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The Chang Archives
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Originally published in The Sphinx, August 1947.
A DEVIL'S cave! Red and yellow flames dance up the scenery. To the strains of weird music a bevy of charming lady devils trip and pirouette, giving the lie to the terrors of purgatory. A flash! The scene changes instantly to a Chinese temple garden, and Chang in his gorgeous mandarin robes stands centre stage acknowledging the plaudits of a crowded theatre. Who is Chang? Many years ago, when China was an Empire, Chang's father was astrologer attached to the Royal Court of Pekin, and he was also fortune teller to the Empress of China. He wielded unusual power owing to his uncanny and infallible insight into the secrets of the future, but one day his talents brought him to disaster. He predicted the fall of the Empire and was at once banished from Pekin. He managed to escape southwards, and arrived at Canton after many hazardous adventures, whence he took passage to Panama. There he secured employment as a contractor of Chinese labour for the old French Canal Company, and where his abilities led him to be Chinese protector in Panama. He married a lady of Panama City, formed his home in that hospitable land, and Chang was born. Chang went to school in Panama, but his early desires were far from lessons, he inclined towards entertaining and in this he was encouraged by his father, the erstwhile exile from Pekin, who thought him a little Chinese magic. He was an assiduous attendant at all magic shows in Panama in which he showed the greatest interest. One day, nearly forty years ago, an event occurred which was destined to change the whole course of Chang's life. To Panama came "The Great Raymond" with his spectacular show of magic, vaudeville and quite a number of girl acrobats. Although still a youngster, Chang felt there were great possibilities in the Raymond show, and through a friend he learned that Maurice Raymond required an interpreter and an assistant. Being proficient in English and Spanish and with a working knowledge of Portuguese, Chang presented himself to Raymond and was engaged in that capacity and as general utility man. He was then only 17 years of age, but such was his ability that shortly afterwards he was appointed stage manager and chief assistant to the whole show. "You may guess" said Chang, "that this did not endear me to the rest of the company, as it was inconsistent for men of 30 to 40 years of age to take their orders from a lad of 17. But I could do the job, so the show went on." Chang travelled with "The Great Raymond" for four years. With him he made a complete tour of the world, which included his first visit to Buenos Aires in 1908. Finally, matters back stage and and friction between the members of the company who resented Chang's position gradually worsened, and with the optimism and enthusiasm of youth he decided to strike out for himself as a professional magician. Chang's story of those first few years is of absorbing interest, of tragedy and comedy, but too long a story for these columns. Up one day, down the next, he had a hard struggle, but in his own words he had "...a wonderful time of travel, experiences and big adventures." This period of Chang's life lasted some two years after which he began to make money on a big scale, not only with magic but with other attractions that go to make up theatrical box office. He did not at first appear as a Chinese magician. His first performances were given as an Arabian, but he found considerable difficulty in securing authentic Arabian costumes and suitable magic. His first appearance in Chinese robes was in the year 1913 under his name of Li-Ho-Chang when, although on a much smaller scale than at present, he presented a full evening show through the principal towns of South America. "Your first impression of those days, Chang?" "Well, I was young and full of life and adventure. I made a lot of money, and I also spent a lot of money. One thing I noticed was that during my first years in Central and South America the major part of my audience consisted of women of all ages. They flocked to my theatres with their escorts, and I soon found out that it was not for my looks that they came. I am no answer to the Maiden's Prayer. So I studied the situation, and then in all my work, and all my new tricks and illusions I built, I aimed purposely at pleasing milady's eye and exciting her curiosity, and I constantly kept improving my show to intrigue and please the ladies, and I consider that this has been a main factor towards the success I have achieved in my magical life." In 1928 Chang had accumulated a fortune and decided to retire from the stage and settle in New York. Accustomed to incessant travelling and with his inherent energy, he soon found that a life of idleness had no appeal, and he looked round for other outlets. Incidently this idleness caused him to lose all his money within six months. At that time talking pictures had started, and Chang saw the possibilities of a huge market in Spanish "talkies" as in those days there were none whatever in the whole of South America. He founded a company with himself as producer and chief share-holder. His ideas, however, were ahead of time as shortly after the company was formed he found that there was no equipment for "talkies" anywhere in South America, and for the scheme to go on he was compelled to invest more, and still more, money in projection equipment and sound, and even send sound engineers with the Company. The overhead was too much, and Chang saw his fortune vanish with the celerity at which he used to vanish ducks. Luckily, he had his magical paraphernalia stored away, and was able to take the road again on the way to another fortune. This was not long in materialising. Within seven years of his movie venture, Chang had built up another large magic show, and was again a wealthy man. This time his heart ruled where his head before had let him down. His typical generosity led him to back sundry undertakings for various friends, the success of which all turned out to be as mythical as the Indian Rope Trick. Once again he was on tour to build up what he had lost. Chang's philosophy in this respect is worthy of note. "I have no great ambition to amass money for its own sake," he said, "I have been successful, both artistically and financially, as a magician, and while it is gratifying to see the box-office working over-time, nevertheless my own personal needs are simple. Enough to live and travel comfortably, enough to invest in new tricks and illusions, enough to finance my show, and the rest for my less fortunate brethren." One instance will suffice to show that Chang's words are no illusion. Ever ready to help others over the stile of life, he was approached recently in Buenos Aires by a professional magician who had run into a bad patch of luck. He took him back stage, called one of his assistants to bring a large empty crate, and had it packed full with magical equipment of all kinds, tables, costumes, silks, apparatus, etc., and moreover handed the applicant sufficient money to get the whole lot re-decorated and chromium-plated. With the advent of talking pictures, Chang soon found that he had to do something different, so he began to glamorise magic as Ziegfeld glamorised the American girl. He built a large spectacular show with beautiful scenery, gorgeous costumes, sensational illusions and a score of pretty dancing girls. Special lighting effects were introduced, and Chang was the first to utilise blacklight in his magical extravaganzas. He combined magic with ballet, he devised such wonderful presentations as his actual "Scheherezade," he enlarged his company with the addition of vaudeville numbers featuring Chinese comedians, jugglers and recently a lady magician, Cleopatra. The latter, however, was one of the few errors of judgment that Chang has made. Cleopatra was billed as "The Goddess of the Nile" in an exotic 20-minute act of sleight-of-hand, coin and cigarette manipulation and illusions. She appeared on the South American magical firmament some 8 years ago as Kasfikis with but moderate success. Although an accomplished magicienne, Cleopatra met with a cold reception. Chang found that another magician on his programme was not acceptable to his public. They demanded Chang and would have no other. So the act was dropped. This idea of glamorising magic has been followed by many other magicians, a fact which seems to gratify, rather than annoy, Chang. Since forming this large show, Chang has travelled the whole world. He has appeared in every important city of Central and South America, throughout Europe, South Africa, Australia, India and the Orient. Whilst in India he was informed that two American magicians, who had also toured the country previously, had advertised the famous Indian Rope Trick, but at the last moment they did not include the number in their programmes. Chang was the first illusionist to perform this much publicised trick in India as a stage illusion. Asked his opinion of the trick as said to be performed by the native magicians in the streets, he tersely replied, "A myth." One of Chang's greatest desires is to carry his show to the United States, as he feels convinced that it would be a revelation and a big artistic success, but due to reasons that are well known to those in the business, he hesitates every time a contract is offered to him. "Maybe some day," he said, "I'll make a dash for New York and give a few shows, even if only for the fun of it and for my own personal satisfaction." Quite recently Chang has made a tour of Brazil where he created a record for playing a year and a half in the largest cities only. This included runs of two and a half months at Sao Paudo, four months at Rio de Janeiro, and a month at Bahia. He returned to his favourite city of Buenos Aires at the New Year and opened at the Teatro Avenida, the scene of so many of his previous successes. In spite of the intense heat and humidity, and without refrigeration in the theatres, the show broke all records for a summer season for any show of any kind in the history of the business in the Argentine Republic. Chang's greatest triumph however, still stands. During 1936 and 1937 he gave no fewer than 610 performances at the very theatre, and that with only one change of programme. During his long career, Chang has met many of the world's big names in magic, and he spoke affectionately of Blackstone, Dante, Chefalo, Dai Vernon, Mulholland, Dunninger, Al Baker, Carl Rosini, Horace Goldin, Jack Gwynne, Dorny, Okito, the late Nicola, and naturally his mentor, Maurice Raymond, as well as many other leading magicians. He has found magic acceptable in all parts of the world, irrespective of race, language, colour or creed, provided it is presented with audience appeal. One would imagine that with such constant travel, Chang would be glad to rest quietly between shows. Not so. If such a busy man who fills twenty-four hours of every day can be said to have time for a hobby, then Chang's hobby is travelling. No sooner did he finish his contract here in Buenos Aires a few years ago, and was due to open at Mendoza (Northern Argentina) ten days later, than he hopped a 'plane going south to spend some days exploring the hinterland of Patagonia. Again, last year in Brazil and while the show was moving north from Rio de Janeiro to Bahia, he had a week or so to spare, so he took the Panagra 'plane to New York to visit the North American dealers, replenish his materials and renew acquaintances. He was just able to take in one of the Magic Conventions when the southward bound 'plane again returned him to Brazil in time for his season in the towns north of the City of the Sugar Loaf. Asked whether he would still adopt the role of a magician for a livelihood could he commence life again, Chang replied with a vigorous and emphatic "Yes" and with all the enthusiasm of the young lad from Panama days. "I have always been happy and satisfied, but now I am more than satisfied," he said. "I thank God for the health, life and luck he has given me, and I thank Magic for the wonderful experiences I have had. Yes, I am happy." Happy! To be happy, and to have given happiness to millions of your fellow creatures. What greater achievement can there be? What more can a man ask of life?
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