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Guests - Duncan Trillo

A Very Warm Welcome to Duncan Trillo

Admin: We are very pleased to announce the arrival of Duncan Trillo as our next "Special Guest" at Magic Bunny.

Duncan Trillo is most widely known as the driving force behind one of the most popular magic Internet sites around the net; MagicWeek.

MagicWeek is the number one site for UK magic news and reference around the globe and, if you haven't yet visited this site, I would strongly recommend that you add this to your personal favourites.

Duncan is a very busy man and we are honoured to have him at these forums. I shall look forward to reading your questions and his replies; I know that these will prove to be an absorbing read.

MagicSamX: Welcome Mr Trillo and thank you for taking time to come and talk to us on Magic Bunny

Mouser: Thank you Mr. Trillo for taking time from your schedule to come to this site and answer our questions.

Michael Jay: Yes, a big "Thank You!" to you, Mr. Trillo for taking time out of your busy schedule to talk with us for the next week. This is greatly appreciated!

Duncan Trillo: Many thanks for inviting me. I'm looking forward to it.

Shaun Robinson: Hi Duncan,

Thanks for taking time out to visit here. Let's hope your stay provides us with some...Va va voom?

Anyways, to the chase. I was wondering on what your feelings are on magic and the internet. You produce magic week, which you obviously put a lot of effort into, and the same goes for the other ventures (corporate magicians' index etc). What do you think the net adds to magic? How do you feel about e-books? How do you feel about the rising trend of magicians that e-llusionist and the like are spawning?

Look forward to your thoughts.

Duncan Trillo: Hi Shaun,

It’s a good question. Magic on the internet? I guess I prefer not to see methods disclosed but know that that isn’t really possible. To a degree you have to accept the technology and go with it. Just ten years ago the only way to find out about magic as a layman would have been to have done some real leg work, hunting out magic shops, magic magazines, books and so on. Now you can find out about anything in detail, with just a few mouse clicks. This is still just the dawn of the whole internet revolution in real terms I think.

What does the net add to magic? Lots: Forums such as this one, easy access to ‘What’s On’ in the magic world, contact with like-minded people, access to a vast range of magic products, the opportunity to see video demonstrations of tricks…

How do I feel about e-books? To be frank they aren’t for me. The first thing I do when I buy some new software that only comes with “on disc” instructions is to print off the manual. (I’ve got one that runs to 300 pages of A4 but I’d still prefer that to hunting around on screen!) Some people like e-books and see them as good value, they just don’t suit me.

How do you feel about the rising trend of magicians that e-llusionist and the like are spawning? I’m not up on e-llusionist, so can’t really comment on that one (I’ll have a proper look at their site)

All the best,


MagicSamX: If you had to pick just one part of your professional career that you are proud of what would it be?

Duncan Trillo: A tricky question! I think it has to be the transition period from being at school and thinking “I want to be a professional magician” to actually being one. So, it’s not a case of being “proud” so much as just being pleased that “I’d cracked it.” My first professional contract was for a 13 week summer season at a little theatre in North Wales in 1980 (2 x 10 minute silent spots) which was rapidly followed by two back-to-back 6 months contracts cruising in the Caribbean. A great way to start a very unpredictable career!

All the best,


Frazz Davies: Dear Mr. Trillo,

I have seen your act a couple of times and enjoyed it on both occasions. However, both times I have never had a particularly good seat and when it came to the thimble manipulations I have to admit that I was sat there wondering what was meant to be happening; I couldn't really see what was going on.

Recently I watched an old appearance of yours on Wayne Dobson's TV show and it made sense - your thimble routine is really really good.

My question is this: How suitable is thimble manipulation for the stage? The same could be asked about cigarettes or coins but thimbles are, let's face it, very small.

Riser Magic: Fraser

Not all thimbles are small. I've turned some custom wood sets for stage work that were as big as shot glasses. Painted with day-glow fluorescent colors, they are very visible. I believe Joe Mogar (of Mogar's knives) has a fairly new book out with about every thimble move explained. I hear that it is quite good.


Duncan Trillo: Hi Frazz,

How suitable is thimble manipulation for the stage? Not very!! In fact come to think of it what is a grown man doing manipulating thimbles in the first place!? My real passion is card manips, the thimbles in cabaret are fine (I treat them in a “whimsical” way) but really can't recommended them for stage at all. (They are on my “must replace this routine” list, and have been for years!)

All the best,


Mouser: Whenever we start any major project (in the way that you began MagicWeek) we can never anticipate some potential problems or the impact that some aspects of the project may take. Gradually, we modify our ideas and hone the project accordingly.

In what ways has Magic Week changed from the initial project that you devised from the very start of this project? Are there aspects that have been removed due to lack of interest? Are there aspects that you never anticipated that would be popular - aspects that have enticed you to move in a different direction from you originally anticipated?

Duncan Trillo: Hi Mouser,

Thanks for your question. MagicWeek changes every week so in that sense it is ever changing, but in actual fact it hasn’t changed much from its original outline. I spent a lot of time working on the initial design, layout and content before launching it.

I dropped a “contact” page as I didn’t have any real control over who used it and thought that the sensible thing to do. And the “Mail Box” section was originally designed for emails from readers… but thanks to magic forums there was really no need for it, so it changed to quotes from “happy readers!”

The “Lecturers” page was added at a later date and has never really taken off. I know that lecturers that advertise on it do well, but I’ve always been surprised at how few bother to promote themselves.

Apart from that it's a case of "stay on target."

All the best,


Mouser: May I ask; is Magic Week a commercial operation or is it something that you continue to work on voluntarily from your interest in magic?

Duncan Trillo: It is a commercial venture.


YinHoNg: First of all, thank you so much for your time.

What do you feel about the 'comedic' magicians on t.v. today, who seem to me, more interested in telling jokes than showing the beauty and impact of magic.

Duncan Trillo: Hi YinHoNg,

TV is a very difficult medium for magic.

David Blaine understands how to make the most of it and always allows time for the impact of an effect to really register. (In fact he's allowing 44 days for his latest effect to register!). Derren Brown's shows also allow time for the "magic" to really have impact.

Combining comedy with magic isn't easy though and, as you say, the impact of the magic can get lost in the process. Simple things to highlight the magic can be done even in the middle of a "full on" comedy stand up set... sometimes just slowing up the final moments of a routine are all that is needed to focus the audience for the climax, the magic.

The current compilation shows are too finely chopped up to have any real impact magic wise unfortunately, but they're not doing any harm.

I'd like to see a show that instead of mimicking everything else that is already out there i.e. Blaine, Dom Jolly, Jackass, the Muppets(!) etc... and not quite succeeding, had the courage to set its own standards and really present some of the world's finest magic and magicians… not 'clips' but current world class performers presenting mainly close-up sleight of hand magic.

All the best,


YinHoNg: I totally agree. After watching Bill Malone perform on his DVDs "On the Loose" i really feel that that type of performance, from that kind of skilled performer would really work on T.V

Magic Mike: Hi Duncan I would like to know how many times per week/month you perform close up given the fact that your very busy "behind the scenes" so to speak. (Also I need to send you another pm soon regarding adding another page to my site.) By the way guys, if you're reading this and you're looking for a professional web site designer, Duncan's your man, he's as good at site design as he is at magic!

Duncan Trillo: Hi Mike,

Actually I don't do close-up magic at all. My real passion is silent magic. When I was 18 I worked in Hamleys (pre Marvin's Magic) so used to do close-up all day and loved it, but never followed it through. Instead I used that period to work on card fans and productions for my act. I really enjoy watching great close-up performers though.

All the best,


Aged Magician: Duncan, I wonder if you ever encountered the 'ghost' of a great guy who, many years ago, ran the magic dept in Hamley's, back in the basement days......Vic Fabian?

Duncan Trillo: Hi Aged Magician!

No, but I know the name. I worked for John Henley of the Inzani-Henley Magic Co.

All the best,


Tor: I remember when I was kid, I was watching this magic show wich was every Monday. They showed clips of different magicians. One time they showed your card manipulation act. I thought it was so amazing, still do. Ever since that time I wanted to learn card manipulations.

Right now I'm practising on card manipulations which is difficult. I havent tried out many types of cards. I only use Bee's. What kinda cards do you recemend? For how long did you practise your routine? Do you use fanning powder?

I'm afraid of becoming a copycat. I'm trying to come up with my own manipulation sequence which is going well. I probably have to do something else too. I can't just do card manipulations. I want to be original and different. Could I combine card manipulations with illusions? Like first I do a bunch of illusions then I go into card manipulations.

Duncan Trillo: Hi Tor,

I started out with Bee's also, recommended to me by illusionist Russ Stevens. They are a great card to work with. I'm now using my own cards, the "" deck, they are super smooth and very thin (10cm for the whole deck) but still spring like card - not paper! So you can back palm a whole deck.

I've always used fanning powder, either to make unusable cards work like Piatnik Fanning Cards for example, or to keep good cards in top handling condition. I'd recommend applying the powder to the cards one by one rubbing it in between your thumb and first finger. Then go through the deck with a tissue removing any excess powder. I never got on with the old "shake it in a bag" method.

Learning a manipulation sequence will always be useful. If you work illusions then a front of tabs card routine can be used while illusions are being changed over on stage.

Good luck with it all,

All the best,


Elwood: Apart from Rousseau, and young man I saw at Nottingham last year (I think you also appeared, the Guild of Magician's do), there don't seem to be many traditional manipulators about.

Do you feel that the cult of Blaine, and "Nu-Magic" (Monkey Magic, etc) is killing traditional manip acts off, or do you sense a return to the physical skill and dexterity in Magic that was once commonplace in the Music Hall and Vaudeville era?

Although what you perform is Magic in the sense of the impossible, to many younger Magicians I suspect that the time and dedication needed to develop the skills required by this branch of the Art are what pushes them towards the Blaine style of quick tricks and minimal presentation.

However, there may come a time when this youngest generation of Magicians grow tired of the same old, same old, and come back around to the old way of thinking.

So, do you see yourself (and your contemporary manip artistes) as the last in line, a refreshing alternative or (playing devil's advocate) the Magic equivalent of self-indulgent Jazz music?!

(As a disclaimer, I'd just like to add that I am a big fan of manip artistes, and dove workers especially - Lance Burton's dove act has always fascinated me, and your own hanky routine is a particular favourite)

Duncan Trillo: Hi Elwood,

Great question and one that I'll enjoy trying to answer.

"Do you feel that the cult of Blaine, and "Nu-Magic" (Monkey Magic, etc) is killing traditional manip acts off, or do you sense a return to the physical skill and dexterity in Magic that was once commonplace in the Music Hall and Vaudeville era?"

Lots of manip acts probably deserve to be killed off! Some of the worst magicians I've ever seen have been silent acts devoid of personality or anything else. The reverse has also been true - for me some of the very best have been manipulators: Pollock, Cardini, Ross, Hart, McBride, Nielsen, Burton, early Copperfield...

Having said that I really do think that David Blaine coming onto the scene a few years ago was the best thing that could have possibly happened in the UK to get things going; magic really had hit an all-time low. Traditional manipulation acts never worked that well on television anyway, magic is so much better live, up close in a night club. There's a lot more going on in Europe. I'm not sure if an opportunity for visual acts to present their work will ever come back in the UK, we seem to be stuck with a pub/club (club as in disco) culture. Most of my professional work has always been either in Europe, Japan or on cruise ships - three markets that are still solid.

"Although what you perform is Magic in the sense of the impossible, to many younger Magicians I suspect that the time and dedication needed to develop the skills required by this branch of the Art are what pushes them towards the Blaine style of quick tricks and minimal presentation."

I think you're right. When I grew up it was seeing Johnny Hart's card manips or Finn Jon's floating ball that did it for me, now young magicians see Blaine so take that route. Like any skill learning to back palm a deck of cards takes dedication but you can practice in front of the TV if you want, it's not too bad, unlike a juggler - now those guys really have to work hard.

"However, there may come a time when this youngest generation of Magicians grow tired of the same old, same old, and come back around to the old way of thinking."

Yep - sleight of hand magic, be it close-up or on stage, will outlast the latest novelty long term - put Channing Pollock, as he was, on stage at any venue in the world today and he'd still storm it.

"So, do you see yourself (and your contemporary manip artistes) as the last in line, a refreshing alternative or (playing devils's advocate) the Magic equivalent of self-indulgent Jazz music?!"

The last in a line? Self-indulgent? Hope not! No not at all really... magic is ever evolving and a good manip act can still be contemporary if it wants to be.

Quality in anything lasts. Look at music. How would it be if all we listened to was whatever was "the latest" in the top ten? Instead people listen to Blues, Classical, Opera, Country, Dance, Disco, Rock-n-Roll, Folk, Garage, Psychedelic, Glam Rock, House, Techno, Indie/Brit Pop, Instrumental, Jazz, Latin, New Age, Pop, Punk, R&B, Soul, Rap, Hip-Hop, Reggae, Ska, Rock in all its forms, Movie Soundtracks, Theatre Soundtracks, and so on! And we are all better off for it.

In other words fashions come and go but if you master magic in any form then so long as you are good a bright future awaits!

Thanks again for the questions Elwood,

All the best,


Elwood: "In other words fashions come and go but if you master magic in any form then so long as you are good a bright future awaits!"

There's a very important point being made here, that I shouldn't have to point out, but will just in case anyone misses it.

Do what feels right to you, and do it until you are good at it.

Forget fashion, forget what your mates think, do what you do best, and do only that.

Sometimes, you might be best at something you don't enjoy as much as something in which you are only good, but it's up to you to decide what route to take at the crossroads this realisation presents you with.

As far as the bright future, yes, there is always a future for the very good, but as the late great Barry Sheene said, "Don't wait for your ship to come in - swim out and meet it!"

Mouser: The issue of exposure continue to be an active topic for magicians. I must admit that I was particularly impressed by Peter Marucci’s comments about the damage that poor magicians make far outweighing the damage of public exposure programmes. What in your opinion is the greatest threat to “sound magic”?

Duncan Trillo: Hi Mouser,

I’m not 100% sure if I understand your question, but I’ll have a go! Without the secret there is no magic. Magic can also be exposed through poor performance but that for me is a separate argument.

It’s wrong to drop litter, but sometimes when someone puts a sweet wrapper in their pocket to take home it may fall out onto the street by mistake… but you wouldn’t call that person a “litter bug” – it was a mistake.

"What in your opinion is the greatest threat to “sound magic”?"

Magic exposed on TV.

All the best,


Sean: Hi Duncan

I know that you've had one TV appearance (if only your hands) in the Va Va Voom advert. Did you enjoy doing that? I guess it didn't take too long though I could be wrong! Have you had any other TV time? Or connections with other magic programs?

Duncan Trillo: Hi Sean,

The Va Va Voom ad was fun to do. The actual card work was recorded in about 10-15 minutes but I was in the studio for a couple of hours. I actually like the ad as well, and magic is seen as being "va va voom" or cool. I've done a number of commercials involving card manipulation, four I think.

TV wise I've done quite a lot over the years, normally as a guest with a spot of silent magic. Wayne Dobson's series was good to do, and lots of odds and ends about 30 spots, plus some TV in Japan. Really though, unless you are talking, television is pretty limited for a silent act.

All the best,


Sean: A question I like to see all the guests answer, even though its a very old one , is; How exactly did you get started in magic? Who were your most major influences? Was there any one moment when you just got interested or did it develop over time?

Duncan Trillo: Hi,

My actual interest, as far as I can remember, was sparked by seeing a boy in the school playground when I was about 6 showing some other boys some tricks. A plastic sliding coin case, the Chinese wallet and a trick with three coloured luggage tags. He kept the secret to himself and I really wanted to work it out!

I got started by putting together a silent act and performing it during a show that my local magic club, based in Southampton, were putting on. I was about 16 and rather than use the organist and drummer as everyone else did I recorded 'Shaft' back to back on a cassette and got someone to hold a mike to the cassette player! Fantastic!!

Major influences for me were Finn Jon's floating ball routine, Johnny Hart's card work, Victor Burnett’s fire act and FISM world champion Richard Ross.

There have been periods in my life when I've "switched off" from the magic - not a bad thing to do every so often I guess!

All the best,


The Scot: Hi Duncan, thanks for taking the time to answer our questions.

I was interested to know how much practise you put into your magic, say per day?

How do you practise, in front of a mirror? Video camera? Or in front of family friends?

As the saying goes 'practise makes perfect', how do you know when you've 'practised' enough for the routine to be 'perfect'?

Thanks in advance.

Duncan Trillo: Hi Kevin,

Good question. At the moment I have a deck of manipulation cards by the computer and do a few productions when waiting for things to load or whatever (trouble is I've just bought a new Dell and it is so fast I've got no practise time anymore!).

For actual performance practise I've used a mirror and a video camera to check moves in the past but these days I only have a quick run through occasionally. To be frank I don’t really practise anymore as every show is practise in itself.

The best advise re practise is to get a booking where you have to do 4 - 6 shows a day for 6 months such as in a Theme Park at home or abroad (there are 1,000's world-wide).

All the best,


The Scot: Hi again, just wondering how you 'went about' going pro, and what advice you would give to a fellow magician wanting to make it in the magic industry.

Did you have a back up plan if magic failed for you? If so what?

Thanks again,

Duncan Trillo: Hi Kevin,

I worked in Hamleys magic department in London for 18 months when I started out. It was a great way to practise, to get rid of any nerves, to feel confident about my own abilities and so on. That's when I did all my real practise come to think of it. I then went back to my parents house in Hampshire and put together an act with doves, cards and fire, wrote letters to agents (advertising in the back of 'The Stage') and got my first week's bookings in Torquay, that same agent booked me for a Summer Season and when that ended I auditioned for a cruise and got that and so it all went on.

I never had a back-up plan, but if you can have one then so much the better.

Good luck with it all.


The Scot: I was just wondering if you have any tips/pointers for introducing original ideas/concepts into magic acts?

Have you found a way to come up with original effects, which haven't been seen before? If so are you willing to give us a taster of how?

Thanks in advance.

Duncan Trillo: Hi Kevin,

Another good question, but one that can't easily be answered in a few lines.

I would say start with the effect in mind and then set about working out a method. I invent all the time and have notes everywhere but only a few ideas ever actually get made. Following through is as important as the idea itself - as the guys who sent the first man to the moon know too.

Yesterday when handling some cards I came up with this: Someone takes a card and signs it. It is handed back to the magician who passes it through his hand, when it comes out the other side all the ink has "smudged" yet the card is dry and the signature is intact. They can keep the card. Now the method... so far off the top of my head the "out to lunch" principle could be used but that's not good enough (and there we have it - another one for the note book!)

The idea for the above was sparked by an ad I'd seen with a card that was half blue and half red on a magic banner ad somewhere.

There are logical processes that can be used to invent, I think that there are a few books on the subject in relation to magic too; maybe someone can help. When it comes to illusion ideas I like to sit down with a blank sheet of paper and a pen and just see what happens, much as an author does.

All the best,


Rich: Hi Duncan, and a big thank you for your visit here.

I've seen your stunning act on a couple of occasions at the Magic Circle, and I've noticed that although you perform traditional effects such as card manipulations and thimbles, you wear what looks to be a Japanese/Chinese style costume and an equally 'ethnic' looking pillar and box for a stand. Has your visual style always been like this, and if so, what made you stray away from the stereotypical image of the classical magician?

You are also one of only two magicians I've ever seen performing the Dancing Hanky routine (which for me and many others is the highlight of the act), so what attracted you to this rather unusual and unheard of item?

Thank you in advance

Duncan Trillo: Hi Rich,

Really the outfit came about because my wife, Keiko, is Japanese and we perform some illusions together, so I wanted to tie in the look with hers. I've been through lots of different outfits over the years... from a black velvet suit(!) or tails, to black jeans and black sweat shirt (and all sorts in between!). I'm thinking of changing the pillar to a darker one actually - I've gone off the white(!)

Re the Dancing hanky I think the fact that as a silent magician it gave me something to 'bounce off' during the show was why I worked on the routine. It gives me something to react too as it dances around, it's magical. The same with the diminishing cards. To a lay audience who have never seen cards 'shrink' they are funny - this allows me to 'play' and 'connect' with the audience. For a lay audience, live, nearly all magic is fresh and new.

I know you are really into silent magic so best of luck with it all,


The Scot: Hi Duncan, I was wondering if your family and friends were supportive when you decided to the step from 'hobby' to 'profession'. Did anyone give you any advice on being successful?

Were your parents disappointed, or thought your heads were in the clouds when you decided to make a living out of magic?

Thanks for taking time out to visit us here at Magic Bunny.

Duncan Trillo: Hi Kevin,

My parents would have preferred it if I'd worked harder at school and taken a more normal career path I am sure. Now they've had long enough to get used to it I think they quite like it!

Magic is about more than just "doing tricks" - for me being self-employed and, as far as is possible, free of the system, has always been just as important as the magic.

All the best,


Damien: Hi Duncan,

It's always nice to hear some first-hand advice of a highly respected person in magic, so what is the most important piece of advice that you would give to a young and learning person like myself.



Duncan Trillo: Hi Damien,

Without knowing anything about you, or what you want to do with your magic, that is a really tricky question!

I guess "be yourself" is always good advice. Find what style suits you and be natural, or if you're playing a character make sure that it is an extension of the real you. Blaine is basically Blaine... what you see is what you get. Derren Brown is basically Derren Brown... their styles are an extension of themselves.

Be yourself.

All the best,


Binions: Hi Duncan,

What is the best way to practice?

Also, I have asked this on the forums and had a good response, but what do you feel is the best way to learn from books. I have just got Expert at the Card Table and i am going to read it a few times without a deck, so when I come to learn from it I will have a better understanding.

What do you think?


Duncan Trillo: Hi James,

"What is the best way to practice?"

Well, I guess it depends what you are practising. Manipulating and technical stuff can just about be worked on any time. I remember mastering the coin roll at the back of Chemistry (but in doing so I failed to master Chemistry and failed, so I don't really recommend that). But for small sleights just keep whatever it is with you and work on it in front of the TV, or whenever you have some free time. That way it doesn't become "hard work" but by handling the item and repeating the moves you will crack it in the end.

For act rehearsal I'd set aside 2 or 3 hours once a week and do a full run through over and over and over and over... the more the better. Keep a note pad handy and jot down any improvements that come to mind as you rehearse. Video it from an angle (not straight on) but don't play to the camera, play to an imaginary audience all around you and work to them (and the camera occasionally of course).

" ...but what do you feel is the best way to learn from books."

I never enjoyed working from books too much. For me magic has always been a visual thing and sitting down in front of a book was hard work. The last books that I bought were the Books of Wonder and I still haven't read them... or even started. But that's just me. If you can settle down into a book and study it then do, but reading the whole thing without trying out the magic would be tough. I'd tackle one item at a time and really work on it and then move on to the next when you are ready.

Remember the great thing about books is that they are forever and can be referred back to - you don't need to learn it all in one go.

Good luck,


Daleshrimpton: Hi Duncan

A quick question...How does one become a magical advisor for film, telly, and theatre?

Duncan Trillo: Hi Dale,

Two ways I guess. One is to advertise your services as any other business does. There are directories used in the advertising/TV/film industry that can produce results.

The other, and this is how my jobs normally come about, is either via old contacts or word of mouth. Researchers in the television and film industry keep their own contact books and often someone that you last worked for years ago will make contact again out of the blue. Thanks to the internet even if you've moved they can find you. The Va Va Voom job came from an agency called Crowd Pullers that I'd last worked for back in the 80's during my Covent Garden days more than 15 years ago! And now someone who saw that commercial recently contacted me for a new TV project, and so it goes on, (in theory anyway!).

All the best,


Admin: It has been, yet again, another incredible week.

Just take a few seconds to browse down the index of this forum to see the amount of interest shown by our members and then take some time to view the excellent replies given by Duncan.

I am very grateful indeed firstly to our members for supporting this forum and secondly to Duncan for his superb and comprehensive answers.

We are indeed so very lucky to have such a wealth of professionals such as Duncan (and our previous guests) - who are willing to spend so much time offering support and advice to others.

May I take this opportunity to thank you Duncan for your time and input over the past week. It has been another week of such value and I thank you for your excellent thoughts and advice.

Rich: Thank you Duncan for your time here. Your style of performing is closer to mine, and so I've been able to hugely benefit from your answers

Duncan Trillo: Thanks very much for having me. Thanks too to all who posted questions - how embarrassing if there hadn't been any!

I really enjoyed it.

Long live the Bunny!

The Scot: Thanks for taking time out on our behalf. I really enjoyed asking you questions and finding out more about you. Thanks again.

Michael Jay: Mr. Trillo, while I have not asked any questions, I have followed intently all of the insight and wisdom that you have shared with us over the last week. Thank you for taking the time out of your busy schedule to share these thoughts with all of us. I wish you the best in everything you do and I deeply appreciate what you've given to me, and the rest of our reading members.

Thank you!

Aged Magician: Duncan, like Michael Jay I have been 'lurking in the wings' but I must salute you for your really explicit and helpful answers. Not only have you provided a wonderful 'news' source in Magic Week but you have also proved your willingness to help many aspiring magicians on a 'one to one' basis.

My compliments and thanks.

Sean: Thanks a lot Duncan. Your answers really have been top quality! Yet another gem of good advice to add to our growing treasure of past guests

MagicSamX: Thank you so much. It's been brilliant to have you!




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