J C Note: These thoughts were first posted on The Magic Cafe and has been reformatted into an essay for this website.

Having given my thoughts for alternative presentation ideas for the Zig Zag and Doll House illusions in previous essays, I thought I would try to tackle the Sub Trunk illusion.

Firstly, a disclaimer: I do not find anything inherently wrong with the Sub Trunk. It is a fantastic illusion when performed well, just as with the rest of the acknowledged classic illusions. The problem is not in the effect, but in the fact that too many magicians across the world are performing almost exact versions of the illusion. If you do a simply Internet search and visit various websites of illusionists from across the globe, I almost guarantee that 9 out of 10 feature the Sub Trunk in their show.

I think (as do many other illusionists and builders) that the Sub Trunk is an excellent first illusion but I encourage you to reinvent it if you are a more seasoned illusion performer.

I personally do not consider themed presentations, idiosyncratic choices in music selection or cosmetic variations as reinventions of the illusion. If you perform the illusion in the standard way but with a pirate chest and in pirate costumes, it is novel but not different enough to make a significant psychological or emotional impact on the audience.

The Pendragons defined the modern 'look' of the performance of the Sub Trunk with their sheer speed and later enhanced it further with their center-cloth-split revelation. Their approach to the illusion is a reinvention of the illusion as performed by their predecessors.

My specific intention in this essay is to offer reinvented suggestions for the classic-style Sub Trunk, which many illusionists already own - not a radical prop design or effect. Creative ideas on the reinvention of the Sub Trunk by no means end here. You need look no further than some innovations of the classic illusion to see that there is much unexplored ground. Some notable radically different versions of the Sub Trunk that are excellent in their own right include Copperfield's 'Cocoon', John Taylor's 'Suspended Animation', Greg Frewin's 'Shrouded Metamorphosis', 'Anthony Reed's 'Water Tank Metamorphosis', Alan Wakeling's 'Excalibur' and a distant relative in Harbin's 'Assistant's Revenge'. Recently, I have also described an original transposition illusion, "Fortress" in my book "Urban Illusions".

2008 Note: I currently do perform a Sub Trunk in my show but only because of two reasons. It is a crystal clear 'trunk' that does not look like a packing crate or classic sub trunk. The design allows me to do a lighting fast exchange and because of the see-through design of the trunk, the switch looks instantaneous to the lay audience.

Below are 6 ideas for reinvented presentations of the Sub Trunk. The presentation/ handling ideas are for Sub Trunks with a T** T***. For two other original presentation plots/ handling for Sub Trunks with a B*** T***, check out my book "Illusionary Departures".

Reverse One-Inch Hole Presentation

Effect: 

          A leather restraint belt is locked around the illusionist's waist. A long leather strap is attached to the belt and threaded through a 1" hole in the bottom corner of the front side of the trunk. A spectator is invited to hold tightly onto the end of the strap to restrain the illusionist down in the trunk. The illusion is performed as per normal and when the trunk is reopened after the exchange, the leather belt is seen secured around the waist of the assistant.

This handling/ presentation adds another dimension to the illusion and strengthens the psychology of the illusion further through audience participation.

There is only a remote similarity to Steinmeyer's "Through a One-Inch Hole" but I named it out of respect due to the fact that this features a 1" hole and a leather strap secured around the waist of the person inside the trunk. The presentation also deserves a nod of acknowledgement to the Wakeling Sawing.

The leather belt has to be custom-made with metal rivets, clasps and buckles to give a strong heavy-duty look. There is a clasp to hold a genuine padlock that locks the belt after it is buckled around the waist. However, one segment of the belt is actually secured together by Velcro, so the belt can easily be detached and opened up.

In the performance, the trunk, locks and belt are examined by the spectator and secured around the waist of the illusionist. The illusionist steps into the trunk and the leather strap is threaded through the 1" hole. There is an extra knot in the leather strap about 18" from the belt so that it stops at the hole, giving the impressive of a firm grip for the spectator holding the strap. The trunk is closed and locked up. The illusionist simply opens the belt and performs the exchange as usual. After the exchange, the assistant puts on the belt and the trunk is reopened.

The length of the strap should be long enough so that the spectator is at a far enough distance to not hear any suspicious noises and so that he/ she remains out of the 'spotlight' (i.e. does not pull focus away) during the 'Metamorphosis moment?


Exchange Caper

Effect: 

          The illusionist is locked into the trunk and the assistant approaches and steps onto the trunk from the front. She is wearing a large cape that includes a hood. She steps up completely on the trunk and instantly, the cape is thrown aside revealing the illusionist on top of the trunk.

This uses a Stage Vanishing Cape that includes a wire form for the shoulders and head (under the hood). The form for the shoulders should be significantly wide. The 'wings' of the cape should also have two aluminum rods sewn inside so that the cape can be opened up wide.

The radical differences in this 'handling' of the illusion is that the assistant steps up from the front of the trunk and that there is no real cloth or curtain to mask the exchange. I do not think that the fact that the exchange shows the illusionist facing front when the assistant was back facing the audience is an issue or necessarily illogical.

After the illusionist is locked into the trunk, the assistant wearing the cape and hood stands in front of the trunk and turns to face the trunk. She opens up her cape wide (with the use of the rods) to shield bad angles. It is at this time the t*** is opened and the illusionist starts to climb out. Simultaneously, the assistant steps up onto the trunk and lowers her hands to her side. The illusionist takes hold of the form and the assistant lowers herself into the trunk and closes the t***. It will take lots of rehearsal to ensure the 'takeover' of the cape is smooth. The movement of the assistant stepping up onto the trunk should mask the movement made by the 'takeover' Once the t*** is shut, the illusionist collapses the cape and tosses it aside revealing his appearance.

This presentation is purely conceptual as I have not attempted this but I believe that it can work. If anyone has any success with this, please let me know.


Colour Changing Trunk with Double Costume Change

Effect: 

          The illusionist wearing a black costume is locked into a black trunk. His assistant standards on top of the trunk and raises a curtain. When the curtain is dropped, the illusionist is now seen on top of the trunk dressed in white and the black trunk has also changed into a white one. The trunk is reopened to reveal the assistant inside, also in a different costume.

This presentation features a colour change of both performers' costumes and the trunk. I'd be the first to admit that there is really no real motivation or logic for this presentation but it is good visual bubble gum to the eyes.

This was an idea suggested by fellow Singapore magician, Jeremy Pei. Although, he has no practical working method (at least at the time of the suggestion), I designed the following:

You will need a custom designed trunk or an ATA-style/ strong box/ steamer trunk. The colour change will not work for a crate-style Sub Trunk due to the method. For purposes of illustrating this presentation method, the trunk is a white one with aluminum trimmings (like a ATA flight case).

The outside front and sides of the trunk are faked in the following way:

There is a horizontal slit at the top and bottom of each side. The horizontal slit runs just below or above (depending whether it is the top or bottom of the side) the aluminum trim. Three roller blinds with black fabric or PVC are attached on the inside at the base of the front and sides of the trunk. In the set-up of the illusion: for each side, the black fabric of the respective roller blind is fed through the bottom slit to the outside, pulled up and fed through the top slit to the inside, where it is Velcro-ed in place. If the roller blinds are taut, the trunk will convincingly look like a black trunk from a short distance.

Besides the 'colour changing trunk' both performers will need to wear tear-away costumes with a different set of costumes underneath.

In the performance: once the lid is closed over the illusionist, he gets out of his restraints and removes his outer black tear-away costume. Once the assistant raises the curtain, shielding the trunk from view, the illusionist releases the 3 roller blinds and opens the t***. The illusion performance continues as per normal.

Metamorphosis Escape

Effect: 

          The illusionist explains that he will attempt to perform the world's fastest escape. He is strapped up in a strait jacket and locked in a crate by a male assistant. The assistant climbs on top of the crate and raises an all-round curtain. Instantly, the assistant is seen to have transformed into the illusionist, minus the strait jacket. The music for the illusion climaxes and the illusion ends here.

This is my current presentation of the Sub Trunk. It is not presented as an exchange illusion but as an escape. The approach is significantly different from presenting the Sub Trunk as a metamorphosis. In this case, the build-up and psychology is that the illusionist has to free himself from his restraints (strait jacket and crate) in the fastest time possible. Thus, the climax is the revelation of the illusionist.

This presentation has an in-built comedic after-note: When the illusionist finishes accepting his applause for the escape, knocks from inside the trunk are heard and a voice cries out for help. The illusionist shrugs it off and tells the assistant in the trunk to take a coffee break. The crate is then wheeled offstage by stagehands.

The reason that the audience does not mentally question why the assistant climbs onto of the trunk and raises up the curtain is because of the justifying patter given before the escape. The illusionist explains that to protect the secret of the escape, the crate will be shielded from view, but only for 3 seconds.

The Sub Trunk used should be a crate-style one. My trunk is a crate-style and finished with dark lacquer stain for a more robust look.

To milk the effect even further, one of two items down into the program, the same assistant can push out an illusion prop for the next illusion but still strapped up in the strait jacket. He looks disgruntled and storms off stage after setting the prop. This subtly reinforces in the audience's minds that it was a complete exchange earlier and adds to the situation comedy created.


Metamorphosis Escape Vanish Kicker

          This is exactly the same presentation as in Metamorphosis Escape but with the vanishing of the assistant after the exchange. After the revelation of the illusionist, he jumps off the trunk. Gesturing to the trunk, the fours sides of the trunk drop down simultaneously to reveal the 'vanish'.

This has to be built from scratch. The trunk is mounted on an illusion b***. At least 4" of the b*** should be built into the trunk. The prop should be built so that it simply looks like a crate resting on a dolly.

The trunk itself is an open 4-sided box frame but has 4 panels that hinge at the bottom. Thus, when all the panels are hinged up, the trunk looks like a solid crate. There is a quick release mechanism so that the person inside the b*** can release all four sides to drop open simultaneously.


Metamorphosis Transfiguration

          This is similar to the above Metamorphosis Escape Vanish Kicker but instead of the vanishing of the assistant' he is revealed to have transformed into a cheetah!

Obviously, 99% of magicians will not be performing this reinvention of the Sub Trunk, but I thought I mention it anyway.

This will obviously have to be built from scratch as well - larger and with an additional wall (ala Lion's Bride illusion) to separate the performers from the cat. Credit must be given to Kalin's & Jinger's 'Transfiguration' for the inspiration of this presentation.

If you are thinking of substituting the cat for another person, I disagree. I do not think transforming the assistant into another person or into your principal assistant is a good idea. 3 people will just confuse your audience and lessen the impact of the otherwise strong illusion.

          I hope you enjoyed the suggestions and would be thrilled if anyone adopts any of the presentations in the real world. It is about time that the Sub Trunk performance landscape is given more texture and undulation!