teacher. Amazingly, her family agreed to a marriage. Sam traded his Buddhism for Roman Catholicism. Their marriage made the front page of every Austrian newspaper. Yet, on the big day, Sam was late for his own wedding and left early for a show that evening. This set the tone for their life together; the show always came first.
Within a couple of years, Poldi and Sam had two daughters, Mina, my grandmother, and Neesa. In 1911, the Ching dynasty was overthrown, and Sam and his troupe had to cut off their braids, effectively curtailing a large part of their act. But the show must go on.
Economic depression in Europe forced Sam to leave his young family in Linz and lead the troupe on a tour of the States in 1914. Initially, booking agents confused the Tan Kwai troupe with the vaudeville crooner Eva Tanguay, so the troupe changed their name to the Royal Pekinese Troupe. This caused confusion, as they were booked as a dog act! They finally settled on the Long Tack Sam troupe. The groupâs new act featured a full Chinese variety circus act. They juggled plates, jumped over flying knives, and produced plates of fire and water bowls full of fish.
During World War I, the troupe was caught in the United States, playing big tops, Broadway, and benefits. Sam was unable to return to Europe and his family. During this time, the troupe travelled with other international acts on the circuit. Sam had a heyday picking up the accents of everyone he met. He became a great mimic, incorporating his new skills into his comedy routines. On stage, he flogged the exotic culture of China and the mystery of distant places. Offstage, he adopted a cosmopolitan style and became one of few Asian men to sport tuxedos and fedoras.
After the Great War ended in 1918, Sam returned to Europe, where he made his wife, Poldi, his manager and trained his daughters to bein his act. He played up their mixture of European and Chinese heritage. The family act had the girls doing everything from contortions to ballet dancing, assisting with magic tricks, and playing the ukulele. They toured with the likes of Laurel and Hardy, George Burns and Gracie Allen, Al Jolson, and Cary Grant.
By the 1920s, Sam had befriended the elite in magic: John Mulholland, Max Malini, and Dai Vernon. He was a member of every vaudeville and magic association: The Society of American Magicians, International Brotherhood of Magicians, Grand Order of Water Rats. He even became a Mason. In 1922, the famous escape artist Harry Houdini asked Sam to join his prestigious magic club. Houdini was impressed with Sam and went as far as to take out a bogus patent on Samâs ancient Chinese needle-swallowing trick. A few magicians at the time were performing this trick, but Houdini successfully prevented anyone but himself from performing it. The Long Tack Sam troupe continued to travel around the world. It wasnât until 1920 that Sam returned to China, where he was already a big star. Sam built theatres in Shanghai, including the Majestic, the Metropole, and the Cathay. These buildings continue to be used today as movie theatres and venues for live performances. Sam also built a home in Shanghai and was reunited with his brother.
During this time, the Japanese invaded China, and fascism was on the rise in Europe. Anti-Asian sentiment was growing in North America. Stagehands were being unionized, and shows were getting more expensive to run. The movies were taking over. The advent of talkies began a new age, which brought about the death of vaudeville. Most vaudeville acts began playing before the films. But Long Tack Sam still had a lot of cachet, and fans flocked to see his full evening shows. Audiences in places like Hawaii greeted him like a king.
According to Gordon Bean, a librarian at the Magic Castle inLos Angeles, Long Tack Sam was probably one of the first conduits of Western magic to the East, since he toured so consistently. For instance, in 1927, the popular song âThe Doll
Within a couple of years, Poldi and Sam had two daughters, Mina, my grandmother, and Neesa. In 1911, the Ching dynasty was overthrown, and Sam and his troupe had to cut off their braids, effectively curtailing a large part of their act. But the show must go on.
Economic depression in Europe forced Sam to leave his young family in Linz and lead the troupe on a tour of the States in 1914. Initially, booking agents confused the Tan Kwai troupe with the vaudeville crooner Eva Tanguay, so the troupe changed their name to the Royal Pekinese Troupe. This caused confusion, as they were booked as a dog act! They finally settled on the Long Tack Sam troupe. The groupâs new act featured a full Chinese variety circus act. They juggled plates, jumped over flying knives, and produced plates of fire and water bowls full of fish.
During World War I, the troupe was caught in the United States, playing big tops, Broadway, and benefits. Sam was unable to return to Europe and his family. During this time, the troupe travelled with other international acts on the circuit. Sam had a heyday picking up the accents of everyone he met. He became a great mimic, incorporating his new skills into his comedy routines. On stage, he flogged the exotic culture of China and the mystery of distant places. Offstage, he adopted a cosmopolitan style and became one of few Asian men to sport tuxedos and fedoras.
After the Great War ended in 1918, Sam returned to Europe, where he made his wife, Poldi, his manager and trained his daughters to bein his act. He played up their mixture of European and Chinese heritage. The family act had the girls doing everything from contortions to ballet dancing, assisting with magic tricks, and playing the ukulele. They toured with the likes of Laurel and Hardy, George Burns and Gracie Allen, Al Jolson, and Cary Grant.
By the 1920s, Sam had befriended the elite in magic: John Mulholland, Max Malini, and Dai Vernon. He was a member of every vaudeville and magic association: The Society of American Magicians, International Brotherhood of Magicians, Grand Order of Water Rats. He even became a Mason. In 1922, the famous escape artist Harry Houdini asked Sam to join his prestigious magic club. Houdini was impressed with Sam and went as far as to take out a bogus patent on Samâs ancient Chinese needle-swallowing trick. A few magicians at the time were performing this trick, but Houdini successfully prevented anyone but himself from performing it. The Long Tack Sam troupe continued to travel around the world. It wasnât until 1920 that Sam returned to China, where he was already a big star. Sam built theatres in Shanghai, including the Majestic, the Metropole, and the Cathay. These buildings continue to be used today as movie theatres and venues for live performances. Sam also built a home in Shanghai and was reunited with his brother.
During this time, the Japanese invaded China, and fascism was on the rise in Europe. Anti-Asian sentiment was growing in North America. Stagehands were being unionized, and shows were getting more expensive to run. The movies were taking over. The advent of talkies began a new age, which brought about the death of vaudeville. Most vaudeville acts began playing before the films. But Long Tack Sam still had a lot of cachet, and fans flocked to see his full evening shows. Audiences in places like Hawaii greeted him like a king.
According to Gordon Bean, a librarian at the Magic Castle inLos Angeles, Long Tack Sam was probably one of the first conduits of Western magic to the East, since he toured so consistently. For instance, in 1927, the popular song âThe Doll
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