Cleo... The Richiardi Version...
AGUY MAGIC
I currently perform a version of this effect, with a signed handkerchief
instead of a canary. (I like animals too much to stuff them into places where
they won't voluntarily go, but before I get on a rant to all the dove and tiger
workers, I'll stop complaining, LOL).
As far as the history of the illusion goes, I'm sure it's old... I'm sure it
dates way, way, WAY back. The closest actual account that I've heard of,
concerning anything bearing any "direct association" would be something
performed by Robert Houdin (not sure of the whole routine, but it was something
closely associated to his "Orange Tree", and used as a follow up to that
effect. Something he did after he removed the handkerchief from one orange, a
watch from another, etc. I can't remember where I read that, maybe "M.C.
Illustr. Hist. of Magic".)
In my opinion, the only one to really make any impact with the version you
mention (CLEO) was Richiardi, a Peruvian born Master of the Art, who is no
longer with us. Any other version I've ever seen performed by anyone else,
didn't even come close to his magnificent handling. For a while, he was the
only one performing it in a major show that was worth noticing. I'd say the
Richiardi family is probably responsible for keeping that effect alive all
these years. Possibly other effects too. He had a way about him that made
everything he did look "fresh". I think they call it talent.
Anyway, I have one of Richiardi's original birdcages in my garage (given to me
by Russ Merlin). Although it's not for sale, I believe Owen's makes one (like
the kind used in Joesph Gabriels show). It'll cost a few hefty bucks I'm sure,
but they do generally make some quality merchandise.
The EXACT method of preparing the entire Orange Lemon and Egg effect isn't
completely listed in any Magic book as far as I know. The preparation for the
Egg alone is listed in a few magic books, and is somewhat common knowledge.
I have spent much time (and I do mean MUCH TIME, I'm talking years) developing
my own way of setting it up, and believe me when I tell you, it is a real chore
to set them up and make them look good.
I usually like to work as close to an audience as possible with this illusion,
so they can practically smell the Orange as I peel it open. To do that, it's
got to be set up right and look perfect. It takes about an hour to set it up
right and make it look pretty close to perfect. If you can't devote that kind
of time to do it right, my opinion would be to not even attempt this effect.
I've seen it set up poorly, and performed poorly, too many times that I wonder
why magicians even bother to do it. If you've ever seen Joseph Gabriel make the
Lemon "disappear" you know what I mean. It looks like garbage. I don't think
anyone is believing the effect in his hands. Sorry Joseph, but I call 'em like
I see 'em.
And when Copperfield did it back in one of his early TV specials it was even
worse. He "turned around" (with his back to the audience) to make each of the
items vanish! C'mon, who's brite idea was that? He looked like a six year old
trying misdirection for the first time in order to make a bowling ball
disappear! At least you'd give the six year old credit for being cute, but
people don't expect that from Davey. (Having his Dad hand him the "cigarette
thru quarter" was brilliant though. I still get a kick out of that.)
Anyway... Where was I... Oh yea...
When I set these things up, I usually make a few sets at a time, and preserve
them in a special way that allows them to last for up to 3 weeks each.
I plan on writing a full detailed manuscript and/or video showing exactly how
to prepare the effect using a number of different methods that I came across,
since I have been frequently asked "Where did you get the info on that?"
If anyone knows of ANY instructions previously released on the effect, aside
from the Owens version, (which I don't recommend, sorry Owens), please let me
know (and let ACE know too;).
Thanks,
Dennymagic
take a look at some of these great pieces and understand that they cannot all
be bought from the local "magic shop" and performed the way the masters did.
Also great to keep the name of Richiardi out there for all to remember. I am
in agreement. No one did it like Richiardi. He could take anything and make
it exciting and interesting. Great pauses, great movement, a great man. He
had that rare ability to know what a paying audience wants to watch. His
opening of his stage show with a Foo Can and a set of Brahman Rice Bowls is a
lesson in grabbing the attention of an audience from the moment you walk
onstage.
Although I also feel that his was the best presentation of CLEO, we might also
want to notice the masterful presentation of this effect in the hands of James
Dimare (sp?) and Tommy Wonder, whose vanishes of the egg and the lemon are
truly magical.
Denny
Denny and Lee Magic Studio
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NEAMDE
In article <19990107022053...@ng-fa1.aol.com>, aguy...@aol.com
(AGUY MAGIC) writes:
> In my opinion, the only one to really make any impact with the version you
>mention (CLEO) was Richiardi, a Peruvian born Master of the Art, who is no
>longer with us. Any other version I've ever seen performed by anyone else,
>didn't even come close to his magnificent handling. For a while, he was the
>only one performing it in a major show that was worth noticing. I'd say the
>Richiardi family is probably responsible for keeping that effect alive all
>these years. Possibly other effects too. He had a way about him that made
>everything he did look "fresh". I think they call it talent.
>
It wasn't that Richiardi only made this and other -- often old -- effects
"fresh," it is that he brought magic, mystery, and drama to them. His
presentation of El Pepito (the name he gave this effect after the first bird he
used to perform it) was one of my favorites. But it should be noted that it
was not really "his" trick. Richiardi's father (who we now Bknow as Richiardi
Sr) and his mother (who would later go by the stage name of Miss Rina) first
saw the trick (which they called The Bird) performed by Richardine (Ricardo
Deben). His mother was enormously perceptive in terms of magic principles and
methods and set about writing out the details and mechanics of the trick that
night on hotel letterhead. And within a few days Richiardi Sr. incorporated it
into his act. In time, Miss Rina would add it to her show in the late 1930's
and Richiardi Jr inherited it when he took over the show in 1941. That it
became one of his signature pieces is a tribute to his wonderful artistry and
the magic he made with it.
Michael Edwards
Iasa
>It wasn't that Richiardi only made this and other -- often old -- effects
>"fresh," it is that he brought magic, mystery, and drama to them. His
>presentation of El Pepito (the name he gave this effect after the first bird
>he
>used to perform it) was one of my favorites. But it should be noted that it
>was not really "his" trick. Richiardi's father (who we now Bknow as
>Richiardi
>Sr) and his mother (who would later go by the stage name of Miss Rina) first
>saw the trick (which they called The Bird) performed by Richardine (Ricardo
>Deben). His mother was enormously perceptive in terms of magic principles
>and
>methods and set about writing out the details and mechanics of the trick that
>night on hotel letterhead. And within a few days Richiardi Sr. incorporated
>it
>into his act. In time, Miss Rina would add it to her show in the late 1930's
>and Richiardi Jr inherited it when he took over the show in 1941. That it
>became one of his signature pieces is a tribute to his wonderful artistry and
>the magic he made with it.
>
>Michael Edwards
>
>
Thanks, Michael. I guess that this would be an appropriate time to ask when
your book on Richiardi will be available.
Ian
NEAMDE
In article <19990107084523...@ng149.aol.com>, denny...@aol.com
(Dennymagic) writes:
> His (Aldo Richiardi's)
>opening of his stage show with a Foo Can and a set of Brahman Rice Bowls is a
>lesson in grabbing the attention of an audience from the moment you walk
>onstage.
It is also a lesson in the timelessness of magic. A version of this effect was
the very first one taught to Richiardi by his father (Ricardo Izquierdo)...and
it was the first effect that Aldo Richiardi performed before a live audience.
That version was somewhat simpler...with just the rice and water (The Bowls).
Later he would add a cocktail shaker and refine the handling, adding the
wonderful nonchalant tossing of the apparatus that became his trademark. In
time, the trick became his good luck charm and eventually he began virtually
every show with it. That's over four decades of magic...thousands and
thousands of performances. And the trick was as compelling and magical in those
final days of 1985 as it was when he debuted at the Teatro Segura in Lima, Peru
over forty years earlier.
One other note on the Canary, Lemon, Egg & Orange...Richiardi once said that
much of his initial handling of this trick came from watching a German magician
named Bond perform a variation in Buenos Aires many, many years previous. If
anyone can shed any light on Herr Bond, it would be greatly appreciated.
Michael Edwards
walter unsworth
>An anecdote about guess who?
>One time Alexader Herrmann was performing the effect and the canary escaped as
>he was about to vanish it. His assistant, Billy Robinson, caught it and handed
>to him. There was nothing in his hand, Herrmann immediately caught on and
>pretended to have the canary, even commenting on its eye blinking. Probably
>was the cleanest vanish of a canary ever. Just one of the examples of his
>superb showmanship and quick thinking.
>All the Best,
>James Hamilton
>San Francisco
>Compars
Coincidence James....I have just been reading The Riddle of Chung
Ling Soo for about the 4th time and on page 35 of the first edition
there is the above article. The story was told by the late Dr. J.W.
Elliott. It also appeared in The Wizard of October 1908.
This is a wonderful book for any Magician to read.
I seem to remember that Denny Magic had one for sale a little while
ago. The Riddle of Chung Ling Soo book I mean. If it is still
available I would advise anyone to Snap it up soonest.
Wally U.K.
Compars
AGUY MAGIC
"El Pepito was the name Richiardi Jr. gave to this effect, named after the
first bird he used to perform it."
Great information. Thanks for sharing. In regards to they way I started
performing this effect after seeing Richiardi Jr. do it when I was just a kid.
I use a signed handkerchief instead of a canary. I know you're saying "probably
has no impact"... Well, true, it's not a bird. But, it does have a signature
on it, and unless you know what it looks like when the bird flys about the
cage, the bird isn't missed by the average audience.
About the name of the effect. CLEO stands for Canary lemon egg orange... After
doing it with a handerchief (silk), I substituted an "H" for the "C", and
rearranged the letters to get: OLEH. I've been calling it OLEH since I started
doing it, and it is named after Richiardi, the matador of magic, who would
nearly exclaim OLEH as he tossed his props about the stage. A more fitting
title for my revamped version of his quality presentation I can't think of... I
only hope he would be proud to see it performed in this way. I like to think he
would be;) He is greatly missed.
Sincerely,
Interrante
(aka) AGUY...@aol.com
AlFlosso
>I have just been reading The Riddle of Chung
>Ling Soo for about the 4th time and on page 35 of the first edition
>there is the above article. The story was told by the late Dr. J.W.
>Elliott. It also appeared in The Wizard of October 1908.
>This is a wonderful book for any Magician to read.
There have been several attempts to capture the wonderful story of Chung Ling
Soo, and clearly, Dexter's is the best. Let me join Wally in recommending it.
Gary Brown
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