T. Nelson Downs Mystified
By T. Nelson Downs
Marshalltown, Iowa,
Feb. 10, 1923.
Editor, M. U. M.:
Houdini and T. Nelson Downs
The last time they were photographed together was 21 years ago, in England. They are now enjoying a sort of "talk feast." Tommy had not seen Houdini work for 21 years, at which time they graced the same bill at the Apollo Theatre, Dusseldorf, Germany, consequently a special trip to Des Moines to visit an old time Compeer was not a hardship. Joy of reunion reigns supreme with them. "Downs will be in New York for the June Banquet and will stage a come-back." T. Nelson Downs will be warmly greeted by members of S. A. M. at large. Don't miss the coming banquet.
(NOTICE how Houdini is on his tippy toes. - Mahdi)
I have just read your article "Addressing an Audience," in the last issue of M. U. M., it was very interesting, to me, and I feel inspired to make a few remarks, hoping you will allow the space in your valued columns. In the first place, allow me to state that our late beloved Dean Kellar was not only my personal friend, but I was one of his most ardent admirers. However, Alexander Herrmann has always been to my mind the "Ideal Magician." Herrmann looked, lived and acted the part. He had three or four small tricks, brought to a state of, near, perfection. These tricks were a part of his personality, and he never lost an opportunity to exploit them. When I was about 20 years of age Herrmann played Marshalltown. The "Opery" house manager introduced me to Herrmann during the day, and, of course, I attended his performance that evening, occupying a seat near the front. When Herrmann called for a committee to come up on the stage and assist in the "Stroubaka" illusion some of my friends in the audience urged me to go forward. There were no ready responses to his request, and I was afraid he would "ditch" the illusion, as he had done, to my knowledge a few nights previous in Des Moines; so, I arose rather reluctantly and stood hesitating, waiting for some one else to take the lead. Herrmann pointed me out and said, in his inimitable manner: "No, no, not you, not you! I want gent'lman wiz z mustache." The speech, like all of Herrmann's speeches, was well chosen. He had the happy faculty of saying the right thing at the right time. Now, I claim, Mr. Editor, the great trouble with most magicians is: They want to look and act like Herrmann, and what is more, and worse, they want to do the same tricks he did and in exactly the same style. "It can't be did." In the late 90's the famous Coster Comedian, Albert Chevalier and his English Company of Music Hall Stars, were touring the U. S. A. under the direction of Mr. Charles Frohman. The late Charles Bertram of, "Isn't it Wonderful" fame was with the Company. While they were playing at the Grand Theatre in Chicago, the late W. E. Robinson (Chung Ling Soo) took me down into Bertram's dressing room, where I did my full act. When I had finished Mr. Bertram said: "Very clever, young man, but—Why don't you do "tricks." I then replied, "the reason I don't do tricks is because other magicians do tricks." I believe neither Mr. Bertram nor I realized the full significance of the remark until several years later, when I was creating quite a sensation at the Palace Theatre, London, where I remained a feature for twenty-six consecutive weeks. Your reference to the Winter Garden, Berlin, reminds me that I was warned by professional friends and theatrical agents not to sign a contract for that establishment, I was assured my act would be a complete failure there, and and would ruin me for Germany. The predictions, as you are aware, were all wrong, as I played there, eight weeks in 1900, and a month's return engagement about a year later. No doubt, the fact that I possessed a very strong and penetrating voice, and knew how to use it to fairly good advantage, had considerable to do with my success there and elsewhere. I have always contended that a magician, to meet with any marked degree of success, must be an actor—hundreds of people do tricks—but they cannot all CONVINCE, — yes, that's the word, CONVINCE an audience. My point is that it is not the particular trick that makes the magician, but it is the magician who makes the particular trick. I claim the public did not go to see Kellar's and Herrmann's tricks, but, on the contrary, they went to see the individuals, — great men's personalities in particular. Their tricks were simply incidental. I will further elucidate: A few days ago I made a long voyage to see a celebrated mystifier—getting myself up at six A. M. with the thermometer at 20 below zero and traveling some seventy miles to see this miracle worker. Can anyone imagine me going seventy miles to see a mere magician do tricks! Not on your life! Haven't I been reading in the various "Who's Who" columns for the past twenty years of the wonderful and miraculous adventures and supernatural escapes of this wonderful personage, written by the greatest press agent on earth, BAR NONE! I'll say I have Well, I arrived with the rest of the audience; it was a matinee and there was not an empty chair in the vast auditorium. After witnessing several very interesting acts the "star" of the program THE ONE AND ONLY HOUDINI himself made his entrance. It was twenty-one years since I last saw him at Dusseldorf, Germany. Houdini made a few introductory remarks relative to his performance and retired to prepare for the same. The screen was dropped, a movie shown of Houdini being bound and tied; then the curtain went up and there was Houdini, bound and tied, as shown in the picture. He made a quick release. Then the screen was lowered again and showed Houdini in action, actually jumping from one airplane to another, in mid-air (scene from The Grim Game), then suddenly the machine fell 4500 feet, according to the film, and I nearly fainted, it was so realistic. Besides, it was the truth, for you know the camera don't lie; remember that! Well, then, came the crash; the plane fell to the ground, and our hero saved the girl. After that, I could be made to believe anything, and I am convinced that the balance of the audience were in about the same mood. Next, Houdini called for a committee to come upon the stage, and inspect everything. I was commanded to come up. There were doctors, scientists and children. His first feat completely mystified and baffled everyone, including the scientific gentlemen and myself. I was positive in my own mind at the time the manifestations took place —that I was witnessing a purely spiritualistic phenomena, and that this man Houdini was a genuine spirit medium, but did not wish to acknowledge the fact, possibly for business reasons; for didn't I see him actually swallow several packages of needles, and then swallow several yards of thread, drinking a glass of water to aid digestion, and then, didn't I see the thread actually pulled out of the medium's mouth by one of the scientific gentlemen—all perfectly and beautifully threaded? I certainly did! And I wish to emphasize the fact that this was a miracle, if there ever was one. I repeat, that this particular miracle was accomplished on a full-lighted stage, under the strictest of test conditions. Surely, there was no chance for fraud or chicanery here! Here was a real medium, if there ever was one—of this I was thoroughly convinced. Then came the water-tank escape, bordering on the supernatural; in fact, it was supernatural. Here Houdini was locked upside down in a tank of water, to all appearances it was a physical impossibility to escape or breathe under the water. Yet, he did escape, after actually being submerged in water for nearly two minutes, by my watch. The suspense was something fierce! That two minutes seemed like two hours to me, and I almost lost control of myself and came very near grabbing the ax that was to be used by Houdini's trusty assistants in case of some unforseen accident. It was not until the next day, after I had returned safely to my native town and to my own domicile, that I awakened to the fact that I had been bulled, bunked, bamboozled, misdirected and grossly deceived, but highly entertained by a clever necromancer — a mere magician.
Sincerely and as ever,
T. Nelson Downs.
Originally published in the M-U-M in Vol. XII, No. 8, (Whole No. 119) in New York, February 1923.
