INVENTING AND DESIGNING ILLUSIONS From 1981 to 1987

Jim Steinmeyer was the Magic Designer for Doug Henning, who wrote, "I consider Jim the most brilliant mind in magic." Jim invented impossibilities for four Henning television specials, six touring shows, two Henning Broadway shows ("Merlin," for which Jim received his first Drama Desk Nomination, and "Doug Henning's World of Magic"), and numerous television and Las Vegas appearances.

For one of David Copperfield's television specials, Jim proposed an innovative concept, the scenario and secret by which the Statue of Liberty could "disappear." David used the Statue illusion to close his special and created headlines with the mystery.

Jim has also served as a consultant for Siegfried and Roy, David Copperfield and Lance Burton. He developed magic for Orson Welles, Harry Blackstone, and the Pendragons and many, many others. He is a writer and designer of Mark Kalin's "Carnival of Wonders," the critically acclaimed review show.

Jim currently holds three U.S. patents in the field of illusion apparatus, including a new version of the famous "Pepper's Ghost" mystery, which makes it applicable in a variety of situations, and has also served as an expert witness in this field.

MAGIC ON STAGE

Jim's special illusions have enhanced many favorite productions on the stage. He is currently developing the magical effects for the upcoming Disney / Cameron Mackintosh stage production of “Mary Poppins,” scheduled to open in London in 2004. In October 2003, he produced the eight-foot tall “ghost” of Frank Sinatra for the Radio City Music Hall show, Sinatra: His Voice, His World, His Way. In 2002, Jim designed illusions for the Broadway production of the Steven Sondheim musical, "Into the Woods," directed by James Lapine, earning praise for the effects which enhanced the Witch's magic, and the critically acclaimed illusions for the Michel Legrand Broadway musical, "Amour." In 1994 his illusions received critical acclaim in the Walt Disney Company's "Beauty and the Beast" on Broadway; he devised the famous, climax of the show, when the Beast was levitated into the air and transformed into the Prince. The show followed with eight companies worldwide. These effects earned Jim his second Drama Desk Nomination.

Off Broadway, Jim was the effects designer for "Ricky Jay, On the Stem," at the Second Stage Theatre in 2002. Receiving raves for the novel sleight-of-hand routines, ingenious cons and recreations of classical illusions, the show was written and presented by Ricky Jay, and directed by David Mamet. Jim also consulted on the critically acclaimed "Ricky Jay and his 52 Assistants," Ricky's 1994 show.

In December of 1998, his illusions were used to recreate H.G. Wells' "The Invisible Man" for the Cleveland Playhouse. The production, directed by Frank Dunlop and starring Jim Dale, set house records and earned raves for the amazing effects. The specially-created illusions included the Invisible Man visibly disappearing in his laboratory, or gradually materializing, from veins, to nervous system to skin, at the end of the story.

In 1998, for Broadway's popular "The Scarlet Pimpernel," Jim added a special effect finale the hero's seeming execution by guillotine.

In addition, his effects have been used in shows from the Goodman Theatre in Chicago to the Folies Bergere in Las Vegas. In 1996 and '97 he developed the story and illusions for two featured shows for the cruise line Holland America and the illusions for the premiere ship of the Disney Cruise line, the Disney Magic.

WRITING ON HISTORICAL MAGIC & THEATRICAL EFFECTS

Jim has been recognized for this writing and research on the history and technology of stage magic. His 2003 book, Hiding the Elephant, is a cultural history of magicians, their technology and their backstage battles. The book was a Los Angeles Times bestseller. Publisher’s Weekly wrote that Hiding the Elephant was "a find." Author Glen David Gold called the book "simply the finest, best-told, most graceful history of the Golden Age of magic I've ever read…a terrific yarn that will make novelists jealous." Magician Teller, of Penn and Teller, reviewed it in the New York Times and called it "a loving celebration," and concluded, "no author has ever better conveyed magic's joys, terrors and longings." Hiding the Elephant was published by Carroll and Graf in New York.

Jim's book, Jarrett, published by Magic Inc., has become a standard text in this area. Through his research he has discovered the secrets and applications of many lost illusions from the early years of this century. Other books on the subject include: Antonio Diavolo and The Mystery of Psycho, The Howard Thurston Workbooks, Volumes I and II (a technical account of America's largest magic show, circa 1915), Device and Illusion, and The Magic of Alan Wakeling. Art & Artifice and other Essays on Illusion, was published in December, 1998. It was hailed as a modern classic in the field, an insightful look at historical illusions and their inspirations to magicians. The Science Behind the Ghost, his 1999 book, has been described as the "definitive work" on this history and techniques of the famous Pepper’s Ghost illusion. He currently is a contributing editor to MAGIC magazine, the leading independent publication for magicians.

Jim is especially proud to be one of the organizers of the Los Angeles Conference on Magic History, which has been hailed for its prestigious and informative programs. The 1995 Conference, featured a recreation of "The Walker Illusion," Professor Pepper's second ghost illusion, and Morritt's Disappearing Donkey. For the 1997 Conference, he recreated the original play which incorporated illusions, Maskelyne's famous 1873 production, "Will, the Witch and the Watchman," and for the 1999 Conference Devant's 1905 play, "The Mascot Moth." In 2001, he recreated Guy Jarrett’s version of the Sawing illusion, and in 2003, surprised audiences with his research and meticulous reconstruction of the complicated optical illusion, Tanagra, as well as David Devant's famous Chocolate Soldier illusion.

PRODUCING AND CONSULTING FOR TELEVISION

Jim produced the 1997 four hour A&E Television Special, "The Story of Magic," the first documentary history of magic, hosted by Ricky Jay. "The Story of Magic" was highly acclaimed by The New York Times and Hollywood Reporter and recognized as a landmark event celebrating the rich history of an art.

Producing the British television series "The Secret Cabaret" for Channel 4, earned Jim a 1990 Royal Television Society Nomination for Light Entertainment programming. Airing for two seasons, twelve episodes, "The Secret Cabaret" offered a new style of variety entertainment and set a new trend in television magic.

He was producer of Fox Family Channel's "Magic on the Edge," a 1999 pilot, and NBC's 1999 Lance Burton Television Special; he also produced the 1996 NBC special, "The Hidden Secrets of Magic," and was co-producer for the of the 1997 ABC television special, "All Star Magic." For the 1989 CBS television special, "Learned Pigs and Fireproof Women," hosted by Ricky Jay, and consultant on the acclaimed 1996 HBO television production of "Ricky Jay and his 52 Assistants."

In addition to his work for Doug Henning and David Copperfield, Jim was a consultant for many television shows, including ABC's 1994 Siegfried and Roy television special, "The Magic, The Mystery," and Lance Burton's 1996 and 1997 NBC television specials. In 1986 Jim served as technical advisor for the NBC series, "Blacke's Magic," starring Hal Linden as magician Alexander Blacke. (In addition to providing the magic, Jim's hands served as Blacke's for some of the sleight-of-hand work.) Other projects include the 1986 Barbara Mandrell Christmas Special (CBS), the film "Young Harry Houdini," (Disney/ ABC), "Magic at the Magic Kingdom," (NBC), and "The Best of Magic" (Thames Television) "A Night of Magic" (BBC).

THEME PARK CONCEPT DESIGN

Since 1987, Jim has worked as a Concept Designer and Consultant/Concept Design for Walt Disney Imagineering, the creative development division for the Walt Disney Company's theme parks. In this capacity he is responsible for overall concepts for rides and attractions, as well as show outlines and scripts. Some of his work can be seen in the Toontown attraction for Disneyland, the upcoming second gate in Anaheim, and the redesigned EPCOT presentations in Orlando, Florida, where he has specialized in combining educational messages with entertaining shows. In 1994 The Land Pavilion, at EPCOT, opened with new shows written and produced by Jim. One, "Food Rocks," is a complete rock concert on the merits of good nutrition.

He has served as a consultant for special exhibit attractions for a number of companies and venues, such as Chicago's Field Museum, O'Hare Airport, the Los Angeles Museum of Science and Insustry and Hebrew Union College. He has also been involved in the development of live shows and attractions for Walt Disney World Creative Entertainment in Florida and California, for Universal Studios, Jack Morton Productions, Bob Rogers' Imagination Arts, and Speilberg, Katzenberg and Geffen's Dreamworks.

LECTURES AND AWARDS

Jim has lectured on magic and the creation of theatrical effects for numerous magicians and theatre groups: in 1997 at F.I.S.M. (the international association of magicians) in Dresden Germany and in 1998 at the prestigious TED Conference in Monterey, California.

In 1991 he was awarded The Creative Fellowship by "The Academy of Magical Arts" (The Magic Castle), recognizing his continuing inventions. The Fellowship awards, created in 1968, are magic's "Oscars," and constitute a lifetime achievement in the art. Jim, at 32, was the youngest person to ever win a fellowship. In 1996 he received the Milbourne Christopher award in recognition of his many inventions for magicians. In 2002, he received the Literary Fellowship Award from "The Academy of Magical Arts."

Jim Steinmeyer was born in 1958 and raised just outside of Chicago, Illinois. He was graduated in 1980 from Loyola University of Chicago, with a major in communications. He currently lives in Los Angeles, California with his wife Frankie Glass, an independent television producer who has worked extensively in Great Britain and the U.S.

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