In late 1993, a TV special featuring magic acts at Euro Disneyland was aired on TV. I love everything about it! Two different recordings (differently cut) have shown up on YouTube, and I hope to see some of the non-English versions pop up as well.
What follows below is taken from the December 1993 issue of Magic Magazine. PDF archives are sold in case you want to read it in its original form factor.
This magical special for television, starring the cutting-edge illusions of The Pendragons, is currently airing throughout Europe and, while nothing is official, we hope to see this show in the U.S. sometime next year.
The 60– to 90–minute program also features host Harry Blackstone Jr., Hans Moretti's spectacular escape Fire Flight, the dynamic close-up artistry of Juan Tamariz, the quick-change illusions of Italy's Arturo Brachetti, and new-wave video magic by Marco Tempest of Switzerland. Musical guests include Harry Connick Jr. and the teen-idol group Take That with guest vocalist, Lulu.
Jonathan and Charlotte Pendragon present their new Time & Space illusion, plus a see-through cutting-in-two, a death-defying motorcycle trick, and more. Using the background of Sleeping Beauty's Castle, Charlotte reaches incredible new heights in levitation. Harry Blackstone Jr., in addition to his hosting duties, offers a number of effects, including a vanishing horse and his classic Floating Lightbulb.
The special, shot on location at Euro Disneyland in Paris, is under the watchful eye of Executive Producer, John Fisher, who is well known for bringing quality magic to the television screen. Paul Kirrage, a magical veteran of The Best of Magic and Magic Comedy Strip, directs the show, while Frankie Glass (Secret Cabaret) acts as Associate Producer.
Filmed during the last two weeks of September, this special is unique in that it was simultaneously prepared for several international markets, including Germany, Italy, Spain, and the United Kingdom. Each market has its own presenter, a celebrity well known in that country. This meant that certain sequences had to be shot over and over again in different languages, produced and edited differently. Quite a job!
To give us a little behind-the-scenes feel of creating a magic special, we asked Jonathan Pendragon to keep a record of his experiences over the shoot. So, here's an insider's look at the making of a unique magical spectacular.
By Jonathan Pendragon
Ah, Paris—rich in history, spectacular to the eye. Charlotte and I have a deep
affection for this city and, no,
I have never found the French people rude. Okay, they have no idea how to cook a steak well done (burn
it,
s'il
vous plait
), and may I have ice in my glass
is the first really important thing you learn
to say in French,
but these are little things.
We're looking forward to working with John Fisher again. For many years he produced The Paul Daniels Show, then The Best of Magic, Magic Comic Strip, and more. He is one of the most respected producers in the art of magic, and one of my closest friends. Also, we'll have a chance to work with Director Paul Kirrage once more. He knows my style and is extremely talented behind the camera.
We've been asked to present eight illusions, including several new ones. In the last Disney special I presented my 360-degree levitation. They've asked me to expand on that theme. With a lot of effort from Charlotte, we have. Many people believe an effect can be too good, leaving no explanation for the TV or theater audience. I've always wanted to push that point, and believe I have with this new John Gaughan levitation.
This is the fourth time choreographer Brian Rogers and I have worked together, but the first time on location and outdoors. Although the weather is freezing and the costumes are light, Brian and the dancers are doing a great job. Charlie Renyolds is acting as Program Assistant, coordinating the effects Harry Blackstone Jr. is presenting, and dealing with the sequences involving Mickey Mouse.
Also on hand is Joe Patire, the Emmy-winning set designer who helped me develop Clearly Impossible, and created Manhattan Transfer, my motorcycle trick. His habit of hard work and 20-hour days has made him one of the most respected men on the set.
The first effect we shot was Clearly Impossible. In the court behind the castle, Charlotte and I performed the illusion, surrounded by the audience. It was cold. Not the crowd, the weather.
The next stop was the magic shop and the introduction of Harry Blackstone Jr. and Mickey. Harry presented the Vanishing Bird Cage. An unforeseen problem with Mickey's gloves was discovered—it was difficult to hold things! That, and the fact that the actors playing the character have had very little training in magic and speak little English, made for an interesting evening. Harry and Charlie managed to work around the problems.
So far, so good.
Disaster strikes. The levitation was to be performed outdoors but rain delayed the shot again and again. John Gaughan, Maria Chalk, and Joe Patire made up our support team for the levitation (no pun intended). They were exhausted from long hours of rehearsal and jet lag. Even so, they remained on location hoping the rain would stop. They eventually fell asleep in the truck that held the sensitive illusion.
I couldn't sleep, so I wandered around the park. An end credits shot of the cast on the drawbridge was finally achieved, but still no long enough break in the weather to start the levitation. At five in the morning, John Fisher found me asleep on a couch in the make-up wagon and told me we had to wait for another night.
More rain. Nevertheless, the illusion was set up—John G. and Joe working in the downpour. My brother, Mark, has arrived and helped with the set up. We were told there might be a break in the weather so make-up and costumes were donned. We waited. Finally it cleared at 2:30 a.m. and the cameras rolled. In spite of the freezing cold, we got the shot. My heart went out to Charlotte, turning into an ice sculpture in the freezing rain. She never once complained and I was extremely proud of her! The rain jelled the entire crew into a tremendous effort to get this beautiful illusion on film.
Note to myself: Don't forget to thank David Copperfield for the many conversations we've had about this levitation, and for allowing me to experiment with hoops while using technology related to Flying. Cooperation is very important in this art since the alternative does little to help magic grow. His help was greatly appreciated.
Harry vanished a horse. Easier said than done! Weather problems again. Rain would have been bad, wind worse—so, of course, he got wind. It made working with flowing silk scarves nearly impossible. Harry handled both the problems and the beautiful Spanish-Arabian horse very well. The illusion, designed by Jim Steinmeyer, was great. The crew kept staring at the prop, going crazy—even if you knew how, the prop gave no clue of method. Harry and Gay Blackstone also presented the Disembodied Princess. He wore a warm robe and she got the not-so-warm harem costume. By the end of the shoot, our wives are going to kill us.
Tonight's escape and threat illusion was in many ways—some not readily apparent—very dangerous. I
wish I'd
gotten the horse to ride! Instead, I had to maneuver a Harley Davidson through an ice rink that was very
tight
in space. Misty rain made the surface extremely slick and I was, admittedly, uneasy. In rehearsal I laid the
bike down by accident. This was something I'd been paid to do as a stunt man, but didn't look forward to
ever
repeating. Closely surrounded by an audience, it would have been a disaster! When the shot was over, I
turned
to Charlotte and whispered, I am never doing that again!
Videopolis—a mini-special all by itself! There was music by Harry Connick Jr., Lulu, and Take That, and magic by Harry Blackstone, Marco Tempest, Charlotte and myself. Harry presented the Floating Lightbulb—one of the few effects in magic that I never tire of. Marco Tempest, a bright new star from Switzerland, presented video-interactive manipulation. It was weird enough watching video on video but, by adding magic, Marco created a surrealistic feeling that the French audience loved.
Charlotte and I presented Time and Space. For the audience, this illusion was a blast. From an empty, isolated box rotating on a platform, people appeared, disappeared, visibly changed, and were transported across the theater—all in under two-and-a-half minutes. Designed by Jim Steinmeyer and myself, the illusion was built by Bill Smith of Magic Ventures in Las Vegas. The choreography was pure mayhem, with just a thread of logic. I've never had so much fun performing an effect. We also presented another new illusion called She, an elaborate version of my Fire Basket. Jim Steinmeyer designed it and John Gaughan built it. Once again, Charlotte does all the hard work and I take the bow.
Tonight we presented part of the opening sequence in which Charlotte and Arturo are produced from Theater Surreal, Steinmeyer's doll house that doesn't look big enough to hold either of them. Mickey and Harry filmed the shot that will lead into the opening credits.
Hans Moretti performed Fire Flight, a chain escape done while suspended by a burning rope from a helicopter 100 feet over the water around Big Thunder Mountain. The flames were pushed down by the thrust of the chopper so that, for most of the escape, they were fanning around Hans' legs. This stunt is tough enough, but add the fact that Hans is 65 years old and has recently undergone heart surgery… unbelievable! His appearance was, at one time, questionable. He laughed off the heart surgery and insisted on performing. My kind of guy! Truly,a living legend.
In the Lucky Nugget, Juan Tamariz presented an hour of close-up magic. Juan went through the entire shoot
at
one sitting, presenting several effects in English, then others in French and Spanish. Quite a feat! The
volunteers at the table were changed for each language, a possible problem anywhere else, but not here.
The
Spanish segment was the most interesting to watch. Juan is famous in Spain and the Spanish tourists at the
park were more than happy to sit at the table and watch this wonderful entertainer weave his unique kind
of
magic. We're told that different countries will see different lengths of Juan's performance, with Spain
being
the longest at 12 minutes. It was a real treat to watch my favorite close-up artist. Juan must hear
that's
impossible
(or the Spanish equivalent) more than any other magician on earth. I've said it to him
many
times.
Arturo Brachetti presented one of his quick-change routines, which are always very fast and very funny. Marcia Stanton, who was in charge of all costumes for the special, worked with Arturo to design the highly involved changes. Arturo hosts the special, changing costumes to match each scene, as well as presents a rapid-fire sequence, in which he tells a story and plays all the characters. Charlotte and I presented Metamorphosis with our new foulard handling, something we've worked on bit by bit for several years.
That's a wrap! Except for exterior and interior transition shots, the special is finished. Now the show is in the hands of the editors, who have a big job due to the different lengths (90 minutes and 60 minutes) and the different languages in which the show will appear. Good luck!
This has been three weeks of the hardest work I've ever done in my life. It was physically, mentally, and emotionally draining. Charlotte and I have both developed walking pneumonia, which was appropriate because we already felt like zombies.
The complexities of this production were enormous. The coordination involved several different countries,
with up to four languages being spoken on the set. Disney's high standards and image had to be considered at
every step. We rehearsed during the day and shot at night. Food and sleep were rare—mostly catnaps and
snacks. A real meal was something we only dreamed about, providing we got enough sleep to dream. The
production staff worked closely, day and night, through some of the worst weather France had seen in years,
and rapport normally associated with a long series emerged. The Disney executives were amazed at how well
John
Fisher's staff worked together—in spite of the pressure, all did their best to give John the result he
wanted. Intrigue and temper tantrums were at a minimum—above and beyond
was far more commonplace.
Charlotte, Mark, and Joe were a great help to me, as was John G. and Maria, who stayed to help even after
the
levitation was complete. They did this, not out of obligation, but rather friendship. Great people.
All in all, despite the exhaustion and illness, it was worth it. Feeling like the walking dead is a small price to pay for the chance to develop new magic. Nothing in my life is more important, for if anything defines my existence, it is my work. Laboro ergo sum. I will continue to create and to grow, at every opportunity.
