HIS MAJESTY’S THEATRE.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1597, 2 December 1920, Page 35

HIS MAJESTY’S THEATRE.

CARTER THE GREAT.

THE MAGIC OF. THE AGES. “He may have some perfectly good, scientific explanation for what he does, but the most delightful and easiest way of accounting for him is to say ‘Miraculous!’ and have done with it.” This is one summing-up of Carter, the Great, and it just about hits the mark in the opinion of every one who has seen him. To-nigat (Wednesday), at His Majesty’s Theatre, Messrs. J. C. Williamson will present this, eminent magician and illusionist in his unique and mammoth entertainment. Unlike the old days when the average magician could pack all his paraphernalia in a modest carpet bag, it now requires many trucks to transport Carter’s goods and chattels, and a small army of assistants are employed to manipulate the intricate mechanism of the big illusions. Mr. Carter' has a de- . lightfully ingratiating personality and a suaveness in presenting his art that captivates everyone from the start, while the quietly humorous patter which enlivens his work is another pleasant befoolment. The performance commences with a. few simple—they look simple—but bewildering tricks, such as the turning of water into ink and vice versa; in the transformation of goblets of confetti into sugar, milk into steaming hot coffee, the smashing of ladies’ rings and their mystifying reappearance; not to mention the production of a wonderful bottle, apparently inexhaustible, which provides drinks for the audience in any variety they choose. Another puzzling illusion is “The Magical Divorce.” Here a fair maiden is placed in a chair amidst a lot of alleged machinery, and at the word she disappears from sight, and oh a large trunk being lowered from the dome of the theatre (where it has been suspended the whole evening) the lady is found therein. “A Weird Seance from Simla” is another big illusion. In this, Carter, though securely tied to a chair inside a cabinet, produces a great ringing of bells and rattling of tambourines, and even goes to the length of changing coats with a young man who accompanies him into the cabinet. Then there is the “Astral Hand.” This is merely a piece of wood carved in the likeness and mould of a lady’s hand, which when placed upon a square of plate glass (which rests simply on the backs of two chairs) will by taps answer any questions asked. But the piece de resistance is “The Lion’s Bride,” in which a magnificent lion plays an important part. A Shah wishes to marry a beautiful girl, but she will not listen to his suit, being in love with a gallant young prince. In his wrath the Shah resolves to throw her to the lions, and there the brute stalks, roaring in the full glow of the stage lights. The prince, posing as a priest, saves the girl at the psychological moment by diverting the lion’s attention. There is a flash of fire, a,nd the girl and lion appear to be in the cage together—then the lights go up, the lion disappears with a roar, and Carter, as a bogus lion, appears behind the bars, only to step out of the cage as the real lion makes its appearance again. This is spectacular and hair-raising. Miss Evelyn Maxwell’s demonstration of mental telepathy is another interesting feature of the show. She is blindfolded on the stage, and describes unfailingly articles handed to Carter as he passes through the audience.. Then any member of the audience is invited to write a question on a piece of paper and sign his or her name to it, and Miss Maxwell, from the stage, calls the name and answers the question. A specially-selected orchestra, directed by Miss Nelie Black/ from Sydney, is an effective addition to the entertainment.