STAGE MAGIC

Wanganui Chronicle, Volume 83, Issue 118, 22 May 1939, Page 9

STAGE MAGIC

CHANG AND MAGICIAN’S ARTISTRY WANGANUI VISIT ALL TOO SHORT MYSTERY AND HUMOUR For two and a-half hours on Saturday afternoon and again on Saturday night, large audiences at the Opera House were provided with excellent entertainment when Chang, the Chinese magician, and his talented company presented a programme of mystery and humour. Naturally, these Wanganui audiences gave an appreciative reception to Wanganui’s own talented Bridges Trio, who were welcomed back to their nome town alter an absence of several years, 'iney

have come back enriched with the experience gained overseas, and the inspiration provided by the crowd’s generous welcome was reflected in their delightful music on the Cuban marimba, piano, violin and harp. About Chang's woik there is an amazing dexterity and precision, and apart from his remarkable adroitness of hand he has a prolusion of mechanical tricks of a type that represents developments on many of the old and standard illusions. His show is elaborately staged, and often spectacular. 'Through sumptuous settings a bevy of dancing girls engaged in ballets that in themselves were in keeping with the spirit of illusion. “A night in a garden of magical Howers,” in which flowers appeared to be actually dancing against a black background, was an outstanding example. Chang's stage personality is a big asset in his performance. Hu contrived to keep a large audience highly entertained with his drolleries, in which slips of speech lilted well into the scheme of things. All these were skilfully combined with that quickness of the hand that deceives the eye, so that the climax to many of his tricks came when least expected. As a conjurer and magician, Chang is an artist; he is no less a clever showman. Described as “A Trip to Hades,” a spirit of fantasy was often maintained, some of the scenes being bizarre. At one time lights snapped out; strange shapes jigged on the stage and then through tne air, while many in the audience clutched their scale at the apparent presence of what Chang described as “ghosties.”

There was certainly variety in the show, and much that stimulated and puzzled. Chang’s speed is remarkable. Having caused a female assistant to disappear from a hanging tent, round which a "committee” from the audience was placed, Chang allowed himself to be handcuffed and entered the tent. Having done some amazing things from within the tent in the space of a few seconds, lie in-

vited a member of the committee to enter with him. A second later, when the covering was switched away, Chang was still secured, but his amateur assistant, to the evident embarrassment of that person, was also secured, and festooned with objects that apeared to have come from nowhere.

There was a strong supporting programme, Joanna Claire and the Hollywood Ballet gave a weird jungle dance, an exhilarating Can-Can, a beautiful flower ballet, a Cuban rhumba, etc. Walton and Murray presented something new in sensational balancing acts. The highlight of the act consisted of one partner Balancing the other as the latter climbed up to his shoulders and there stood erect for several moments. The Bridges Trio, three young New Zealanders, provided some delightful music, playing "The Blue Danube,” and some more modern compositions. Their selections on varied instruments were very enjoyable, and they generously responded to the demand for encores.