Jim Steinmeyer (7 page)

Herrmann was considered a respected man of the theater, a professional on the level of Edwin Booth or Joseph Jefferson. He was born in Paris in 1844, into a German Jewish family of great magicians; his father, Samuel, and his oldest brother, Compars, were both professionals. Alexander appeared as an assistant in his brother’s show; Compars and Alexander performed for Abraham Lincoln in Washington, D.C., in 1861.

Working on his own in the 1870s, Alexander Herrmann was billed as Herrmann the Great. Our modern image of a magician, the tall, angular man in silk stockings and a swallowtail coat, the goateed performer who flexes his long fingers and mumbles fractured bits of French, is Alexander Herrmann.

Herrmann’s sleight-of-hand tour de force that opened the show, a long sequence titled A Bouquet of Mystic Novelties, consisting of amazing manipulations with his kid gloves, cards, coins, bouquets of flowers, and rabbits. Another Herrmann specialty was card throwing. The magician had a knack for scaling ordinary playing cards, hurtling them individually through the air with a quick snap of his wrist. He could deliver cards to specific seats in the theater, even up to the balcony as spectators shouted their approval, or send them careening off the filigree plasterwork in the dome of the theater, which earned wild cheers.

His pretty, redheaded English wife, Adelaide Scarsez, had appeared as a dancer in Paris. In the 1880s, when Thurston first saw Herrmann’s show, she played the part of the “slave girl,” levitated over the stage with her elbow touching a vertical pole.

By 1893, when Thurston found Herrmann in Albany, the magic show had swelled to spectacular proportions. He still included his Bouquet of Mystic Novelties and The Slave Girl’s Dream. But his new illusions included Ya Ko Yo, the transposition of a Chinese assistant from one suspended wooden cabinet into another, and Herrmann’s marvelous spirit séance. “He duplicated, absolutely and convincingly, all of the manifestations of the so-called spiritual cabinets,” a Boston critic commented on the new wonders. “In a word, he gave an amazingly elusive, delicately droll and vastly amusing exhibition of powers that two centuries ago would have given Herrmann a very warm berth indeed.”

 

 

IN LATER NEWSPAPER ARTICLES
and his autobiography, Thurston managed to enhance the simple story of encountering Herrmann from Albany. In Thurston’s improved version, he was traveling to the University of Pennsylvania, having vowed to continue his education and become a medical missionary. Watching Herrmann’s performance in Albany reminded him of his interest in magic. That night, he was racked with self-doubt. Should he continue his education or become a magician? He finally decided upon traveling to Pennsylvania and starting college, but at the train station he stumbled across Herrmann again.

It was probably Thurston’s brilliant publicity agent, John Northern Hilliard, an experienced magician, who later concocted this version of the story. Elements of the account seem especially suspicious because they so nicely echo the story of Jean-Eugène Robert-Houdin’s introduction to magic. Hilliard had known Herrmann and was an avid reader of magic history.

Robert-Houdin was the great nineteenth-century French magician, an inventor and performer who enjoyed a brief, spectacular career in Paris and in tours of Europe. His innovations were copied by his contemporaries. His colorful autobiography,
The Confidences of a Prestidigitator
, published in 1858, inspired generations of important magicians. In his memoirs he recounted an incident from 1826, when he was about twenty years old, training to be a watchmaker.

Robert-Houdin’s memoirs are filled with fictional embellishments, and none was more convenient than this tale: his nineteenth-century readers would have wondered why a young man, born to a good family and trained in a respectable field, would be drawn to the disreputable world of conjuring.

It’s unlikely that Thurston was actually traveling to the University of Pennsylvania. He must have left Canaan, New York, without any real prospects and was lucky to cross Herrmann’s route. It’s easy to see how the combination of allures—the train travel, magic show, impulsive change of schedule, and obsessive desire to see one show after another—provided delicious reminders of his most carefree childhood adventures. After years of supervision and responsibility at Mount Hermon and Burnham Farm, encountering Herrmann must have seemed empowering.

By retelling the story as Robert-Houdin did, with a heavy dose of fate to excuse his irresponsibility, Thurston left his decision in someone else’s hands. It made the incident more memorable, more dramatic, and more flattering for him, who, at twenty-three, was now expected to act like an adult.

Besides asking what elements were added to the story, we might wonder what elements were left out. Thurston’s account of shadowing Herrmann sounds perfectly accurate, right down to the gold-topped cane and Herrmann’s chain-smoking. But after leaving Mount Hermon and Burnham Farm (where he assertively clashed with the decision-makers), Thurston was no longer the hopelessly shy, socially intimidated adolescent portrayed in his autobiography. His intention must have been to plead for a job with Herrmann. More than likely, at the Albany stage door, at the hotel, or on the train to Syracuse, Thurston cornered the magician, pulled out his playing cards, performed a few flourishes, and offered his services as an assistant. Under these circumstances, Herrmann certainly would have dismissed him. Magicians avoided magic-mad amateurs; only dependable, experienced professionals were considered for such important jobs. And Thurston, humiliated by the rebuff, would never have admitted it.

 

 

HIS WEEK
of high living, following Herrmann across New York state, must have exhausted Thurston’s limited funds. He took a train back to Detroit to spend the winter with his father as he planned his professional career.

William Thurston had remarried the year after Margaret’s death. His new wife, Emma Dearth, was seventeen years his junior. The couple moved to Detroit, Michigan, with Emily, one of Emma’s daughters by her previous marriage. William worked as a tailor, making women’s clothes, and the Thurstons ran a boardinghouse.

Howard lasted only several weeks with his family. As he assembled some magic props—a small case with rubber balls, thimbles, and seven decks of cards, his stepmother thought that his plan to be a magician was disappointing and his father found it merely laughable. “My father and I did not get along well, so finally I left,” Thurston later said. When the weather was warm enough to travel, Howard put on his only suit of clothes, picked up his valise, and walked to the front door, announcing that he was “going to start.” William Thurston thought his son was joking. Howard nodded, and then dropped his voice, admitting, “I’m broke.” His father grandly put his hand in his pocket and brought out a quarter. “Here,” he said, “never let it be said that your father didn’t help you.” Thurston never forgot his father’s cruel joke.

Howard Thurston spent fifteen cents on a streetcar to Wyandotte, Michigan. At six o’clock that evening, he gave his first professional performance, standing on a box in front of a store, trying to catch the eye of people hurrying home from work. It was such a failure that the next day, when he walked to Detroit, he remembered his prayers and asked God for guidance. As he looked up, he saw a pitchman selling wire potato peelers. The man showed him how the peelers were made and boasted of how much money he managed to procure. That evening, Thurston visited a hardware store, bought a few supplies, and sat in his cheap hotel room, twisting up potato peelers.

He headed to Cleveland for his debut as a potato-peeler-selling magician. He had read that Sells Brothers Circus was working there, and he hoped to get some work on the circus grounds. The activity of the circus provided a steady stream of customers, and Thurston gradually became adept at his card-trick, ball-trick, handkerchief-trick, potato-peeler act.

Sells Brothers Circus wasn’t interested in card tricks and didn’t want a potato-peeler salesman, but they were impressed with Thurston’s smooth voice and slick mannerisms. He became a talker for the sideshow, the man who stands out in front and coerces the crowd into the tent. He followed the show through the Midwest and into Wisconsin and Minnesota, then jumped to other small carnivals if they could offer him a spot performing magic.

Throughout the early months of 1893, outdoor entertainers were drawn, as if magnetically, to Chicago. The World’s Columbian Exposition was to open that spring, and attractions and concessionaires were being assembled. It was a beautiful world’s fair of imitation white marble palaces, offering many important innovations—the modern Otis elevator, Edison’s kinetoscope, Tesla and Westinghouse’s alternating current dynamo, which illuminated the fair buildings at night—as well an astonishing array of new products—Cracker Jack, carbonated soda, and the hamburger. The precise mixture of exotic displays and unabashed fun served as an inspiration to a young Walt Disney, who attended that summer. The twinkling domes and colonnades that surrounded the Jackson Park lagoon also provided the dream of an imaginary city called Oz; author L. Frank Baum attended the fair as well.

But one of the fair’s most lasting legacies was the Midway Plaisance, the world’s first midway, a collection of popular American fairground shows, exhibits, and mild con games, scrubbed clean and lined up in a mile-long approach on the western edge of the fairgrounds. Young Harry Houdini came to Chicago looking for a place to feature his magic act; instead, he donned greasepaint and played the part of an Indian fakir in the Algerian and Tunisian Village. Thurston couldn’t sell his card tricks, but he was able to find employment as a talker for the African Dahomey Village, a little further down the midway.

The Dahomey Village was the work of Xavier Pené, a French entrepreneur who had provided African performers for fairgrounds. Like many sideshow attractions, the lure of the show was the promise of lasciviousness, concealed within an overt cultural appeal. Photos suggest that special shows at the Dahomey Village allowed audiences to ogle the bare-breasted native women.

The crowning jewel, the astonishing attraction of the midway, was the original Ferris wheel. Houdini and Thurston spent the days of 1893 listening to the roar of the wheel’s engines and the whooping cheers of its crowds. It was the creation of engineer George Ferris, intended to best Paris’s Eiffel Tower of 1889. At 264 feet tall, it was positioned precisely midway in the midway, a hulking, awe-inspiring, animated marvel. Its thirty-six train car-sized cabins each accommodated forty people.

At the base of the Ferris wheel was another attraction that has become enshrined in American folklore: The Streets of Cairo. There, a Syrian-American dancer named Farida Mazar Spyropoulous danced the scandalous belly dance, twisting and undulating in a provocative display. It was a hit, jamming the Streets of Cairo and making a star of the dancer. Her stage name was Fatima, but she became famous under the nickname Little Egypt. The melody that accompanied her gyrations, played on Oriental flutes, has become equally famous as “The Snake Charmer Song,” often starting with the lyrics, “There’s a place in France / Where the ladies do a dance.” It was the first “hoochie kootch” show.

Thurston was just two years from his good Christian education, but he pitched the Dahomey maidens and witnessed Little Egypt’s performance. As a showman, not a preacher, he greedily admired the simplicity of the dance routine and the long line of customers waiting to glimpse any sort of indecent display. When his twenty-one-year-old brother Harry came out to the fair, Howard and Harry prowled the midway together in search of business opportunities. Harry, of course, studied all of the exotic dancers and introduced himself to many of them. The “hoochie kootch” inspired the Thurston brothers, just as it revolutionized the sideshow business in America.

 

 

WHEN THE FAIR CLOSED
in October 1893, the Dahomey Village moved to Coney Island in New York for the next season, and Howard Thurston moved with it.