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Interviews - Don Drake |
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MASTERING THE BLACK ART:
From the stage to the parlour... ![]()
What is the Black Art and how can you use it? Find
out in our exclusive interview with Black Art master, Don
Drake.
If you’ve never used Black Art, you are missing out
on one of the most powerful tools in magic. From levitation
to decapitation, the Black Art can help you perform just about
any miracle you could dream of. While the basic idea is not
new (according to Don Drake, it may have been used in a Chinese
Dragon Dance as long ago as 200 BC!), it really came into
its own in the 19th Century when dark backgrounds and special
lighting enabled stage magicians to exploit this technique
to the full. In the present day, most people probably think
of the Black Art as rather a specialised type of magic, suited
only to big stage shows such as those of Omar Pasha. In fact,
this is not the case. As Huw Collingbourne discovered when
he spoke to the leading Black Art innovator, Don Drake (aka
Don Drake).
Huw:
You've worked with some great magicians, Don. Out of all of
them, which has been the greatest influence on you personally?
Don Drake: There are two actually, Jeff McBride
& Darren Romeo (Siegfried and Roy's protégé).
Huw: Apart from Black Art, what other types
of magic particularly interest you?
Don Drake: I like close up, having studied
under Slydini many year ago, and any magic that carries a
lot of misdirection. I also like doing benefits for underprivileged
or sick kids.
Huw: For most of us Slydini is one of those
almost mythical greats of magic. Can you tell us a bit about
him? What impression did he make on you? What was the most
important thing you learnt from him?
Don Drake: Tony Slydini and I met in 1959
when I was a demonstrator for The Wizard Shop in NYC. Tony
would come around just about every day, and do something for
us. When he published his first book, The Magic of Slydini,
I got to go to some of his classes, as I was the gofer for
the many pictures in the book. Slydini's magic is describable
only as a complete misdirection and pure magic! The most important
thing I remember about Tony was of course his ability to completely
make you look where he wanted you to. He was the master of
misdirection.
Huw: Obviously, you are now best known for
all the innovations you have introduced in the area of Black
Art. How did you first become interested in this and what is
it about Black Art that fascinates you?
Don Drake: I became interested in Black Art
in 1960, when my mentor, Alwyn Stevenson introduced me to
an improved version of the DeGraham Utility Board (Donald
Graham Palmer, aka DeGraham, was the first person to do Black
Art magic in the parlour - see Linking Rings 1945, and the
manuscript by Don Potts, entitled The DeGraham Utility Outfit).
Huw: Forgive my ignorance, but I wonder if
you could explain what the DeGraham Utility Board is, exactly?
Don
Drake: The DeGraham Utility outfit was a black velvet
covered board that allowed the performer to do parlour sized
black art tricks, such as silk productions, card vanishes
(one sided only), and other impossible looking effects. To
quote US Grant: "This was the closest thing to real magic
I have ever seen!" DeGraham is credited with the FIRST
use of parlour sized black art!
Huw: Probably most magicians would associate
Black Art with big, expensive stage shows But your description
of ‘parlour sized’ Black Art makes it sound as
though maybe this is adaptable to other kinds of magic too.
Are there any ways in which Black Art can be adapted for performances
on a smaller (and less expensive!) scale?
Don Drake: YES, definitely! That is the whole
point of nearly everything I've done so far. The Wizard's
Window (my first invention) is based on a portable, parlour
sized black board that does miracles at small venues. I also
do some amazing stuff with a Black Art close up board and
tiny things like coins, etc. My entire lecture is aimed at
the practical working magician who does tradeshows, close
up and platform magic.
Huw: In terms of close-up black art, what
is the minimum basic set-up that would be needed? And what
would be the cost?
Don
Drake: You're giving me a chance to get in a sneaky
ad here. The minimum set-up would be The Wizard's Close Up
Board and the cost is around $150.00. Of course you can make
your own close up board and props is you have the knowledge
and experience. You'll need a triple-velvet covered board
(black of course) and props that will 'blend in'. I'm not
going to give away all my secrets here, it took me too long
to learn them. For more information on this one, check out
the website http://blackartsecrets.com.
Huw: Can you give us a few examples of some
of the range of effects that can be achieved using Black Art?
Don Drake: You name it, you can do it. And
you can do it inexpensively. I'll never understand why people
spend thousands of dollars for one big illusion, when for
about $1,200 bucks they cans set up an entire Black Art stage
and do ANY illusion, cheaper, better and with less hassle!
If you doubt the veracity of this, check out Darwin's best
selling book ‘Inexpensive Illusions’. He shows
you how to improve on, and build almost 40 different classic
illusions with a simple black art backdrop and a black art
table!
Huw: Of all the Black Art illusions you've
ever seen, which would you say is the most remarkable or memorable?
Don Drake: Omar Pasha doing his present day
act! Without a doubt! Also, I'd have to mention Richiardi
Jr.
Huw: Has modern technology made any significant
improvements to the effectiveness of Black Art magic?
Don Drake: You bet. Not only do we have better
materials now (Triple Velvet is the best) but lighting is
much easier and more portable. In my new book, More Black
Art Breakthroughs, I'll be explaining a lot of this type of
set up.
Huw: Why is Triple Velvet better than ordinary
velvet?
Don Drake: The composition of triple velvet
is 35% rayon, and 65% acetate. For some reason this is darker
and tougher than normal double velvet. The idea is for the
velvet to have a deep pile, and no nap or grain to the finish.
Huw: What about the lighting? Don't you have
to have a special lighting set-up to make Black Art magic effective?
Don Drake: NO, not most of the time, IF you
use Triple Velvet in the right way. I won't go into details
here, but I've gotten away with using the method in terrible
lighting situations. Again it's all in the new book.
Huw: Can you give us some idea of the possible
lighting situations in which black art can be used? Could
it be done in an ordinary room at home, for example? Or in
daylight?
Don Drake: I'll give you this much: It can
be done in an ordinary room and in daylight, but only when
certain conditions exist, either natural or artificial. Sorry
but I've put too much research and time into this one.
Huw: OK, so how about a few clues as to what
exactly will be in your new book?
Don Drake: There will be an entire chapter
on lighting, materials, construction and even many close up
black art effects. Black Art has so many uses people never
thing of, such as Covert black art, the kind you use that
allows you to vanish, produce and change props without visible
fluctuation. You can read it all when the book comes out,
which should be April at the latest.
Don Drake (aka Don Drake) is best known for his innovations
in black art magic. He is author of Don Drake’s Black
Art Breakthroughs as well as several books on easy-to-do magic
tricks with special decks such as "Gambler's Marked Deck"
(De Land), The "Wonder Deck" (Svengali), The "Blank
Deck" (Hull's Mental Photography) and the "Invisible
Deck" (Ultra Mental). Resident in Las Vegas, Don consults
with some of the top names in magic, and continues to produce
new and exciting ideas in black art magic. Over 60 performing
magicians have used his illusions, including Lance Burton.
Visit Don’s web site: http://blackartsecrets.com |
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