A young magician with an unorthodox look and style's first big break is threatened by a villainous rival.A young magician with an unorthodox look and style's first big break is threatened by a villainous rival.A young magician with an unorthodox look and style's first big break is threatened by a villainous rival.
Paul A. Gordon
- Steve
- (as Paul Gordon)
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I was there when this was filmed before a live audience in the Autumn of 1980. It wasn't really a stage production, it was all staged for the cameras. They had to pause every ten minutes to reload the film. There were three stationary cameras in the house, and one "panglide" camera that followed the actors around on stage. The music was all pre-recorded. At the time, all we heard were the "rythm" tracks -- the strings and horns etc were added in post-production. All of the "illusions" were shot live. However, some of the songs and dialogue were done in additional takes without an audience. Incidentally, the animal wranglers weren't sure what size of elephant the producers wanted, so they delivered three! The film was originally intended for cinemas, but was never released. It was also intended to have a full stereo soundtrack (the audio was recorded on 48 track tape), not the fake stereo that's on the DVD. I believe it may also have been intended to have a wider aspect ratio. As for the changes in the book and score from the Broadway show, composer Stephen Schwartz said he realised that THE MAGIC SHOW was basically a children's musical. I suspect that the cutting of "West End Avenue" reflects that. Incidentally, the music arranger. Eric Robertson, worked on "Spellbound" -- the Toronto show with music by Howard Shore, book by David Cronenberg and produced by Ivan Reitman -- that evolved into "The Magic Show".
Doug Henning (1947-2000) made his mark as a magnificent illusionist, who brought the craft to the general public in an unprecedented entertaining manner. He also transformed the image of the magician from the top hat and tails to denim jacket and jeans.
He changed illusionists' formerly austere, mysterious ambiance to one of playfulness, fun and joy. His smile was infectious; he loved what he did and made the audience feel the same way.
It was my privilege to have attended "The Magic Show" on Broadway in 1974. I returned three more times, bringing along friends, who likewise loved it. Make no mistake, though--even though he bounces and jives to the music, like your average kid on the block, this is one awesome, truly great magician.
The only extant recording of his work is this 1981 revised and modified version of "The Magic Show" done at the Queen Elizabeth Theatre in Toronto. For some inexplicable reason, the score and production was drastically tampered with, to the extreme chagrin of the original presentation.
Therefore, its value here lies in the fact that this is the only surviving recorded of Mr. Henning's work. It's also to be remembered that work of illusionists that followed Henning used his work as their yardstick to "surpass." In other words, what Henning did was then history making--taking its heritage directly from Classicists Houdini, Dunninger, Blackstone, et al.
Henning combined all achievements of those greats, then added his own unique contributions. What I adore about Henning is his positive vibration; his smile is genuine, and his love of life's the "real-McCoy."
Thus, this recording of "The Magic Show" becomes a valuable document in the history of magic and illusion, thanks to the work of one of the all-time greats: Henning.
He changed illusionists' formerly austere, mysterious ambiance to one of playfulness, fun and joy. His smile was infectious; he loved what he did and made the audience feel the same way.
It was my privilege to have attended "The Magic Show" on Broadway in 1974. I returned three more times, bringing along friends, who likewise loved it. Make no mistake, though--even though he bounces and jives to the music, like your average kid on the block, this is one awesome, truly great magician.
The only extant recording of his work is this 1981 revised and modified version of "The Magic Show" done at the Queen Elizabeth Theatre in Toronto. For some inexplicable reason, the score and production was drastically tampered with, to the extreme chagrin of the original presentation.
Therefore, its value here lies in the fact that this is the only surviving recorded of Mr. Henning's work. It's also to be remembered that work of illusionists that followed Henning used his work as their yardstick to "surpass." In other words, what Henning did was then history making--taking its heritage directly from Classicists Houdini, Dunninger, Blackstone, et al.
Henning combined all achievements of those greats, then added his own unique contributions. What I adore about Henning is his positive vibration; his smile is genuine, and his love of life's the "real-McCoy."
Thus, this recording of "The Magic Show" becomes a valuable document in the history of magic and illusion, thanks to the work of one of the all-time greats: Henning.
Let's face facts, fans. The original Broadway production of A MAGIC SHOW was no LES MIS - in fact, it was no PIPPIN or GODSPELL either. But Stephen Schwartz's music and Doug Henning's "denim Dunninger" were new enough in 1974 to be a fun evening at the theatre, especially with orchestra seats priced well under $15. The show even outlasted Henning ("and JOE, our magic man...") and toured extensively.
Filmed in 1981 in Canada, this MAGIC SHOW bears little resemblance to the musical that entranced thousands on Broadway, despite the fact that the essential elements are all basically the same. Cosmetic changes seem to have been made to keep the show fresh - but to no avail. For instance, why change the location from The Passaic Top Hat to Chez Manny (a supposedly seedy club that looks like the set for a cheesy 80's sitcom)? The visiting producer Goldfarb is now named Shumway and the washed up magician Feldman in now called Van Zyskind (or something like that). But these matter very little in light of the more drastic musical and magical alterations. Only half the original score remains, with WEST END AVENUE and GOLDFARB VARIATIONS completely gone and CHARMIN'S LAMENT totally re-written. The new songs are usually lead ins to Doug's new (and bigger) tricks - an elephant, a motorcycle and a huge game of Mouse Trap don't add much spectacle in light David Copperfield's recent accomplishments.
THE MAGIC SHOW is at it's most charming when Doug is doing his staple tricks for the real audience, especially Houdini's metamorphosis. Didi Conn is the right type for Cal, except that she can barely sing the simple songs she's given. Pity, since her "Lion Tamer" is the show's signature. Besides preserving the late Henning's act it is also notable for (the also late) Anita Morris' appearance as the conjured cutie Charmin. Although she spends much of the show bi-sected, Morris is a joy to watch.
All in all, this MAGIC SHOW is better than nothing but strictly fan material. Let the few "magical" moments rekindle memories of the Broadway incarnation and try to ignore the rest.
Filmed in 1981 in Canada, this MAGIC SHOW bears little resemblance to the musical that entranced thousands on Broadway, despite the fact that the essential elements are all basically the same. Cosmetic changes seem to have been made to keep the show fresh - but to no avail. For instance, why change the location from The Passaic Top Hat to Chez Manny (a supposedly seedy club that looks like the set for a cheesy 80's sitcom)? The visiting producer Goldfarb is now named Shumway and the washed up magician Feldman in now called Van Zyskind (or something like that). But these matter very little in light of the more drastic musical and magical alterations. Only half the original score remains, with WEST END AVENUE and GOLDFARB VARIATIONS completely gone and CHARMIN'S LAMENT totally re-written. The new songs are usually lead ins to Doug's new (and bigger) tricks - an elephant, a motorcycle and a huge game of Mouse Trap don't add much spectacle in light David Copperfield's recent accomplishments.
THE MAGIC SHOW is at it's most charming when Doug is doing his staple tricks for the real audience, especially Houdini's metamorphosis. Didi Conn is the right type for Cal, except that she can barely sing the simple songs she's given. Pity, since her "Lion Tamer" is the show's signature. Besides preserving the late Henning's act it is also notable for (the also late) Anita Morris' appearance as the conjured cutie Charmin. Although she spends much of the show bi-sected, Morris is a joy to watch.
All in all, this MAGIC SHOW is better than nothing but strictly fan material. Let the few "magical" moments rekindle memories of the Broadway incarnation and try to ignore the rest.
Just because I couldnt have seen it live, i needed to watch this DVD. Although it is missing my favorite number, "West End Avenue", it is still very cute. The version that I saw DID have "Lion Tamer." It was interesting and something to see, especially if you have the soundtrack and wonder how the songs fit the plot.
The original Broadway production starring Henning and Morris ran nearly 2,000p., so this filming of a later (distinctly lesser) production is well worth a look, and OUGHT to be available on VHS. The broadcast version appeared to cut one major song ("Lion Tamer") that I trust was filmed, but over all between the magic and the music and a very funny book, this is one of the rare "cult" films that bears repeated viewings. Especially now that the original Broadway cast album is out on CD, here's hoping people get another chance to see the movie.
Did you know
- TriviaJon Finlayson as Van Zyskind was a last minute replacement for Ron Moody.
Details
Box office
- Budget
- CA$4,000,000 (estimated)
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