GUY BOOTHBY'S MODEL.

Auckland Star, Volume LX, Issue 226, 24 September 1929, Page 8

GUY BOOTHBY'S MODEL.

NICOLA THE MAGICIAN.

ARRIVAL BY MAHENO

INDIAN TRICKS ADOPTED

Guy Boothby, the novelist, created his famous Dr. Nikola from his knowledge of Nicola the magician. This statement was made to-day by Mr. W. Nicola, the son of Guy Boothby'a friend, who arrived by the Maheno this morning.

"I was brought up to the mystery craft from the age of four," said Mr. Nicola, "and at 15 years had a complete show of my own, my father devoting the last ten years of his life to my training. The magician business goes back even further than that, as my grandfather was also in the business, so that I represent the third generation in my family who have been trained in the .same direction." , Mr. Nicola, whose real name is Nicol, the "A" having been added by his father for effect, has been in New Zealand twice in 15 years. He made a tour of the Dominion 15 years ago and was here on his second visit in 1923. He went from New Zealand to Japan and arrived off Yokohama at the time of the great earthquake. His advance agent who was some weeks ahead, was killed in tho great 'quak& "It Is strange that India, the land ot magic, welcomes performers such as myself," commented Mr. Nicola. "The business I have done in that country has been phenomenal. At Madras I was made an honorary member of the society of magicians or fakirs. These men all claim to be blood relatives although some may be forty-second cousins. They were pleased at my performances and they taught me all their tricks, and many of these I am doing on my present tour. The drawback with the Indian is that he never does anything new. All the magicians do the same work and have done so for centuries. One of their stock tricks is the mango tree act, which requires an outdoor setting." Commenting on the building of large theatres in the big cities of the world Mr. Nicola remarked that they were not suitable for the ordinary programme of sleight of hand in coin, card and handkerchief tricks. In very large theatres members of the audience were far too distant from the stage, generally speaking, to get a proper idea of what was being attempted. That was the reason for the inclusion of so many illusion acts as the public had a better view of what was being done. "The talkies are getting a big hold everywhere," concluded Mr. Nicola, "but with a good act or anything novel big business is possible everywhere and I cannot complain of the attendances at my performances."