Swapping in the **y with a large set of rings has never been a problem since I only use four anyway, but when it comes to Ninja or Dragonfly sets there is less desire on my part to buy another complete set. So, here is what I am thinking …

I start with the set of four tied on a nice piece of cord/rope – showing them all dangling there. I untie the knot and discover they are all on the loop like a necklace – perhaps blaming my wife for being too neat. I untie that knot and remove one ring and hand to a spectator to hold while I retie the knot, putting it around my neck for security. I then do a Ring on Wand effect with the free Ring, or some other effect. I now try and get the other rings off the cord but the knot is too tight, so I cut the cord in the center (opposite the knot) and release them. I now do my Ring Routine with the four rings. I finish by trying a Ring on Rope effect but there is that stupid knot in the exact middle of my cord. So, I magically remove it! Now, with a restored cord I do a few On-Off effects, and finally tie all four rings back on to end clean.


The questions are:

1) does taking a solid ring off of the cord manually support the concept that they are all solid?

2) does the cutting of the cord to get them off support the concept?

3) does the use of the rings for Ring on Rope effects support the concept?

4) should the ‘impossible’ rope restoration be played up or down compared with the Ring effects?

5) does anyone have experience with combining Linking rings of any size with Ring on Rope effects? I think Aldo’s Three Ring Symphony does.

The elements you are using need you to think in terms of ring and silk moves and perhaps even introduce silks into the effect. In my thinking, if it can be used with rope, silks are prettier. Perhaps all three elements together somehow.

Great idea Ian -- I'll think on how to weave that in. Cut and Restored silk doesn't excite me, but mixid linking ring effects with rope, silk and metal does.

I guess even having the rings tied in a silk that has to be untied will support the unprepared rings concept.

Silk on rope (June 2009 Linking ring parade)
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Aldo has a nice silk on ring effect, can be adapted by using rope and silk with the loop of rope in exchange for a ring.
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In relation to your listed routine, you could have silk and rings alternatively tied on your rope (necklace). That will vary the methods of removing the objects from the rope.
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Your #2 query, I would not cut the rope.

I can't answer your question, but I was thinking more of combining the three (counting the silks mentioned by Ian) to create more magic. Like removing the rings magically when you need them, or use a cut and restore when removing the ring (which may be what you were thinking of)

There are lots of effects that may fit in,
- Cords of Phantasia, using the key in place of the wand
- Grandmother's neclace to allow removal of just some of the rings
- linking rope gimmicks
- pass a silk thru the rope, pull a knotted silk off the rope

If you have the Ency of Rope Tricks, you may get some usefull ideas from pages:
397,399,389,378,362, 361,330, 324, 269

to name a few

I forgot about the cords of fantasia or the Lazy Magicians trick (Calvert). I do it in my kids show and I use the wand of course, tie silks, sometimes my rings, even my scissors, and of course it uses rope. I just never routined it before and after...might make it interesting. I always used it as a filler and picked up any props on my table (since they are usually strewn all over anyway).

I love these ideas for expanding routines using simple objects, but they aren't helping with my questions. I'll try again on another post and attempt to be more specific. But, I am in full agreement with where this is going. It seems silly to to do a rope trick and put the rope down, do a silk trick and put the silks down, then do a ring trick -- when there are exciting wasy to blend/weave them together into a congruent routine. Alternately, as I think Ian is suggesting, if the audience suddenly seems excited about ropes you should be prepared to do more, or appear to combine effects in response to audience interest.

I realize I have not been giving silks their proper weight in my routining. Thanks, guys.

When it comes to proving rings to be solid, casual treatment is usually the best way. Dan Garrett hints at a way to show a ring to be solid, replacing the Vernon move, in one of his sets of lecture notes. I believe that it's in his description of his Saturn Rings routine. When I started using the move, it really sold my routine.

Thanks for mentioning my Ring Display move, Alan. It's more than a hint, though. I show and explain the move frequently in my lectures. It appears in more detail in my 'Top Ten' lecture notes, as well as on my 'Cabaret Connivery' DVD.
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