J C Note: This article first appeared as a post on themagiccafe.com in Aug 2004. This is a slightly revised one based on suggestions posted by other 'cafe-users'.

I would like to share some ideas on illusion staging and presentation variations on Robert Harbin’s Zig Zag illusion. Admittedly, I do not own and have never performed the Zig Zag but have seen countless performances and ‘played’ with one before.

I’m sure many of you do own a Zig Zag but might have kept it in storage ever since the Masked Magician revelation. Maybe, these ideas will help inspire new presentations to take out the prop and reinvent the performance of the illusion. 

These suggestions illustrate the way I approach illusions and my general thought process. I have no doubt that it is possible that someone else might already be doing these variations but these are ideas I came up with independently.

BTW, Rand Woodbury has a great enhancement in Illusionworks that you should check out. However, it does require a significantly modified Zig Zag and an extra ‘table’.

These first few ideas are especially ideal for presentations of the illusion performed silent to music (i.e. without talking during the performance.)

Add a Skirting Around the ‘Zagged’ Section

The idea is to add a cloth skirting (colour scheme and material to match your prop) around 3 sides of the prop covering the entire center section. Using Velcro, the skirting can be pre-attached around the back and side of the prop and left to hang down. After the girl enters the prop and the doors are closed, the skirting is brought up to cover the front.

When the center section is initially ‘zagged’ to the side, the audience will have to mentally construct what they think is happening.

Most would not think that you actually moved the center section to one side since that would seem physically impossible. They might then think that you must have shifted an outer ‘shell’ of some kind to create the illusion. Thus, when you rip the skirting away to reveal the empty space, it creates a strong specific ‘Magic Moment’ that can be accented with a high point in your music soundtrack.

Although a simple idea, what this does from the visual and psychological impact on the audience is to specifically define the ‘Magic Moment’.

As a fringe benefit, the skirting will also add to the deceptiveness of the illusion as their eyes do not follow the ‘zagging’ of the section towards the central support i.e. towards the ‘hottest’ part of the illusion.

Marker Parker gave a suggestion of an 'instant' center jump after the zag based on the idea of using a skirting.

But based on your suggestion, I was thinking of not exposing the clear front of the center section in the same instant. My personal staging preference is to ‘Zag’, leave the front cloth skirting in place, then hinge open or slide out a front panel that covers the front of the center section exposing the girl’s middle. A beat later, whisk away the skirting to reveal empty space. Again, my line of thought was to have the audience mentally construct the effect in their minds and then lead them down the path of impossibility. This may also make the ‘dirty work’ easier (saying that with ignorance to a better method).

Adding to the Visual Image of the Illusion

This does not change the method of the illusion in any way but it enhances the visual image of the illusion. After the ‘zagging’ of the center section, three neon tubes or plastic tubes with LEDs inside, are pierced through each section, running from left to right for the top and bottom sections and back to front for the center section. This asymmetrical arrangement of the ‘light tubes’ creates a nice visual display, an added theatrical element and adds time to the performance as well.

Costume Change

It will be a simple matter and an added kicker for the girl to change her costume at the end of the illusion. Use a ‘flip-down-style’ costume as opposed to a tear-away one.

2nd Girl Production

Andrew Mayne also has similar suggestion for a kicker finale for Zig Zag but this method and revelation is different.

Modify and mount the Zig Zag on a Chuck Jones’ ‘Mis-**** Girl’-type ****. This allows an extra girl to be hidden in the bottom section and **** of the prop.

The only difference in the standard presentation part of the illusion is to turn the prop to the side so that the doors face away from the audience. Thus, the principal girl enters the prop with its side to the audience. The same goes when she exits.

After the principle girl exits the prop, it’s front should be turned back to face the audience.

Use a cloth, fan, flag, jacket or a cover of your choice to momentarily shield the head cutout of the Zig Zag from view. Under this cover, the 2nd girl quickly stands up and puts her head in the head cutout to create the illusion of a sudden appearance of another girl. The Zig Zag is opened facing the audience to fully reveal the 2nd girl.

Audience Participation Zig Zag

This last presentation is something I would do if I did own the Zig Zag as it suits my performance style and character. This is essentially a partial talking act with audience participation performed to a sound-bed of appropriate music.

Two audience members are invited onto stage to help out with the illusion. To make the illusion play even bigger, I will have chairs placed in a semi circle around the back of the illusion and invite spectators on stage to watch the illusion in the round. Incidentally, I use this same staging idea when performing Jim Steinmeyer’s ‘Through an One Inch Hole’.

This presentation will use the skirting ideas as mentioned above.

The core presentation is based on the Wakeling Sawing with leather restraints and straps that go around the neck, waist and one ankle of the girl. The straps are threaded through holes in the sides of the top, center and bottom sections of the. The neck and legs strap holes are on the same side of the prop with the hole for the waist strap running out on the opposite side of the prop. The idea is that one spectator holds the ends of both the leg and neck straps together and the other spectator is on the other side of the prop holding onto the waist strap – apparently holding the girl securely in place.

None of the straps need to be gimmicked but having a stopper (such as a knot in the straps) will allow the assistant the slack needed to maneuver as necessary. Those familiar with the Wakeling Sawing will understand what I’m talking about. If you are unfamiliar with the illusion, get a copy of the ‘The Magic of Alan Wakeling’ by Steinmeyer for details.

I hope you enjoyed this and maybe we will see some’ Zig Zags’ out there again!