Stuart Cumberland is the nom de plume of a Canadian stage hypnotist and mind reader working corporate shows all over the planet. He has published many works for the "fraternity" of mentalists. These include works in e-book format and performances on DVD.He is best known for his work on the writings of Theodore Annemann, publishing a very limited set of DVD's with live performances by himself of some of Annemann's greatest pieces, as well as a host of e-books detailing modern handlings of the classics put forth by Annemann more than 70 years ago. He has also published works on contact mind reading, billets, "money making" methods for mentalists and courses on stage hypnosis. He also has a blog with his thoughts on many topics relating to the field. Well worth checking out.
You will see that "Cumberland" is a sucker for the classics, and through his writings one can truly learn to appreciate their value.
There is nothing new under the sun, and this is very true when it comes to human nature, the only real prop of mentalism.
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ANNEMANN'S COMPLETE ONE MAN MENTAL AND PSYCHIC ROUTINE—2005 Today the audiences seem to "go for" the mental type of trickery more than ever. It is more of a "grown up" phase of magic and mystery and there seems to be a greater element of wonder when one can reveal unknown knowledge or something personal about his audience – from the 1935 introduction to ANNEMANN'S COMPLETE ONE MAN MENTAL AND PSYCHIC ROUTINE by Theodore Annemann Published 73 years ago, those words are still just as fitting today as they were then. In fact, I suspect they will always be true. Annemann did and published a lot of magic in his lifetime, but today he is best known as almost the “father” of modern mentalism – at least as far as easily obtainable, great mentalism is concerned. The original pamphlet was only 26 pages and was (and still is!) published as a complete act, running at about 30 minutes. One of the first “packs small, plays big” acts, with the only external things used by the mentalist on stage being two slates (done away with by Cumberland). In all of Annemann’s writing it is clear that he did not much care for complicated methods and involved storylines, and this act is no different. To modern mentalists, used to Luke Jermay, Derren Brown and the like, the methods are very simple and almost mundane. Maybe this is the reason that this booklet is overlooked by almost everyone as a performable act.
Enter Stuart Cumberland.
What Cumberland brings to the table is experience. After one read through his book you immediately realize all the details Annemann left out. Details that only experience can teach you. Annemann opened the doors, but only gave us brief flashes of what lies inside those rooms. Cumberland flipped the trip-switch, installed brand new xenon light bulbs and takes us for a guided tour through the act, exactly as performed by him today for very high-paying audiences. Cumberland’s book is a healthy 72 pages, and includes the original text by Annemann. Throughout the book, the original is printed in bold, followed by the comments and tips by Cumberland in normal text.
THE BOOK
The book starts with a chapter where Annemann lays out the prerequisites for the act. This is followed by Cumberland outlining his props and why he uses certain items and why others are less practical for him.
The next chapter details the billet switching used in the act. While Annemann gave adequate details to master the moves (including a caveat for people suffering from magicians finger – you know, the little finger pointing straight out while displaying something in the hand…), Cumberland also gives detailed explanations with photos. Plus a wealth of other tips on handling the billets. Pre-folding, what paper to use, everything. Plus a lot of tips on psychology and misdirection. This chapter really inspires you to practice and practice and practice. Before this, I have never really understood what the power of switching “two pieces of paper” could have. I understand it now. Thank you Stuart.
The next chapter is the opener of the act. Magic vs Mindreading. This is a piece with two packs of cards – instead of someone picking a card, the cards are fanned out in front of a spectator for him to think of one. After a quick shuffle, the card is spelt to…and it’s there. What’s more, the other pack in the spectator’s pocket has the thought-of card in the exact same position! A great effect. Cumberland gives his entire script plus the psychology behind everything.
The Telephone Drama and The Dead Name Test. A great routine that really establishes the performer as a mind reader. A telephone number, followed by two names. This is a knock-out effect. Again, Cumberland explains timing and psychology only obtainable by doing this many many times. However, he does not add the telephone number as described by Annemann.
The New Nile Divination. This effect involves a whole group, with one person silently writing down a number in the corner of the room. Five or six people each think of a number. When these are added up, they total to the number previously written down by the first spectator. Cumberland also gives an alternate routine to use at this point. He then takes time to explain the thought-processes of the audience at this time, and goes into why and what he uses at this time to build some suspence – setting up the next affect as a self-imposed challenge, using a telephone book…
Book Mentalism
This is essentially a book test using a borrowed book. The performer divines a random name on a random page in a random telephone directory. Cumberland expands a lot on the original text, with a lot of information given to really blow up the drama.
Telepathy Plus This is a great routine. Using nothing but 3 billets, the performer divines a name, a number, and finishes with a dramatic drawing duplication. All the billets are handed back to the helpers, with the paper in their hands before the thoughts are divined… This is the routine that uses the billet switching methods described in the first chapter, with all the extra tips starting to make practical sense.
BONUS: Q&A
To lengthen the act, Cumberland describes a Q&A act and where to put it in the act. This will take the act up to around 45-50 minutes, perfect for corporate presentations.
BONUS
This section, also not from the original, is a section on general tips for the act and performance in general. These include topics like Timing, Performing at House Parties, Appearance, Performing for Teenagers and Students etc. This is some great advice from an experienced professional, things that can turn you from an irritating guy frowning in front of an audience, to someone really entertaining a large group of people. Except, with his advice, you cut out a few years of trial and error.
FINAL THOUGHTS
Personally, what I liked about this book is Cumberland’s descriptions of the psychology behind the effects. When one truly understands this, it is easy to slot one out and substitute it for another routine from another source. You can really play Lego with this – when you understand why the effects are in these specific positions. Also, the chapter on billets is amazingly clear. Easier to follow than Michael Ammar on DVD. You can perform the act exactly as described by Cumberland and become a huge success. I am at this moment rehearsing it, except for one routine I substituted for another…
You can buy this book here. Please share your experiences.
