STAGE WIZARD DEAD.

Waikato Times, Volume 106, Issue 17840, 12 October 1929, Page 14 (Supplement)

STAGE WIZARD DEAD.

ART OF JULIUS ZANCIG. HIS WONDERFUL CODE EXPLAINED “Two minds with but a single ■thought” very aptly described the amazing stage turn of Mr and Mrs Julius Zancig, who were, a little over 20 yea’rs ago, electrifying London with their wonderful music toll exhibition. Now news has been received that Julius Zancig, who was commonly accepted as the greatest “mystery man” and “thought reader” of all lime, has died in a nursing-home in California. His first wife predeceased him.

Zancig, who must have been over 70, and his wife defied the most severe tests of fellow-magicians, members of occult societies, clairvoyant&s, and lay critics. He was a favourite of King Edward, and gave a command performance at Sandringham. He was a Dane by birth, and became a naturalised American.

The Zanciz performances in music halls consisted in the husband walking among the audience add taking articles fro-m its members. Mrs Zancig, blindfolded on the stage, would describe each one perfectly—even to telling the time indicated on a watch. Zancig would hold the article in his hand and ask her what it was. Her reply would come instantly, and always correctly. The Zancigs never made a mistake.

It must not be thought, however, that his show was genuine telepathy. It Is too much to claim 'that thought reading could be taught, for In 1923, when Zancig paid a return visit to London, his second wife was associated with him on the boards and their turn was as finely polished as on the occasion >of his earlier visit to the Alhambra. Zancig used an astonishingly Complex and Complete Code the secret of which was the employment of single and simple everyday words. This system, together with •changing inflections in his voice and variety in stance, equipped him with an armoury which was impregnable. To those who thought then, and still think, that it was an exhibition of genuine thought-transference it may be pointed out 'that Zancig could not get through the music-hall act without asking his wife the various questions. A cigarette-case would be handed to him, and he would say,

“Now, what have I here?" Like a flash the answer would he returned correctly. Then Zancig would say. ‘‘see, h'o wmany cigarettes?” The reply would he, “Seven.” Sometimes he would then saiy, “Here, what is the metal?" and the answer would he returned, “Gold.” The word “now" was the cigarette-case, “see” meant the number seven, or, if the name of an article ms intended to be conveyed, it might he stick or umbrella, ;and the word “here” stood 'for gold. If the sentence had been, “Please tell me the metal?” it would have indicated silver, and so on. Commencing with the word “what,” 'the code would embrace 'for example the number ,s one,” “artist,” “architect,” or a playing card. If he said, “Here, what is the gentleman’s profession?” she would reply, “Artist.” By leaving out the word “is" she would reply “Architect.” If the question was, “What have I here?” she .would reply, "A playing card." If he said-, "Now, see what it is,” the word "now" gives the 'fourth suit in the order, “Spades, Hearts, Diamonds, and CluhS;" "Now” indicates clubs, and “see" indicates the seven. All very wonderful and extremely entertaining. In-addition to this code Zanclg Had Another Method of conveying a message to his wife which was to make sundry remarks to his audience after having examined an article. On one occasion at the Alhambra Zancig either saw or was informed that a world-famous scientist had entered a box. Zancig in returning articles to members of the audience, made remarks such as, “You see, madam knows.” “Now, isn’t* that good?" "Sorry, I nearly dropped it,” and then, standing upright, called out to his wife, “.lust tell me . who has just entered the box behind you?” Mrs Zancig replied immediately and correctly.

At the time 'of his first visit to England it suited Zancig’s publicity campaign to let the world think that, the turn was genuine telepathy; but 25 years later he admitted that it was only a code. When he was at the Alhambra a number of scientists, illusionists, and journalists compiled a list of the words which Zancig continually us&d throughout his performances. The writer'collected up to between 40 and 50 words in constant use, but they were all simple, every-day words, and figuring among them were “try,” “now,” "give,” “see,” “-can,” “please,” “yes,” and many others equally short and simple. Repeated visits to the Alhambra would, and did, in time enable 'one to hear the same words used every time a particular number, article, or metal was meant. One more example in conclusion will indicate the range of his remarkable code. He would say,, “Try this now.” Answer, “A pair of gloves.” “And this?” Answer, “Money.” “See the amount?" The answer would come slowly. “Three — shill—ings " “Re quick, now,” and the answer would finish. “and tenpence.” The code words for articles and numbers used in the above would be “Try,” “now,” “and," “see,” “amount”—or “value’ if gold —“be quick, now,’ the word “now” meaning four copper coins.