Magic Comedy Strip

"Magic and comedy both rely on the element of surprise; one delights by defying expectations, and the other by shattering them with laughter."

Photo courtesy of Thames TV, London

For decades, I took for granted the ability to go back and watch my work because we had a video player that showed both American NTSC and European and Asian PAL videos. I have hundreds of those files which I have not transferred to a digital format. So I am always excited when I run across a video somebody has shared on YouTube presenting The Pendragon's work in magic. Boy, Randy found a priceless one I’ll discuss and share with you. It’s a compilation of numerous of our inventive pieces of magic. I’m so happy I found it. It begins with an appearance we did on the Jonathan Ross show in London, a popular talk show during the 90’s.

We performed our interlude illusion. The audience saw Jonathan standing inside a vertical frame with his midsection exposed while I appeared to have pushed my body through Jonathan’s torso, creating the visual effect of penetration without harm. It was the idea of illusion creator Jim Steinmeyer and developed by the collaboration of illusion builder John Gaughn, Jonathan, and myself. We perform it on the Jonathan Rose shows to the British 60s TV show The Avengers soundtrack, giving it a comic book feel to our presentation. The video then turns to the show, and numerous illusions are shown. I haven’t seen these in a long time, but watching them again reminded me of our purpose as human beings. And that’s to create. I think creating creates happiness and satisfaction. So today, I will present Pendragon's performances on the Magic Comedy Strip.

Compilation of much of our work from Magic Comedy Strip And a added peas at the beginning of a performance on the Jonathan Ross Show in London

Magic Comedy Strip was a 16-week television series in England produced by Thames TV producer John Fisher starring Charlotte and Jonathan Pendragon, David Williamson, Jeff Hobson, Rudy Coby, and Joe Pasquale and aired in the United Kingdom for two seasons in 1991 and 1992. The show featured a mix of magic performed by headliners with featured guests watched by a studio audience, giving an intimate appeal to the show's theme. The stage set was designed with cartoonish images in neon-lit colors. Think Dick Tracy.

Every TV show follows a distinct format, and once you see enough of them, you begin to recognize patterns associated with each television series and the templates are consistent every week, never altering, except for some minor adjustments here and there when perfecting its design and style. The Magic Comic Strip show was no different and, typically, each episode opened with the eccentric character created by Rudy Coby, performing comic strip-type illusions whose work reminded me very much of Sylvester the Jester, aka Daniel Sylvester Battagline, a magician renowned for his unique blend of magic and comedy; heavily inspired by classic cartoons. Particularly apparent in his presentation are those cartoons from the golden age of animation, like the works of Tex Avery and Chuck Jones. Colby was from that genre made famous by Daniel Sylvester. So, each episode opens with Colby presenting one of his cartoon-style illusions.

Season 1, Episode 1 of Magic Comedy Strip starring The Pendragons, David Williamson, Joe Pasquale, Jeff Hobson and Rudy Colby.

Colby’s performance of catchy caricatured illusions set the atmosphere for the remainder of the episodes, setting the pace and arc of the show. The purpose of an opening is to choreograph and stage a mesmerizing experience for the audience enough to captivate their attention for the remainder of the night. In the street busking language, it means “drawing the audience in.” After that excitement, the audience needs a break, so a softer and more calming performance is best to follow this high energy. This provides the much-needed rest so the audience isn’t overwhelmed by too much adrenaline from the first act. The second act takes the audience off that sensational high, allowing them to relax before the first commercial break (time to run to get a snack from the kitchen). The magic of David Williamson followed... Williamson, who I love for his puppeteer skills, is the innovator of his hilarious routine with Rocky Raccoon, a hand puppet, which is an old idea made new again in Dabvd’s hands. Different versions have been sold through magic shops like Tannen’s Magic in New York. So it's not new, but in Williamson's magical hands, the cute little raccoon seemingly comes to life. The pathos Williamson brought to the stage through his relationship with his adorable little puppet was crucial to the show's overall success. In the audience's mind, Rocky the Raccoon came to life.

Departing from David, the next in the usual weekly lineup was British comedian, actor, and television presenter Joe Pasquale, who presented some of his best earlier work on TV. Pasquale was a pleasant break before the following commercial, an excellent complement to Dave Williamson. Next, performer American comedian and magician Jeff Hobson, known for his humor, glamour, and audience engagement, made him a beloved figure in the Magic Comedy Strip series—a talented comedian and magician who thoroughly entertained audiences leading up to the show's final moments. The weekly show would concluded with a spectacular grand illusion by us, The Pendragons. If my memory serves me well, we bookended a few shows—opening and closing a few episodes. Our intense and visceral presentation seemed opposite the comedy theme of the show. Although our presentation remained the same, our staging was also extra colorful and vivid, and the music selection for our illusions was more conducive to a campier theatrical-type performance, making our segments an excellent closer and a good fit for the overall show. Our stage personas were loosely based and inspired by the John Sneed and Emma Peele characters played by Patrick Macnee (who brilliantly portrayed a dapper secret agent) and Diana Riggs from the original British 60’s TV Show The Avengers, The show, which I watched when I was young made me think I could be a “spy” when I was a kid. In the 60s, along with the rest of the British invasion, this pop culture permeated the American entertainment landscape.

Diana Rigg and Patrick Macnee on The Avengers

The Avengers original theme song

Creating his version of illusions is incredibly fulfilling for a performing artist, especially a magician. It begins with a spark of inspiration, often drawn from a blend of classic illusions and his distinctive vision. The creative process is a thrilling pilgrimage of invention. As an innovative team, we delighted in the challenge of inventing new techniques, experimenting with various “sleight of bodies,” and tailoring props, made for our distinctive style. Each of our illusions on Magic Comedy Strip represented not just a performance but an intimate expression of our stage artistry. I had only the joy of seeing our ideas come to life, transformed from mere concepts into awe-inspiring spectacles, which is immeasurable. There was a profound satisfaction in perfecting the timing, refining the misdirection, and adding personal flourishes that made several of the illusions on that show truly our own.

Magic Comedy Strip was a pivotal show for the Pendragons. It allowed us to expand our imagination, and together, Jonathan and I were a powerful creative force during this time in our career. This TV series featured several of our innovations based on old classics in magic like sawing-a-person-in-half, which we performed in a sea glass box, proving the impossibility of me curling up and hiding in the box. Another first was our unbelievable levitation, which we named Infinity, where I floated in mid-air and vanished before the audience’s eyes. Years earlier, the idea was presented to us by a debonair magician, Don Kellar. Don was our spark of inspiration for this piece. Sometimes, inventions can take years to reach fruition. It's the nature of the creative process.

The first picture I am featured performing Infinity. The second two pictures are images from The Pendragon’s sawing in half illusion.

It was our history to change the face of many famous illusions presented for decades by magicians performing them the same year after year. In one of my articles, “It Started In A Box,” I discuss how our collaboration on metamorphosis is where we exchange places with lightning speed. It became the benchmark in the world of magic, exemplifying our creativity, skill, and showmanship, transforming this classic trick into an extraordinary spectacle. I can proudly claim our version remains a gold standard against which other metamorphosis acts are measured and celebrated for its innovation, execution, and enduring impact on the art of illusion. The same collaboration between Jonathan and me created our "Clearly Impossible," a revolutionary take on the classic sawing-a-person-in-half illusion. This version featured me being sawed in half while enclosed in a transparent box, allowing the audience to see my entire body—head to toe—throughout the performance. This transparency added an essential layer of complexity and amazement to the illusion, setting it apart from traditional versions in several ways—just the fact the box was see-through removed the possibility of any hidden compartments. By making the box transparent, we removed this potential method and heightened the mystery of the effect, making the illusion seem genuinely impossible. The clear box forced the audience to come to terms with what appeared to be an inescapable reality: I was whole before the sawing began and remained visible throughout the process. This confrontation with the "impossible" enhanced the psychological impact of the trick, as the audience had no obvious explanation for it. The mechanics behind ensuring my visibility while executing the illusion showcased our ingenuity. Without giving our innovations away, Jonathan and I contributed our original ideas to the illusion that, when integrated, elevated it to a new level never seen before and redefined what’s possible.

Drawing by Joseph Patire of Clearly Impossible, The name of our sawing-in-half

Another creation I was thrilled we performed on that show was one of our levitations, Jonathan, named Infinity. Levitation tricks are inherently captivating, as they defy the natural laws of gravity. In "Infinity," Jonathan seamlessly placed me into the air, creating an awe-inspiring visual that grasped the audience's attention. Jonathan designed the illusion to maximize visual astonishment. And what can be more than that is my sudden mid-air disappearance, which added a dramatic and surprising twist to the levitation. The combination of levitation with the vanish created a magical experience that left the studio audience spellbound and reaffirmed us as innovators. My input was primarily staging, choreography, and getting bruised a lot. On the other hand, our friend and magic innovator Sam Fehrenz Jonathan developed and designed the unique levitation/varnish. It's one of our few rare performances of this fantastic illusion.

A compilation of photos from the show

What makes a magician a magician, except his creations and inventions? Without those, I would only be an actor playing a part.

When you step onto the stage, anticipation and excitement build. The audience's responses of gasps, laughter, and applause provide immediate, tangible rewards for me. Their wonder and astonishment are true testaments to my skill, and they reinforce my creative strength and build a shared experience of mystery and delight. Ultimately, my pleasure as a magician lies in the endless cycle of creation and performance. The infinite possibilities of illusion offer a playground for my imagination, ensuring each show is a fresh and exhilarating adventure. This ongoing pursuit of amazement, both for myself and for my audience, fuels my passion and cements my love for the art of magic.

I'm blessed to be in show business, an ambition that came true as a child. I hope you enjoyed the show as my audience today! 🎭