“Beginners, please. Five minutes to curtain,” the callboy announced, crossing the stage. Marvo the Magnificent ran a comb through his hair, patted it into place, then strode out onto the stage. Bess vanished and I was left alone, surrounded by curtains in my own little world. The orchestra struck up a lively tune and I felt that thrill of excitement that one always gets when the curtain goes up on a show.

The theater manager came out onto the stage and the music became softer. “Ladies and gentlemen,” he said. “Welcome to Miner’s Theatre and an evening of illusion starring an assembly of the greatest illusionists the world has ever known. We begin with a performance of prestidigitation that will take your breath away. Direct from his triumphant tour of the West Coast, it’s Marvo the Magnificent!”

Marvo strode out, his hands outstretched to the audience. He produced a handkerchief from his pocket, crumpled it up, threw it into the air, and it turned into a dove that fluttered and wheeled before coming to rest on his shoulder. Even sitting a few feet away and watching him in side view I couldn’t see how it was done. The audience clapped. More feats of sleight of hand followed, culminating in the disappearance of a cage full of doves from under a velvet drape. The audience clapped, without much enthusiasm. Marvo took as many bows as the applause would allow, then made his exit right past me.

“Good audience tonight,” he said. I couldn’t tell if it was to me or someone I couldn’t see standing in the wings.

His act was followed by the magician with the card tricks. Unlike the others with their fancy names he was introduced as Billy Robinson and his only distinguishing feature seemed to be a drooping mustache, which gave his face a lugubrious appearance. His card tricks received only lukewarm applause even though I thought they were pretty clever myself. Then followed Abdullah, the Fakir from Egypt, who was a last-minute replacement for Scarpelli. Apparently he had come straight from his success at the Cairo Pavilion on Coney Island. He was a fire-eater and sword swallower—in fact I remembered seeing him there. He got a better reception, especially when a whole long cavalry sword that had previously sliced an apple in half disappeared down his gullet. But the audience was clearly waiting for the high point. I could hear the murmur of anticipation.

“And now, ladies and gentlemen, I give you the act you’ve all been waiting for,” the theater manager announced. I didn’t think this was particularly diplomatic to those acts that had preceded. “Straight from his amazing successes in Germany and Russia, where he played to kings and emperors, Miner’s Theatre is proud to present Houdini, King of Handcuffs!”