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i heard that there are many versions of the asrah levitation.
But, i dont know the difference between them all.

And since i want to use the asrah levitation in my illusion show.. i dont know which to choose.

I dont want Plans on how to build it, since i have one.. but i think its one of the original designs.. since after the covering is taken off in mid air, it will expose how its done, since it only depends on lighting, back drop and audience setting. But, i want one that doesnt need any fany lighting or special dark back...

So, once the asrah form is in the air.... i want it to completely vanish. And so i can pull of the cover very slowly..

As i have seen Lance burton perform it.. and David Copperfield with the levitating car.

Any help finding these?

Thanks!

There is a book out on the Asrah that reveals most of the methods, I think it sells for around $60.00 and can be found through Stevens Magic on line.

Your description has me stumped just a bit when it comes to someone that owns said illusion in that there is a bit more to the vanish than mere lighting... a lot more! Depending on which variation you have it could be significantly more because some have a larger "back end" than others.

The "Best" however, depends on what your needs are, as I told you I've personally worked with over a half-dozen variations to this one illusion, each one has its advantages and its draw backs; it all centers on the kind of venue you are working and the amount of control you do or don't have.

If you want the most amazing and enchanting form that ever existed I'm certain I could get Bill Smith to make it for you (since I hold the reigns to it) but you best have enough to buy a low end sports car... this happens to be one of the most intricate and complicated systems for the effect ever made and only one version of it is known to exist... my teacher's original unit made in the late 1960s... but I promise you, it makes people (including magicians) gasp in disbelief.

Now I've encouraged you to slow down and quell your enthusiasm a bit... I think you are trying to do too much with too little... including the lack of obvious experience. Not to be rude, but I think you need to qualify yourself a bit in that I do not see things as coherent or even practical in what you've shared with us via your inquiries and I don't want to see you setting yourself up for a world of woe.

I'm not an illusionist by any stretch of the imagination but I just want to add that Francis Martineau has plans that he created (or so he says) for an Asrah, he also has some for a sword through neck that is to die for. The problem is that its Francis Martineau who is impossible to deal with. I'm not even sure he is still alive, but 10 yrs ago he was and man is he a trip! (not a trip I hope to make again).

Frymus wrote:i heard that there are many versions of the asrah levitation.
But, i dont know the difference between them all.

And since i want to use the asrah levitation in my illusion show.. i dont know which to choose.

I dont want Plans on how to build it, since i have one.. but i think its one of the original designs.. since after the covering is taken off in mid air, it will expose how its done, since it only depends on lighting, back drop and audience setting. But, i want one that doesnt need any fany lighting or special dark back...

So, once the asrah form is in the air.... i want it to completely vanish. And so i can pull of the cover very slowly..

As i have seen Lance burton perform it.. and David Copperfield with the levitating car.

Any help finding these?

Thanks!

You know, I just re-read this and it's driving me nuts.

Lance, unless he's changed in recent years, does the Kalanag Levitation in a trade-marked Double routine (him & a girl) There is no vanish per ce but they float up into the flies some 20+ feet.

The Car Vanish is a royal pain in the butt to do and it works "exactly" the way the other does... Kirby VanBirch featured a vanishing Corvette in his show for years and I've been in place dealing with the thing... it's highly impractical!

You are saying that you don't want to fuss with the special sets, lighting, etc. and yet you say you "own" an Asrah... sorry, but the lighting & sets are all part of what make that illusion work along side a ton of practice... BTW.. the best switch in the world (as far as I'm concerned) is the one VanBirch developed... it is the cleanest and fastest exchange I've ever seen done, bar none!

Part of me would love to drill you as to what mode of lifting mechanism your unit has, what kind of couch system and even who made it (that will tell me volumes)...

Sorry for sounding like a hard-nose, but things just aren't fitting and as I've already pointed out, I don't want to see anyone fall flat on their face for venturing into things they aren't ready for, which I seriously fear you are doing. Secondly, I don't want to see such events unfold in that we've had more than enough magic exposed by poor performers that half-ass what they are trying to do as well as jerks that want to ruin it all for everyone.

I beg you... slow down and get a bit more honest when it comes to your experience, age factors and what the viable market is for you right now vs. where your dreams are trying to lead you.

I've only used 2. One was based on a floating lady,an idea by UF Grant to which I added the Asrah vanish.
The other I built at a cost of about £2.
Neither could be used other than on stage. I found, many years later, a similar model in one of Paul Osborne's Illusions Systems books.

There is model called the European Asrah which does not use a rig. The jenny is collapsible. Check out Doug Tilford's web site for an actual photograph. I was amazed and shocked to see it there.

Another which is totally portable was advertised several times ( with pics) in The Linking Ring( IBM magazine) sometime around 2001 to 2006.
If you know anyone who has T L R. Get them to look it up. I pass mine on to a young pro but will look next week through the remaining 2 years.

The first 'portable' Asrah,worked like a Zombie, I came across in1978 in Genii. Cannot remember the inventor's name.

Geoffrey Durham used the same method in I think pantomime and published it in his little Miracles lecture notes. I have read a review of his new book, Professional Secrets;A Life In Magic, and it is detailed in it.

Edwin when Supreme Magic reigned also put out the same idea as New or Nu Asrah with sketches. It looked like an Abbott version?

Paul Daniels used a floating & mid air vanish of Debbie, in his 'Nightclub setting series 'Secrets'.

Allen Tipton

Collapsing Asrah Devices are amazing... I've seen several versions and even made the gaff for the Bill Wizard ASTRAH Units for a while (a Zombie and Contact type system).

Of all people Jim Sommers had one of the neater Asrah gimmicks I'd seen in my earlier days... those familiar with the metal accordion folding paper holders used in large offices may be able to envision this device and how it folded. I'd taken the concept and added a special Vanishing Cane type spine to it so that the thing sucked down into the center for exacting the vanish... it was quite cool!

The Ultimate Form remains the Kirkham Form... the thing had something like 70+ moving parts to it composed of micro-springs, hinges, etc. that allowed the thing to melt right in front of your eyes... it was the spookiest unit I've ever seen performed or been allowed to use... fortunately, it's never been replicated outside the one I made (the original, last I saw it, was non-functional)

Ironically the Vanishing Lady/Levitation I'm best known for wasn't an Asrah but a bit I refer to as my "Twilight Levitation"... The first time I presented I'd borrowed Kirkham's Girl on Lights suspension (a broom styled suspension using light tubes) but I traded out the traditional gimmick for my 22 ft. ASTRO Tower from Abbotts... something we kept under raps until it was time to scare the old man...

As per the normal Light Suspension both tubes are removed, but in my case, I could pass the second tube directly through the spot the gimmick would normally be hidden at... then, as I walked downstage to receive applause, the girl started to slowly raise moving higher and higher.

In around 12 ft you would see little sparkles of light enveloping her (think of very bright Xmas Tree lights) as she became translucent and ultimately vanished into thin air...

I know it's egotistical of me, but I still consider it the most beautiful levitation that ever existed. Sadly, we only presented it about a dozen times due to the technical headaches involved and the fact that we weren't doing a stationary revue.

The asrah, by its very nature, requires very careful attention to lighting and backdrop. If you are unwilling or unable to provide these, then don't do the asrah....unless your name is Valentino and you are planning another special.

Get the Willard the Wizard book. It tells how they handled the lighting and backdrop. It was much more clever than the mylar drop almost everyone else is using these days.

Allen Tipton wrote:Geoffrey Durham used the same method.......I THINK it MAY be in his just published book.

It most certainly is !

One of the best presentations of the Asrah is the one that Rick Thomas is using in Las Vegas.

It looks fairly traditional -- and there's nothing wrong with that -- except that after the floatee floats about 12 feet above the stage, Rick moves directly underneath her, raises his hand, floats up to meet the edge of the cloth, and sinks down, pulling the cloth with him.

It's a beautiful ending to the illusion.

The key to this particular item is not so much fancy lighting as well-thought out lighting.

That's sounds quite cool Bill.

Bill_Palmer wrote:The asrah, by its very nature, requires very careful attention to lighting and backdrop. If you are unwilling or unable to provide these, then don't do the asrah....unless your name is Valentino and you are planning another special.

I didn't register on this until tonight Bill... When Val was working at the Sands long ago, he did a nice Asrah routine. My favorite of the day however, was how Joseph Gabriell would transform the firm into this huge bird upon removing the cloth... I'm a bit groggy at the moment but I think it was he or Lance that produced a dozen or so white Pigeons at the Vanish point as well... things are a blur but the effect was quite a nice twist and of course, appropriate to a bird worker.

I used one of the old Abbott Folding Forms long ago, doing the Asrah under nearly impossible performance conditions at Renaissance Faires (not that such things would peek your interests Bill )... I won't tip the workings, but the gist as to what folks would see is... girl lays on the dirt path gets covered by the Wizard's cape which slowly raises to about waist level... the Wizard, touch but the lass's navel, has the ability to move her downward, closer to the gathered crowd. Then, without warning, he flicks his wrist and in a whirl... she is gone... only to be discovered a football field's length away, waving and yelling at the crowd.

I think we did this bit about once a year for three years running, during our visits to the Southern Faire in L.A. (the old one, not the newer/more commercial thing they now do). We also did the Sword Basket in a quasi-Will Rock format, a floating ball and Hindu Rope Trick... all in full Southern Californian Day Light and without tipping a single thing. But as I've said elsewhere, "the Best" really depends upon what you are looking based on venue, controls or lack there of, etc.

those are all good. And i got all the lighting issues and the backdrop and everythig is set. And i got a lot of time to setup and practice. But, the sooner the better.

Most people are telling me that this form is best, and this one... but they dont tell me what the name is and where to get it.

I googlef the ones people told me and i didnt get anything.

I JUST NEED the name of the FORM (Prefer, collapsable) and the website to buy it from.

PLEASE, i know everything about this, and all the stuff. PLEASE, DONT mention anything else. ONLY the name of the form, where to buy it and a BRIEF description of it- if possible!

"The Form"?

Which One? They ALL use a form... as I said previously Frymus, you are trying to BS folks that have been there and done that. You'd be doing yourself a HUGE favor if you just cut the c*** (not the best), step outside your delusion long enough to listen.

I have personally explained to you that "the best" depends on your circumstances. Without knowing the venue you are working or those you plan to work in the future, I can't answer that question though I'm a most accomplished Psychic Entertainer... I'm just not that good.

If you seriously want to know which is going to serve you best over the long run, then get realistic as to what kind of venues you have access to and will most likely be working the most from now and well into your future. Dropping between $5,000.00 and as much as $20,000.00 on this sort of effect means you KNOW that there is a way to make it pay for itself; a wise man don't drop that kind of money on one single show... even you buy the unit featured here http://www.stevensmagic.com/shopping/shopexd.asp?id=1503(which I believe would be the more practical system, given your age and experience level) the idea of making such an investment is not logical unless you have a marketing strategy (business plan) that can help you pay for the thing while keeping money in your pocket.

Take it from the voice of experience here... you don't buy magic just to own it and say you have it or can do it... My mentor/partner and I had the largest private collection of stage magic going for many years, close to400 major illusions + over 1,500 "Illusionette" type pieces, sets, hand props, etc. What ended up happening is that we worked our butts off to support the junk vs. it being there to help support us. Not a healthy position!

As I've intimated, given your age and what you describe as being the present venue, the most practical system for you right now would be the one I linked you to above. There are similar versions out there; the Owen Gossemere for an example, that will cost you almost three times what this one goes for and isn't as well established when it comes for endurance (you have to repair the thing after nearly every performance according to several who own it).

Doing illusions involves a hell of a lot more than having money to throw at builders; it means having money to throw at acting coaches, technical stage designers and directors.

An old chum of mine does a phenomenal Illusion show that books out for a bit over $65,000.00 a shot. He nets well over $3 million a year with his show and travels all over the world presenting it... he really is one of the "tops" in our industry, but he'll be one of the first to warn you about biting off more than you can chew... more than you're ready for. That includes more than your experience allows you to understand when it comes to the technical level i.e. lighting, sets, etc.

You say you have the back drops and lighting... are they yours? Is the Lighting appropriate for and controllable to this particular Illusion? DO YOU OWN IT or are you relying on existing "house" elements?

I can assure you, the latter can prove very embarrassing. Having someone working the lights that's not part of your crew can likewise prove a problem in that the average joe could care less if your "trick" comes off right... some will even deliberately shine the focus spot on the form in order to screw you... don't think you're immune, it's been done to Siegfried, Blackstone and more than a few others that come to mind.

I've stated that I'm willing to walk you through all of this and help you not end up with mud on your face, you've ignored that offer and responded with arrogance. I'll make that offer once more but don't take me or the other two old timers in this conversation for granted. I can assure you the three of us have forgotten more about magic than most will ever learn... especially Bill.

If you don't want to listen, then move on and do as you will.

Frymus,


Craigs posts to you have been full of VERY good advice, together with offers of help. Something you seemed to have ignored, maybe because you are young and feel you only need to know where you can get something and you will be able to perform it perfectly.

I do children's magic. When I first started, I didn't know what type of magic I wanted to do. I spent £1000s on three stage effects. One of them I used once, one I used twice.
The other, a Sub Trunk, I never used. You see, I didn't have anywhere tall enough to practise. If I stood straight on the trunk, my head and shoulders would be half way through the next storey. If you buy a packet card trick, which you find isn't any good, you may lose £10 or £20. I wasted almost £4000 on those, and they are much cheaper effects than you are wanting.
Listen to Craig. you have to think about how often you will actually use all the effects you want.
Also, are you just going to do one large illusion after another, or routine a show? It just sounds from your posts that you want to through a few of the "bigger" illusions together.

Craig, Bill and Allen have been trying to give the advice you need. Only problem is that it isn't the advice you want to hear.