no secrets. The crate however, is no ordinary crate. It contains a mirror set at a 45 degree angle to reflect the bottom of the crate as to simulate the back so that it appears to be empty. Our magician is hiding inside the crate behind this mirror. Once the door has been assembled and the crate rotated, the magician can stand up (through a trap in the lid) to make his appearance behind the door. —Trap || = Top Door \——Mirror Crate — Front Door Front Door Door KnobIn Performance This illusion leaves a lot of room to play with the performance. | recall performing Mark Wilson’s door illusion “Who's There?” illusion years ago. In my version, my assistants walked on from both sides in a panic looking for me: “Where’s Chris? The show was supposed to start 3 minutes ago!” The stage manager would enter to say, “I don’t know, he’s probably in the dressing room still combing his hair. Girls, would you go check?” The door would be opened...nothing there...” Maybe we should knock!” They did of course knock and | appeared from the dressing room door. This is the kind of thing we’re going for here. Let the story carry the effect. Now, let’s get down to business.19 To begin: the knob is in the front portion of the crate, the door is in two pieces inside the crate (behind the mirror) and you are behind the mirror with it. After whatever by-play you wish to put in, two assistants start putting everything together. First, they open the lid on top of the crate, remove both door sections and close the lid. The bottom is placed onto the top of the crate downstage of the trap and the top of the door is placed upon it making a complete door. In checking that the door is complete, the assistants realize that the doorknob has been forgotten. Now you've got a chance for a little joke here. One assistant goes to lifts the door, realizes it’s too heavy and puts both hands on the lid with his knees bent in preparation to open the now heavy lid (which would of course send the door crashing to the floor). The other assistant, who has been casually watching this walks over, taps him on the shoulder and opens the front of the crate to remove the knob. Make sure that he reaches in and removes the knob before fully opening the door. We don’t want to see the reflection of his arm or the knob in there. Just open the door a couple inches, reach in and pick it up and then continue to open the door all the way, gesturing to the other assistant as if to say, “See. Easy.” The cleverer of the two assistants gestures to the other to turn the crate around so that he may inspect everything. He does and both look quite satisfied with themselves. As they stop spinning, have one assistant give the back of the crate a “tap tap” with his upstage hand. This is your cue to open the trap, stand up and wait for your cue. The assistants stand on either side of the crate, reach up and together they knock on the door which you swing open for the revelation. The music should either start or dramatically change at this moment to give your audience their applause cue. While you walk forward the assistants quickly close the front and push the crate off stage. This takes the heat off the prop and puts the focus where it should be: On you!Lighting Tips Make sure that you put a nice even wash over the front of the crate to eliminate any strange telling shadows on the mirror. This should be quite easy to accomplish and probably won’t require any major changes to the lighting you already have. Just be aware of it and make sure you don’t have any hard edges of spots crossing the opening of the crate. Whenever I’ve got an appearance on any kind of a raised surface like this, | like to put in a shift in intensity at the moment of the appearance. This shift will take away 80% of the lighting on the rest of the stage and add a few additional lights on the performer(s). Make sure that the lighting added is above the crate and the lighting taken away includes some of the lighting on the crate. This helps to take some of the focus off the props and onto the magic that has just happened. This cue should happen with a change in the music so that it blends in with the moment. It also helps to cue the audience to applaud. Keep in mind however that some effects, such as those which use expanding bases or similar principles where the effect looks more deceptive AFTER the appearance, can be exceptions here. Final Thoughts Have fun! | invite you to take this illusion and run with it! Make the look and feel of the props and presentation elements match your own personality and style. If everything is cohesive, the audience will let themselves get pulled into the story. If not, they may focus too much on the props and see them as...well...props, instead of vehicles through which the magic happens. \f you wanted to skip the mirror, you can simply sit inside the crate. Spin the crate, sneak out a door in the back while the knob is removed and then close the front door before spinning again so that you can sneak back inside. This certainly will work although it’s not as strong as spinning the crate while the front is open.21 One Quick, Semi Off-Topic Request Please, please, please don’t paint this all black and wear a black. I’ve been seeing this a lot lately and 9.9 times out of ten, the act is lost. The audience will never see you or the illusion and you will be killing your entire performance. If black is your thing, make sure you use a brighter background, or at least put some bright trim around the edges of your illusion. If your pants are black they will vanish against the black curtains and it weakens the look of the appearance. As magicians we need to understand black art, but this also means understanding when it will help us and when it will hurt us. OK, V'll get off my soap box now...or is it crate? ©A Brand New Illusion From Stolz Productions Walk The Plank Athin board and two tables are freely displayed. The board is placed across the two tables creating a raised surface. You lift a cloth for a brief moment before revealing the sudden appearance of your lovely assistant. Promotional Photo Only.23 The Effect The performer clearly displays two plain wooden tables one at a time and places them on the stage a few feet apart. He creates a raised surface by placing a board on top with either end resting on each of the tables. Standing on top of one of the tables, he raises a foulard for just a moment before letting it fall to the floor. When the foulard falls, the audience is astonished to see the appearance of a beautiful lady standing atop of the plank. «The tables and board are cleanly shown at the start of the effect = There are no stage traps and at no time does the foulard touch the floor «The illusion can easily be constructed to pack flat and there are no heavy bases or metal structures The Method The method behind this effect is incredibly simple and direct. Attached to the back of one of the tabletops is a rolled piece of black velvet which remains unseen until it has been unrolled. The initial placement of the tables hides the assistant until the velvet has been unrolled to mask her position, via the black art. When lifted, the foulard overlaps the tables by just enough to allow her to stand up and take her place on the board. The Props For this effect your floor and back-drop, or at least the portion of it located directly beneath and behind the tables, need to be flat black. | find that most performers these days perform in standard theatres using black stages with the standard back blacks up. If this is you, you’re all set to go. The board itself is completely ordinary. | use a piece 2x10 which is 7 feet in length. This allows me to place the tables 2 to 3 feet apart while still having a little room for the board to extend of the edges of the tables. The easiest way to construct the tables...is not to. Take a trip to your local discount furniture store (IKEA was perfect for me), and purchase two square tables. Most of these tables will already havescrew on legs, making this a very easy effect to transport. Make sure your tables are big enough that when on their sides, they will hide your crouched assistant. If you prefer, you can also visit a hardware store and purchase the necessary wood to construct your own, My tables measure 24” wide x 24” deep x 20” high. | am producing a slender 5’2” tall female so you will want to make sure you use the size that works best for you. Cut a piece of black velvet (triple black is best), to fit the back of your table. Neatly hem the edges to prevent fraying and while doing so, sew a piece of doweling into the bottom hem. This will give the velvet some weight to help it unroll smoothly and keep everything nice and tight. Use black gaffer’s tape to attach the top edge of the fabric to the back edge of the table top. The reason for using gaffer’s tape is because it holds well but you can still adjust and replace the fabric as needed. The top edge should be in the vertical center of the back of the table top and the same goes for the horizontal centers of the legs. (See below) 1 EaREEEEEEneeee Sf Tape ——Black Velvet “——Dowel Setup25 Starting with your dowel, roll the velvet tightly until it is neatly rolled behind the table edge. With 2 small pieces of, you guessed it, black gaffers tape, secure the rollin this upward position. Make sure your pieces of tape are located close to the corners of the table. You will want to use small pieces of tape for this as it needs to be easily released. Place the other table on its side with the bottoms of all four legs facing the audience 2-3 feet away from the first table. The board and cloth are place in a convenient location not far away with the cloth neatly folded on the board. Your assistant hides behind the table currently resting on its side. To further assist in her concealment, and to prevent an accidental flash of the method, she covers herself with a black cloth. Performance The performance of this illusion, while simple, will require much practice to ensure that the handling and placement of the tables does not appear to be overly contrived. @ \ Walk around the front side of the second table, crossing over to the opposite side. This will give your assistant enough time to crawl from one table to the other, hiding herself behind the black art table. Pick upthis table and show all sides as before. Place this table some 24 to 36 inches from the black art table. Retrieve the board and place it atop of the two tables. — Picking up the foulard, stand on the black art table and extend one arm, taking care to keep the lowermost edge of the foulard off the floor. As soon as you are in position queue your assistant by sharply tapping your upstage foot twice against the top of the table. This action is upstage by the foulard and never seen. Your assistant simply stands up and tables her position on the board for the reveal. As soon as she is behind the cloth, she drops the black cloth back down behind the black art table. Whip the foulard away revealing the appearance of your assistant.27 \f you do not intend to end the illusion with a blackout and striking of the stage, casually drop the foulard onto the black art table allowing it to drape down the front side of the table, thus taking the black art completely out of play. ConclusionDo not let the simplicity of this illusion fool you. It will require appropriate rehearsal to make sure the routine is carried out smoothly and that the display and placement of each table does not appear to be too contrived. Lighting should be mainly from above although it does not need to be a nearly darkened stage. As long as you avoid direct, bright lighting on the black art you're fine. When setting your levels, start with the lighting directing above the illusion and slowly add more lighting to the sides and in the front. When you find a lighting angle that exposes the black art, you know when you've gone too far. | wish you all the best with this one. Have fun.Stolz Productions Presents A Black Art Platform Improvement 29 |What is W.A.P. ? W.A.P., which stands for "Wide Angle Platform", is a custom black art platform designed to make setting up in a new performance space much easier. With a WAP, you no longer need to pace around the theatre obsessing over your sight lines. Simply place the illusion in the most convenience location and you're ready to go! What makes this concept so effective is that not only are the left, right and top angles completely covered, but the hiding place shrinks in size by itself after the appearance! How does W.A.P. Work? We've taken a black art platform and tricked it out in order to dramatically increase the angles. Two black art wings open out the back which are light weight and will only open as far as you need them to. The hiding place has also been fitted with a top which allows the performer to be hidden from view while still being able to pass through when required. Both the wings and the top have been designed to fold flat against the back legs as the performer moves from behind the platform to on top of it, keeping the hiding pace as low profile as possible when it is not in use. The platform is a simple table with 4 legs and a top. Stretched across the back legs is a piece of triple black velvet. This, when placed on dark coloured stage with a black background, will allow the performer to hide behind the velvet and remain unseen to the audience. So far, you've got your standard black art platform. Now for the add-ons: Attached to each of the two back legs is a wing. These wings, which are made of a light weight door-skin, have been covered in the same triple black velvet and attached to the back legs with 2 spring hinges. The hinges allow the wings to close on their own when there is nothing in the way to hold them open. To further add to the complete angle coverage, a top has been added to the wings. This top consists of two pieces of black spandex material31 stretched between the two wings in an overlapping fashion, allowing the performer to easily pass through. The following images will put everything into perspective for you. TOP VIEW Black Spandex. wing |—wing Spring Hinge FRONT VIEW SIDE VIEW Platform Top Black Velvet Platform Legs To begin, the platform is placed on stage with the performer already positioned behind it. To get into the place, simply open the wings and crouch down between then, with the black spandex above your head. When it comes time to make your appearance, you simply stand up between the two overlapping pieces of spandex and the wings will automatically close behind you. In Conclusion This has saved me hours of time now that | no longer have to fuss about checking every little angle before spiking the position of my platform on the stage. I can pretty well drop it into place, have one quick look from the house and I'm ready to go.ILLUSIONARY = APPEARANCES 2 Pts o TE eas a YY ee ec NERA aed Eee Wii a NN LS : ARPEAR ON A PLANK SUSPENDED ON TWO TABLES Bl laine Yavey' Le TIS YOUR DRESSING ROOM DOOR IS ASSEMBLED FOR YOUR ARRIVAL ABLACK ART PLATFORM MODIFICATION Poach: pea Oras PM Meetn amo ew RECO Cea tel eu ko | :