Heavyweight juggling was a popular turn-of-the-century act. Many of the tricks in Alfredo Marschall's act are illustrated in this poster for Claudia Alba. |
Page 48 Winter 1994 - 95
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Flashback ALFREDO
MARSCHALL IN "A
Dangerous Game in a Naval Port" OXFORD, LONDON, Nov. 30, 1909 (FROM STANYON'S "MAGIC")
Stage
set as a Naval port with a sailor on sentry.
Juggling
with Carbine, etc.
Performer appears and, taking carbine, bayonet and case away
from the sailor, juggles the three pieces (shuffle), finally handing
them back again to the sailor who places them aside.
Life
Buoys - Another attendant
hands the performer four life buoys, somewhat smaller and lighter than
the ordinary article, and with which he proceeds to juggle,
shower of two in each hand while
Balancing
Sailor - Sailor places top
of short pole (about three feet long) against his stomach, where there
is a small turntable. Performer picks up the pole carrying the sailor
and balances all on his forehead. Sailor now turns around and around
on the pivot aforementioned.
A
small cannon (minus carriage) is next placed on the top of a short
pole suitably shaped to receive it. Sailor then lays prostrate
Balance
of Large Cannon and Sailor
Attendants bring forward a large polished cannon (minus carriage)
and, having attached the ends of a double rope to the rear and front
parts, a sailor gets astride the cannon. The whole is pulled into the
air by the main rope passing over a pulley wheel in the flies. The
performer now comes forward with a special pedestal, the upper end of
which he passes right into and through the cannon at about the centre,
then places the other padded end on his head. The attendants now slack
the rope so that the performer receives the whole of the weight, which
he then maintains in perfect equilibrium for some seconds. In
conclusion the performer takes the pedestal away from
Balancing
a Small Piece of
Tissue Paper on Nose -This is not a very important feat in
itself. It is, moreover, comparatively easy to do. It was no doubt
introduced for the purpose of striking the greatest possible contrast
between the weights to which the skillful juggler must become
accustomed.
Cannon
Ball, Tennis Ball and Piece of Paper -
Juggles the three objects in the form known as "the
shuffle," a feat, owing to the dissimilarity of the several
objects, usually considered very difficult. It is not, however, so
difficult to the expert as it appears to be to the spectators.
With
One Polished Cannon Ball - Passing
the ball from the bend of one elbow to the other, rolling it rapidly
round the head, rolling it down the back and catching it between the
legs, passing it from one hand down the arm across the body (back and
front of head), and up the arm into the opposite hand, throwing it
high in the air and catching it on the nape of the neck.
Balancing
Shell on Pedestal
- An artillery shell is laid on its side on the top of the
pedestal suitably shaped to receive it, the opposite end being
balanced on the chin. The pedestal is then knocked away and the shell
is caught on the nape of the neck.
Four
men next lift a full sized cannon, base
of a sloping track, all in readiness for the concluding feat.
Cannon
Balls on See-Saw -
Three polished cannon balls are now placed in cups arranged in the form
of a triangle and situated at one end of a board pivoted at the centre
on a stand raised about a foot from the floor. The performer now places
one foot on the opposite end of this see-saw and presses it down
sharply, the result being that the balls are thrown upwards and towards
him. He catches them one in each hand and one on his back. He then
throws the one from his back over his head and juggles the three,
concluding by throwing them in succession over his head onto the nape of
his neck and jerking them thence right off the stage.
With
Eight Cannon Balls - These
are arranged in a row in a trough-like stand placed on the floor of the
stage. An attendant picks them up one at a time and throws
them in the direction of the performer, standing in the centre of the
stage. He, ducking his head, catches them on the back
of his neck, jerking them thence right off the stage, following
those used in the previous trick.
Shell
and See-Saw
- A large polished shell with copper bands is laid on suitable supports
on the end of the see-saw, as in the case of the balls above described.
The performer presses his foot sharply on the raised end of the board
with the result that the shell is thrown up and over his head and caught
on his shoulders.
Cannon
on Sloping Track - A rope is now attached to the rear of the
cannon by means of which it is drawn to the top of the sloping track
aforementioned. It is fired, doubtless to prove its strength and
solidity. The performer now takes up his position immediately in front
of and facing the base of the track which finishes with a sharp curve in
an upward direction. When all is ready he gives the word, "let
go." Then like a flash the cannon rushes down the steep incline,
when the curve at the base causes it to jump into the air over the
performer's head and to alight on his back and shoulders. He ducks his
head to catch it in that position. The underside of the carriage,
doubtless padded, comes to rest on the performer's back. The wheels, by
virtue of the rotation imparted by the rapid run down the track,
continue to spin with great velocity.
The performance, which struck me as being very original, was certainly most deserving of the continual and prolonged applause it obtained. The above is but a rough outline of what actually happened. To be appreciated the performance should be witnessed. |
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Heavyweight juggling was a popular turn-of-the-century act. Many of the tricks in Alfredo Marschall's act are illustrated in this poster for Claudia Alba. |