Corrupting the Classics #2: Chicago Opener
Learn two variations of the card magic classic known as "Chicago Opener" or "Red Hot Mama".
Welcome to Corrupting the Classics. In each article, I reinterpret a classic magic trick and provide one or more new ways of performing it. This time, I’m presenting two variations of the classic card trick commonly known as the “Chicago Opener” or “Red Hot Mama”. The trick was invented by Alfred B. Leech, a magician and journalist from Chicago. It gained popularity during the 1970s and 80s when bar magic was at its peak in Chicago.
If you’re unfamiliar with the basic effect, here’s a performance of the trick by the Magician’s Magician, Daryl.
I have already discussed the history of the effect on my blog, so I won’t be discussing it again in this article. However, if you are interested in learning more about the origin of the “Chicago Opener” and its various adaptations published over the years, I suggest reading the previous articles I’ve written on the topic.
Three Significant Weaknesses
The “Chicago Opener” remains a popular trick among amateur and professional magicians alike, thanks to its strong effect and practical method. However, it isn’t universally loved. Eugene Burger, an extraordinary close-up performer and one of the most influential magicians of the 20th century, didn’t like it. He went so far as to say that “it’s not a very good trick.”1 I’ll be publishing a blog post on his opinion of the “Chicago Opener” soon (to expand on and explore his criticisms in detail).
The routine has several significant weaknesses. Three, in fact, which can be summarised as follows:
The double lift or turnover happens at the worst possible time—when everyone is looking at the odd-backed card.
The second phase teaches some analytical people how the first phase was achieved.
The two cards are selected in inconsistent ways, which can arouse suspicion, and the second selection is not as free and fair as the first.
The first issue, the placement of the double lift or turnover in the routine, can be mitigated with proper timing and technique (Daryl performs this move particularly well in the video performance above). However, I’ve decided to eliminate the move from the routine entirely.
The second issue, where the use of an odd-backed card in the second phase tips the method used in the first, is more challenging to address. The best approach is to pocket the odd-backed card and move swiftly on to your next trick.
The third weakness, the inconsistent selection of the two cards, can be easily resolved by making the selection of the freely chosen card appear the same as the force used in the second phase (or vice versa). The most crucial aspect is ensuring that both selection processes feel equally free and fair.
Both “Two Hot to Trot” and “Envelope Opener” are attempts to fix these weaknesses. However, there are many ways to address these issues without altering the underlying method of the “Chicago Opener”.
What is the Effect?
Roberto Giobbi, in his book Sharing Secrets, emphasises the importance of not losing sight of the effect on the audience, regardless of how much they are entertained or amused.2
Unfortunatley, many magicians perform the “Chicago Opener” without considering what the actual effect is. Al Leech presented it as a colour change and a transformation. The back turns red when the magician blows on the card, heating it up. Another magical blow transforms the face to match a second selected card. However, a spectator could misinterpret the magic as a colour change (the back of the card turning red) and a transposition of the faces of the first and second selections.
However, you can also present it as a prediction, e.g., “I knew you would pick this card. That’s why it’s the only red-backed card in the deck.” Similarly, you can present the routine as a demonstration of psychological influence., e.g., “There is a single red-backed card in this deck, and I will make you pick it!”
I’m taking a slightly different approach by presenting the “Chicago Opener” as a double colour change followed by an impossible transposition. The two trick’s I’m sharing clarify the effect by making two cards change colour and then framing the second phase as a transposition of these two cards.
Learn Two Hot to Trot
I devised “Two Hot to Trot” many years ago. My primary motivation was to create a version of the “Chicago Opener” in which two cards changed colour. By doing so, I accidentally stumbled upon a handling that avoids the use of the double lift or turnover during the first phase of the trick. I believe that this strengthens the structure of the routine.
The aspect I appreciate most about this handling is that both cards, along with the rest of the deck, can be thoroughly examined at the end of the routine, and no duplicate cards will be found.
The downside of this particular routine is that it uses two forces, and one could argue that the selection of the first card is not as free or fair as it is in the original. Personally, I don’t consider this a significant issue because both selection processes are consistent and, when performed correctly, feel reasonably fair and random.
I hope you give this version of the “Chicago Opener” a try.
Learn Envelope Opener
“Envelope Opener” is a variation of “Two Hot to Trot” better suited for more formal situations, such as a parlor show or an after-dinner performance. It adds intrigue to the trick by incorporating a prop (an old-fashioned letter opener) and an envelope, making the two-card transposition seem even more impossible.
While this particular handling is not as straightforward as Al Leech’s original, and the reset is not automatic, it still has immense potential to be an impressive and entertaining piece of card magic.
The use of the letter opener and envelope elevates the effect, creating a more theatrical and captivating experience for the audience. The extra props and choreography required also allow for greater showmanship and engagement from the performer.
Despite the slight added complexity, “Envelope Opener” retains the core strength of the Chicago Opener plot while enhancing its visual appeal and sense of impossibility, making it an excellent choice for more formal magical performances.
I hope you enjoy these two variations of a true classic of the card magic world. Please post any questions or queries you have about the two routines in the comments section below.
Yours Magically,
Marty
“Continuum,” interview by Andrew Pinard, Reel Magic Magazine, Issue 12 (August 2009). https://reelmagicmagazine.com/issue-12-eugene-burger.html.
Roberto Giobbi, “Search for an Ideal Effect - Chicago Opener,” Sharing Secrets, (Italy: Magic Communication, 2021), 67.
Thank you for posting about this magic effect. I’ve been working on some of my close up.