The Prestige

This diary entry is to record, though, that I feel at last I can emerge from the hole of misery and lethargy into which I declined, and I am ready to return to the stage. I have instructed Unwin to find me bookings, and my career may resume.

To celebrate the decision, Olivia and I went this afternoon to the premises of a theatrical costumier, where she chose, and was measured for, her new stage outfit.

1st December 1893

In my appointments book I have a thirty-minute Christmas show that I am to perform for a school of orphans. Other than that, my book is empty. 1894 looms up, bereft of work. Since the end of September I have earned only Ј18 18s.

Hesketh Unwin speaks of a whispering campaign against me. He warns me to disregard it, because the success of my tour of America is well known and it is easy to cause jealousy.

I am disturbed by this news. Is Borden behind it?

Olivia and I have been discussing a return to spiritism, to keep body and soul together, but so far I am thinking of it only as a last-ditch resort.

Meanwhile, I occupy my days with practice and rehearsal. A magician can never practise enough, because every moment spent will improve his performance. So I toil in my workshop, usually alone, but sometimes with Olivia, and rehearse until I feel sick with preparation. Although my skill with prestidigitation increases, sometimes, in my darker moments, I do wonder why I am continuing to rehearse at all.

At least the orphans will see a marvellous entertainment!

14th December 1893

Bookings have been made for January and February. Not major appearances, but our spirits have nevertheless risen.

20th December 1893

More bookings for January, one of them, I do declare, left vacant by a certain Professeur de la Magie! I am happy to take his guineas.

23rd December 1893

A Happy Christmas! I have been visited with an amusing idea, one I hasten to record before I change my mind. (Once committed to pen and paper, my actions will be set!) Unwin has sent me the contract for my appearance on 19th January at the Princess Royal Theatre in Streatham. This happens to be the booking left free by Borden. I was glancing through the contract (contracts have lately been so few and far between that I should likely have signed anything!) when my gaze fell on one of the clauses toward the end. It contained a common enough provision found when one act is booked in place of another; that my performance should be to the same general standard of excellence as the act that was being replaced.

My first reaction was a sardonic snort. The idea that I should live up to Borden's standards was ironic indeed. Then I thought again. If I was to replace Borden, why should I not produce a replica of the act they were no longer going to see? In short, why shall I not at last perform Borden's illusion for him?

I am so taken with the idea that I have been dashing around London all day, trying to find someone who will act as my double. This is the wrong time of year to be looking; all the unemployed actors one can generally count on finding in any public bar in the West End are working in the numerous pantomimes and Christmas shows around the town.

I have just over three weeks in which to prepare. Tomorrow I shall start to build the cabinets!

4th January 1894

Two weeks to go, and at last I have my man! His name is Gerald William Root, an actor, reciter of declamatory verse, monologist… and, by all accounts, regular drunkard and brawler. Mr Root is however desperate for cash, and I have drawn from him a pledge that so long as he works for me he shall only taste liquor after each performance. He is anxious to please, and the cash that even I am able to offer him is so generous, by his usual standards, that I believe I can purchase his reliability.

He is the same height as me, and his general stance and figure are roughly mine. He is a little stouter than I am, but either he will lose those extra folds of flesh, or I shall wear padding. It is of no concern. His coloration is fairer than mine, but again this is a small matter that can be resolved with greasepaint. Although his eyes are an impure blue, while mine are the colour generally described as hazel, the difference is not noticeable, and again we can use theatrical make-up to misdirect attention.

None of the details matters. More potentially serious is the problem of his gait, which is noticeably looser than mine, with longer strides, and his feet turn slightly outwards as he walks. Olivia has taken charge of the problem, and believes she can coach him in time. As any actor knows, you convey more about a character with a walk or a bearing than any number of facial characteristics, accents or gestures. If my double walks differently from me while on the stage he will not be mistaken for me. It is as simple as that.