Sleight of Hand Without Hands

Toronto-born Mahdi Gilbert is, as far as I know, unique in the world of magic. He was born without hands and feet but created his own system to perform the kind of magic which would, under ordinary circumstances, be called "sleight-of-hand". 

He recently appeared at the EG Conference and you can watch is performance followed by an interview with another celebrated magician, Eric Mead. As far as I know, Eric is the first interviewer who's dared to ask about the specifics of his physical condition. (Heck, I've known Mahdi for about eight years and I've never asked.)

The trick you can see performed is a modern classic known as "Oil and Water" 

Mahdi's work is, in part, inspired by another differently abled magician from Argentina, René Lavand. Lavand lost his right arm in an accident at an early age.

He also worked primarily with cards. Most of his performances revolved around storytelling and even the occasional poetry reading. He described his own work as "Lentidigitation" which was the opposite of "Prestidigitation", roughly translated as "Fast Finger Action". 

If you watch it below, you'll repeatedly hear him say "No Se Pueder Hacer Más Lento" which translates to "It can't be done any slower."

A bit of Movie Magic

For the past year, I've been working quietly on a project I'm now thrilled to share. A new addition to The Screening Room, an online archive of vintage magic videos hosted by Magicana brings the private magic video collection of Larry Thornton to the world for free.

Larry Thornton, of Calgary, Alberta, recorded magicians in his hometown and at magic conventions across North America. Many magicians, still well-known today, were captured looking younger than I could imagine. The process of digitizing the 8mm reels has been slow and careful and now the archive is finally available. 

Take a look at a short sneak preview and visit the entire collection through the button below.

Helping Hands

I've just had the pleasure of completing a special two-week workshop at Holland Bloorview Kids Rehabilitation Hospital called Helping Hands. It comes as an offshoot of Magicana's My Magic Hands program, which I have been involved with now for close to ten years. 

In an innovative treatment program, kids who have — for one medical reason or another — lost the use of one of their hands and had to re-learn how to use it. To speed up the process, the stronger hand is isolated through clever combination of foam, plastic and velcro, so all the work gets done with the in-training or "helping" hand.

Adding magic into the therapy puts a different spin on things. Rather than having to re-learn things that everyone knows how to do and take for granted, they get to learn things that no one knows how to do. 

For reasons of confidentiality, I don't have any photos of the kids doing magic, but it got subway poster sized thank you gift from the class:

Holland Bloorview - Helping Hands

This program is made possible through the generous support of the Slaight Family Foundation

Elementary my dear Watson

I've always been delighted by the magic of Sherlock Holmes. Far from being a detective, Holmes is really a magician who achieves results through deception. He know, exactly what he needs to know at exactly the time he needs to know it and seemingly with no way of possibly knowing it. If that isn't magic, I'm not sure what is. (And his secret secret is hidden in plain sight, he knows the guy who wrote the script.)

Recently the American adaptation of the classic Conan Doyle character Elementary (which took a rather odd twist filling the role of Dr. Watson with Lucy Liu) tried their hand at some magic... with some rather unusual results.  

The episode, The Art of Sleights and Deception (Season 5 Episode 20), follows the quest to uncover the identity of the pseudonymous author of a magic book, The Art of Sleights and Deceptions. Actually, in more traditional Sherlock Holmes style, the story follows a murder related to these investigations, because we must have our dead bodies for good wholesome entertainment.

The story is, in fact, based on a true one. I magic, there is a book written by an unknown author, S.W. Erdnase's Ruse Artifice and Subterfuge; The Expert at the Card Table. Originally published in 1902 it contains some of the earliest descriptions of techniques for cheating with cards. More importantly, it contains descriptions of how to perform the necessary sleights (prior to that, the description of a bottom deal might simply be that it is possible to take the bottom card while apparently taking the top one without any indication of how the hands move to accomplish this.) The book sold very poorly initially, but later became the subject of great study by magicians and the book has remained continuously in print for one hundred fifteen years and has video version, annotated versions and even commemorative playing cards and t-shirts. 

But the author never came forward and identified himself. The illustrator was located, some decades after the fact, but provided only scant details which didn't point to a clear candidate. There have been many proposed candidates, most of which start with the fact that S.W. Erdnase spelled backwards is E.S. Andrews. The most compelling candidate was identified by magic historian and book publisher Richard Hatch, an E.S. Andrews who was in the right place at the right time.

Of course, once it hit American television, things needed to be spiced up. So a wealthy source (probably intended to be a parody of David Copperfield) offered a million dollar prize for unmasking his identity. There are a few twists inside that I did not see coming, probably because I know so much about the real history. But there was, very clearly, someone who knew an awful lot about this story, although no specific person was referenced in the credits.

I always delight in seeing magicians portrayed in mainstream movies and film. They almost never get it right. They didn't this time. (For example, the apartment of the expert card magician contained no playing cards, but was full primarily of kids' show props and a medieval torture device.) I found out a long time ago, that the film industry isn't interested in realism, when a stereotype will do perfectly well. Unless you are in the educational or documentary film business, trying to correct an audience's incorrect perception of how something is rarely worth the time. It's quicker and easier to go with the flow and simply give them what they expect. (I'm sure most lawyers watching Law & Order or The Goodwife feel exactly the same way.)

I remember years ago, I received a casting call for a magician for a role on a television series. The call specifically called for a "real magician". Many of my friends had received the same notice and none of us could figure out what "real magician" meant. The modern audition process is based on ignoring quality, and simply going through enough quantity to hopefully find what you want. Thus casting personnel never really learn to articulate what it is they want. They're able to sit back and wait until they see it and say, "That's it." Actors also aren't generally called upon to have any particular skills, except being able to pretend to have whatever particular skill is required.

It turned out, what "real magician" meant was "owned big boxes" like the kind you would use to saw a woman into halves. They wanted the props for the set and the magician to serve as an extra standing in front of them. You have to learn not to take these things personally.

Photos from Magic & Martini in Oakville

Last night we had a fantastic sold-out performance of Magic & Martini in Oakville at O'Finn's Irish Temper. It was a very hot day, as you can tell, I wasn't even willing to do up my tie:

James Alan Bow Tie

(Those who wish to complain about my lack of decorum can write a strongly worded letter to the producer at

Thank you to everyone who attended, we had a wonderful time (with the help of some air conditioning.) Here are some photos from the event by Tyler Sol Williams.