NICHOLSON CHANGE OVER
By Harvey H. Comer

I shall here take the opportunity to describe a brand new change over palm which was shown me recently. It is entirely different in principle from any of the others and is sure to queer the wise guy who thinks that he knows all about the old way of doing it. It was invented by Mr. Clive Nicholson, a clever magician of Baltimore, Maryland.

Handling

The ball is classic palmed in the left hand.

Shift slightly stage right, extending the right arm, back of the right hand towards the spectators. The left hand moves over the right forearm then down the arm, passing over the back of the right hand.

Once the left hand travels past the right hand, it moves away. With the right arm remaining extended, the right hand is turned palm towards the spectators and again the left hand moves over the right forearm, down the arm and over the open right hand.

Shifting position to turn slightly stage left, the left arm is extended with the back of the left hand towards the spectators. The right hand, back of the hand towards the spectators, moves over the left forearm, moving down the arm and over the left hand.

The right hand moves over the left forearm and again travels down the left arm towards the left hand. As the right hand covers the left hand, the left hand turns palm up and the right hand classic palms the ball out of the left hand.

The left photograph above shows the change over from the left to right hand. The right hand, now palming the ball, continues down and then away from the left hand, leaving the palm of the left hand visible to the spectators.

Presentation

At first the ball is in the palm of the left hand.

Holding the right hand about level with the waist on the right side, with the back facing out the left strokes it starting with the elbow, and continuing until it passes the finger tips.

The hand is then turned so that the palm faces outward, and the left again strokes it the entire length.

After this the right hand moves over to the left side and repeats the stroking, first passing down the back of the hand.

The right again strokes the back of the left, continuing until it is level with the left palm, when the left hand is turned over showing the palm and front of the hand. The right hand covers the left just before it (the left) is turned.

After the turn of the left the right hand continues passing downward until the whole of the left hand is shown empty. Thus both the fronts and backs of both hands are shown.

The ball remains in the palm of the left hand until just before this hand is turned.

During the turning the palm is covered by the right hand and the ball is then transferred to the right palm.

This pass must be carefully gauged or a glimpse of the ball may be had during the turning.

To overcome this the hand must not be turned until it is fully covered by the right. No hesitation must be made in the turning, but the ball must be quickly transferred to the right hand and the stroking continued.

Try this and see if it is not way ahead of the old method.

Performance Notes

The Nicholson Change Over Palm, described by Harvey H. Comer, originally appeared in 'The Sphinx,' November 15, 1919, Kansas City.

The backs and fronts of the hands are turned directly downstage in the photographs to make the change over action clear. In performance the hands and arms are more relaxed, the performer gauging the angle at which the hands must be turned to hide the palmed ball from view.

In working the effect, the stroking motions Comer describes are made as gestures with the fingers never actually touching opposite arm or hand. The moves must be made in a casual manner so as not to appear mechanical.

As for the old method Comer mentions, I presume he means the traditional change over palm in which the classic palmed ball is transferred from one hand to the other as the hands pass each other in the broader movement of the performer shifting his stance from stage left to stage right. It is true that the traditional change over is alarmingly obvious if done poorly, however done properly it passes unnoticed by those watching.