It’s Magic Month at Trevor George – and over at our sister agency Sternberg Clarke – and we’ve been celebrating all of our favourite things about magic at events, weddings and parties. Magic holds a special place in our hearts here; our founders, Billie and Trevor, were respected magicians after all.
But the subject of today’s blog is their daughter former Managing Director Anne George; an accomplished magician in her own right and winner of the Brotherhood of Magicians’ Craig Trophy. Performing under the stage name Anna Merlina, Anne has wowed audiences in theatres, clubs and on television before joining, Trevor George Entertainments in 1995. Who better to ask about life as a magician?
This interview was conducted by Jay Fortune and originally appeared across the May and July 2015 editions of Magicseen Magazine.
What was it like growing up in a showbiz family?
For me this was perfectly normal as I didn’t know any other way of being. There was never a dull moment and the house was always full of extrovert people, props, costumes and plenty of laughter. I was very happy growing up and, as you might expect, keen to have my chance to get on stage!
What was your earliest memory of magic?
Mum and Dad used to take me along to some of their afternoon and early evening shows at holiday camps and hotels. They performed magic and later on their nationally acclaimed “Mind Reading Act”. By the age of 4 I could repeat their patter word-for-word. I also had my opportunity to stand on an orange box and sing at some of their gigs.
So you got into singing before the magic?
Well, I only ever did one song, just before they went on. I wasn’t shy at all and really enjoyed performing, I already had a natural ability to gain rapport with an audience. Dad used to say that I was a hard act to follow! I can also clearly remember going to bed on New Year’s Eve when I was three years old and my uncle waking me up in “the middle of the night”, probably around 10:30pm and taking me down to a hotel in Torquay where my father loaded me into an illusion and produced me, on stage, dressed in my best fairy outfit to bring in the New Year. We had, of course, rehearsed this previously. I can still feel the excitement that came over me as I jumped out of the box in front of all those people who were smiling and clapping, and the thought shot into my mind… “This is what I always want to do”.
How did you become bitten by the magic bug?
I was always fascinated by all of the colourful props around the house. I knew not to touch any of them but I really wanted to! In those days there was that crazy old perception about females being able to keep a secret and women were supposed to be assistants only in magic and illusion, never the actual magician!
My mother Billie had already broken through these barriers and performed magic and mentalism. When I was 12 years old, I was at school and we were discussing the school concert in which I always played a substantial role singing and dancing. On this particular day I decided to tell everyone at school that this year I would be performing some magic at the concert. Naturally they were delighted at the prospect at having something “different” in the show. I ran home feeling a little guilty, but not too much, and told Mum and Dad what I had promised to do. At this moment, they both laughed and agreed to teach me three effects to perform at the concert as they didn’t want me to lose face! I had two weeks to learn!
Do you remember the tricks?
The effects were the Lyle Hat trick, the 6 Card Repeat (with fakes) and the Sun in Moon. Later on during my professional career as a magician I continued to work these effects in various shows as they always felt safe, a bit like a comfort blanket.
On the big day my parents crept into the back of the school hall feeling quite nervous for me. Because I had the natural ability to “perform”, I managed what the audience all thought was an excellent show, and my parents, although somewhat more critical of my moves etc had to agree that I did show promise. From then on I was coached by my parents in the world of magic and developed my own magic show for children and practiced my adult material at charity shows and church halls. I would rehearse every day and seize any opportunity to gain more experience in performing magic!
So from an amateur to pro, what was your pro act like?
My first pro act featured the effects that I have mentioned above, plus the mutilated parasol, sympathetic skills, colour changing plumes and the production of a dwarf rabbit from a mirror box. I was also a dancer and used this skill as an additional feature in my show.
How old were you when you turned pro?
I was 15years old when I started taking pro gigs. Within a few months, I added dove magic to my act, having read various books on the subject by Ian Adair. Finally, and because I wanted to introduce some comedy and audience participation, I also included the silks to underpants with a male volunteer and then the head cremation illusionette. By 18 I had become an IBM (International Brotherhood of Magicians) member and won the “Craig Trophy” at the IBM convention in Hastings where I met the late and great Tommy Cooper who, amidst the continued controversy about my being a “female” magician encouraged me to follow my passion for magic and showbiz!
I enjoyed every minute of being a magician during my teens and early twenties and was lucky enough to work the theatre club circuit with such names as Ken Dodd, Ray Alan and Lord Charles Irish TV comic Dave Allen, Norman Collier, Roy Walker, The Barron Knights, Freddie and the Dreamers and Frankie Vaughan plus many more. There were many experienced pro entertainers working the same circuit and I learned a lot from working with them. I also featured in numerous pantomimes, both in theatres and touring and was often cast as Aladdin, which gave me the opportunity of featuring my magic in the cave scene. I achieved an acting diploma with the Guildhall School of Music and Drama which apart from giving me the opportunity of taking acting roles, also increased my confidence as a magician and a dancer.
Did you die a lot?
I don’t recall there being any lows at all, I honestly loved every minute of this time, however there were a few funny situations that occurred and resulted in giving me some great feedback!
The first mini-disaster occurred when, at the age of 13, I was invited to perform at the local vicar’s tea party! I had prepared a 15 minute spot which culminated in my taking a pair of long silver gloves from an empty box, waving them in the air with a great flourish, closing the box and then producing the live rabbit, known as Roly. On the day of the show as I waved the gloves in the air, liquid flicked out from them, everywhere, all over the stage and the front row of the audience. Roly the rabbit had obviously peed in the fake compartment of the box and the liquid had quickly soaked through onto my gloves. Remembering what had been instilled into me, I kept smiling and ignored it while the vicar and a few of the ladies sitting beside him wiped the damp spots off their faces and then… Roly the rabbit appeared!
My second mini-disaster occurred when I appeared as a slave in the ring in Aladdin, at the Festival Theatre, Paignton. I concluded my magic spot in that show with the production of one of the girl dancers from a large tip-over box. Apparently, during the show and after I had pre-set and double-checked all of my props, a curious stagehand decided to mess with the illusion box. When I travelled with this prop, I had bolts to keep the false bottom in place. The stage-hand, whilst playing with the box, locked the bolts. I loaded the girl into the box, as usual, backstage in the half-light a few seconds before the tabs opened on my act and was totally unaware of what had happened until I tipped the box forward to show it empty. The prop gave some resistance which I ignored, feeling confident that everything was in order, and as I forced the box to tip forward, the whole prop fell over, the girl crashed through the false bottom and landed in a heap in the middle of the stage, her oriental wig rolling into the orchestra pit! This was the night that the press were in the audience and bless that reporter, he never mentioned it! It took a while to live it down though, and the girl gave up her job as my assistant. Luckily I managed to recruit one of the other dancers for the remainder of the run and from then on I was always neurotic about checking and double-checking my props over and over again.
A pro checks, checks and checks again. Usually because something like that happens.
The other incident that is still living colourfully in my memory is one night during a tour in South Wales. I brought a “volunteer” on stage for the Head Cremation, knelt him on the altar, placed two fairly heavy metal tubes over his head and “set fire to them” as I always did with this effect. The only problem was that he had been drinking rather heavily and must have passed out while this was going on. His head slumped forward and the metal tubes rolled off ad crashed on the floor! My father, who was also working the tour, found this incredibly funny as the volunteer was picked up and taken off the stage! Thank goodness he was alright and there were no repercussions. I believe this was a lucky escape for both of us.
In 1985 I decided to develop and work a large illusion show. This had always been my dream and was a very exciting time for me when it progressed into reality. I performed with two female assistants touring the length and breadth of the country in theatres, cabaret and on TV. In those days, an all female illusion show was quite a novelty and we were in constant demand. The act consisted of large illusions including blade and fire cabinets, the Dolls’ House, the Homicidal Cabinet of Tutankhamen…
The what?!
This was a highly dramatic, Egyptian-themed presentation, fully costumed and fast moving with fire-eating/body burning to set the scene, followed by one of my assistants being tied up and blindfolded, then thrown into a cabinet which was pierced with knives and blades and then separated into two parts. We incorporated a full costume change and also danced with whips (tastefully of course) to enhance the drama. Today’s “Fifty Shades of Grey” fans would have loved it!
We also featured Levitation, the obligatory Substitution Trunk plus doves, poodle, fire eating and dance. It was worked at a very fast pace and felt a bit like doing a full aerobic workout (or two or three) every night. Known as Anna Merlina and Co., we toured this show adding new effects here and therefor 12 fantastic years! I feel so lucky to have enjoyed this experience.
Poodles?!
My two poodles. Genii and Muppett were natural show-offs and from an early age I trained them by setting up an obstacle course in the garden and getting them to follow me, jumping over hurdles, through hoops etc. When on stage, they would appear from various boxes and perform some of the tricks. Genii totally understood what applause meant and would run to front stage after every trick to milk it! They would respond to words in different languages and also ran on with me at the end of the show to take full bows. They loved the shows and would go sit by their boxes ready to be loaded when they heard the final music of the previous act playing. Amazing and very clever four legged friends!
Magic is still a great love of mine and on occasion, If I’m asked to speak at an event, I can’t resist working an effect or two into the mix!
Given your love of magic, it must have been quite a transition from magician to agent?
My parents founded Trevor George Entertainments in 1959 whilst also continuing to perform until the mid-90s when my brilliant and talented mother was diagnosed with Parkinson’s disease. It followed that she would not be able to continue win the business for very much longer and we eventually agreed that I would take over as MD of the company and run the business, initially with my parents as consultants. I had mixed feelings about this in the early days, however I soon grew to love the everyday challenges of running the organisation and moving things forward. I continued to perform for a couple of nights a week during the first year or two, however the late nights, journeys, loading vans etc began to take their toll as the company expanded quite rapidly and I eventually laid my professional wand to rest in 2002.
As an agent, what do you look for in a magic act for representation?
Presentation is key for me, and some unique qualities. It’s always the difference that makes the difference!
How do you see the current market for magicians?
Magic is very much in vogue in today’s market, as long as it’s not too samey!
What advice would you give to a magician looking for representation?
This depends very much on what the performer is looking to achieve. I believe that if you are represented by someone who has an understanding of the world of magic then ideas can be shared and progressed more easily. The main advice that I would give to any aspiring performer is to be flexible. In my experience, those who stick with “I do what I do, like it or not!” miss out on opportunities. Yes, you have to have a degree of comfort in what you do, however the “comfort zone” is not always the best place to live in! Practice, practice, practice, be prepared to make changes and if you are genuinely passionate about performing magic, you will enjoy success!
Who has been your biggest success?
People make their own success, I would never credit myself for the success of someone else. However when I have given advice and assistance to performers who then go on to achieve, this never fails to give me a warm feeling all over!
Do you think magic acts are relevant to today’s bookers?
Yes, very much so. There are corporate clients requesting magicians for themed events, family holiday centres are always looking for something different and see unique style magic and illusion acts as perfect for their guests. There are also opportunities for magicians in theatre / pantomimes etc. particularly if the performer can be flexible and willing to participate in the production in addition to their main skills.
Where do you see the future for magic acts?
There will always be a demand for family entertainment and those “one off” special dates. It’s really down to the performer to make sure that they come up with something that is their own special brand. Off the shelf tricks can be very useful from a practice point of view, but it’s important to put your own stamp on things.
Who is your inspiration?
I’ve drawn inspiration from many performers over the years, however David Copperfield for me, at the time when I was a full time performer, was a real showman and a believe that showmanship is 80% of what a great magical performance is all about. He is, however responsible for performing the “bandana” effect which has since been done and double done to death!
This is an edited version of an interview conducted by Jay Fortune that appeared in the May & July 2015 issues of Magicseen Magazine. If you’re a magician or magic lover, be sure to follow Magicseen on Twitter and Facebook.
