Magic as entertainment thrills and excites modern audiences and enjoys widespread popularity with large venues, large performances and big budget television specials. But the uncommon and fascinating history of Black magicians has long been shrouded in the mist of the past.
Throughout American history, black magicians have achieved great skill in both the magicians’ tricks of the trade as well as the psychology of entertaining an audience. However, because of slavery, racial segregation and discrimination, few have been able to make their living as magicians. Those who have succeeded are rare indeed, and although some have left a mark on history, many exist only as names on old play bills or in newspaper advertisements. (Conjuror Times, Black Magicians in America, 2001)
In 1999 magician and producer Randy Shine envisioned a magic show that features the best African-American magicians on one stage. The idea of producing such a show was an ambitious one. Many magicians talked about putting together such a show but it was never done. After lengthy conversations with friends and other magicians, Randy invested his own money to produce Magie Noir (Black Magic in French) in the Shubin theatre in Philadelphia. Magie Noir featured the best African magicians in the Pennsylvania, Delaware and New Jersey area. Due to the overwhelming response Randy decided to look for a bigger theatre and booked only the best African American magicians from all over America. Randy solicited the guidance of friends and magicians to produced the Heart & Soul of Magic.
After six months of planning, negotiating and searching the country for the best magicians, on March 3, 2002, The Heart & Soul of Magic debuted at the historical Freedom Theatre in Philadelphia. The Heart & Soul of Magic featured the visual and poetic magic of Gabriel, the enigmatic Hiawatha, classical magic by Puck, the gut busting comedy of Chris Capehart and the legendary Frank Brents.
Back in the early 80's yours truly produced a series of four such events entitled Touch of Magic/Taste of Soul at Randolph- Macon Woman's College (Lynchburg,Va.) featuring myself along with Karl Grice & Mike Douglas along with jazz artist Nat Reeves (bassist for the legendary Jackie Mclean & Kenny Garret). The last two events also featured Victor & Diamond and Chris Broughton. Combined with a "soul food" tasting and done in recognition of African American History Month the events were well received by the community. It was always the plan to do more of the events and perhaps take Touch of Magic/Taste of Soul to other venues, but conflicting schedules and the overall logistical problems that arise with undertaking such an endeavor put a hold on continuing the project. I was always amused and at times perplexed by some of the questions and comments that arose as a result of these programs. "I have never seen a Black magician. Are there more of you?" "Why aren't Black magicians on TV?" "I thought Black people were afraid of magic." "Can white folks come to the show?" It was because of questions and comments like these that I knew the programs were very important. Not to mention the act that all of us had from time to time (frankly a little more often than would care to mention) experienced a great deal of ignorance from within our wonderful magic fraternity. Yes, I use the term "ignance" because to call it ignorance would be too kind! Some folks would call it out right racism, but I know what many people label as racism is just pure, uncut stupidity!!! Here are just a few examples of some of the ignance I've encountered at magic conventions through the years. . .
Then there is that unspoken but unavoidable truth: only a handful of Black magicians are ever asked to appear at major magic conventions. It is as if they do not exist. Flash!!!! News bulletin!!!! There is wealth of very good African American magicians in this country that I have seen with my own eyes in places like Washington D. C., Philadelphia, New York, St. Louis, Los Angeles, Atlanta, etc., etc. Many of them are not only good, but they are doing cutting edge work! The magic community and the general public should be aware of these artists. That is why a program such as the one that took place in "the city of brotherly love" is so very important. The Heart and Soul of Magic was sponsored by the Philadelphia chapter of Concerned Black Men, Inc. and it was the brainchild of Randy Shine, a sharp, young Philadelphia native assisted by his partner Francis Menotti who happens to be non African American. These two socially conscience young men have collaborated on some very unique and sometimes controversial performance material over the past few years. Those readers who attended last years Phoenix Convention know exactly what I mean.
At any rate, it was Randy's vision to produce a show that featured a variety of magic presented by a wide variety of artists from the up-and-coming to the legendary. From my perspective he definitely met his goal. The following is my impression of the artists in the order of their appearance.
The show was hosted by Randy Shine who kept things moving along nicely by NOT doing an effect before each act; he kept his routines short, sweet and entertaining. Shine also performed close-up magic during intermission. It is important to note that the show was sold out for both the matinee and the evening performances and the audiences left the theatre quite happy and thoroughly entertained. Randy is working at presenting The Heart and Soul of Magic at other venues throughout the country. I highly recommend you check it out if it comes to your area and no, you don't have to be African American to attend.
Keep The Magic Alive!
Hiawatha
The second Heart and Soul of Magic show took place on Saturday, March 1, 2003 at the Freedom Theater in North Philadelphia. The show was produced by Randy Shine and Francis Menotti and was sponsored by Concerned Black Men, Inc., to benefit their scholarship fund. Despite a location that most likely limited the "target audience" the facility itself was a beautifully reconstructed theatre, within a historical building on Broad Street. There were two performances, at 2:00pm and 6:00pm.
The performers, with one exception, were some of the most noted African American magicians on the scene today. The MC’s for both shows were Adia Brown, a motivational speaker with more than a passing interest in magic, and Denny Haney, the "token white guy". Denny is best known as the proprietor of Denny and Lee’s Magic Shop, but he has lost none of the timing and skills which have made him one of the nation’s top performers. During the course of the show Denny performed the Sidewalk Shuffle and Adia did Nagisa’s Twisting Arm Illusion.
Hiawatha opened both shows. It was, to this reviewer’s thinking, an odd choice, given Hi’s performing style, but it seemed to work well here. Nothing flashy or fast paced, but he got the audience involved right from the start. He blends magic, music and storytelling with his unique personality. Among the highlights of his act were a card trick in a very "Bobby McFerrin" type musical style and his routine with Cowrie Shells and a volunteer from the audience. This was performed in his character of Prince Junie and his handling of his participant, a young boy, was with respect and affectionate fun.
Co-Producer and local favorite Randy Shine was up next. I have known Randy for several years and have watched him mature into a fine performer. High energy, in a very hip white suit, he had great audience interaction and response. He opened with a funny routine involving a can of air freshener changing to a ketchup bottle. His approach to the Hoy Tossed Deck fit his persona well, with the addition of some effective music cues. The highlight of his spot was a very strong presentation of the classic Ashes on the Hand which drew audible gasps from the audience as well as the particpant. He finished with a "mock hypnosis" presentation of the Anderson Newspaper Tear.
The afternoon show saw Puck closing the first half. Although he is primarily known for his skillful and engaging Dove act, this show saw him presenting other material, which he performs frequently in his Cruise Ship work. In fact, he was only able to appear in the afternoon show, because he was sailing out that evening. It was nice to see this "other side" of Puck. The routines were very commercial, well done and well received. Among the pieces performed were his handling of the Tabary Ropes, Postcards From The Road and the Torn and Restored Cigarette Paper which segued into a great version of Snowstorm in China.
During the intermission, close-up magic was performed both in the theater and the lobby Don Camp as The Seventh Son, Kevin Bethea, Alton Knight, Shaheed and Born. There was great variety in routines and performing style. I’m sure many wished intermission was a little longer. Many in the audience remarked that they had never seen magic that close.
The second half opened with Kenrick "Ice" McDonald. This is a Dove Act with a difference. Ice has such a strong presence on stage...distinctive costuming, riveting gaze, dramatic presentation and superb technique. He has some unusual effects as well. He does a cut and restored rope, then produces a dove from the rope. He does magic with plumbing pipes and faucets including producing a dove from a faucet. He has an unusual finish where his scarf and gloves transform into a large cloth from which he produces an "avalanche" of ice cubes. He walked off to a tremendous ovation.
The show was closed by Chris Capehart, one of the Philadelphia area’s busiest pros. He is a real "original", with a style all his own. To tell you that he does card manipulation says nothing. He has kids screaming at his routine, which challenges them to catch him. His now signature Sponge Ball routine and Miser’s Dream border on audience abuse, in the best way possible. Every kid in the audience wants Chris to pick on them. I have never seen a performer get more out of Fraidy Cat Rabbit than him. His closing Three Ring Routine is startling and got him off to a great hand.
The act which was to replace Puck for the evening show didn’t show up. Fortunately for all, Denny had brought "a few things" along and took his place . The order was juggled around a bit and Denny opened the second half. If you haven’t seen him work, you are indeed missing something special. Classic magic done in a unique style. From Ball and Card Manipulation, to a very effective Malini Egg bag routine with a liquid finish, to his closing with the Ken Brooke Multiplying Bottles, it was a lesson in timing, technique and audience management. This certainly wasn’t lost on the audience , which gave him a well deserved standing ovation.