Few individuals earn recognition both as Britain’s foremost illusionist and as the person who introduced cinematic footage to British viewers.
David Devant, commemorated with a heritage blue plaque at his former residence in Ornan Court, Belsize Park, pioneered developments in both conjuring and the early film industry.
Born David Edmonston Wighton in 1868, he also served as the inaugural president of The Magic Circle, an organisation for theatrical conjurers renowned for safeguarding the secrets behind the world’s most spectacular illusions.
He is likewise acknowledged for converting stage conjuring into a refined, entertaining theatrical discipline. His signature phrase, all done by kindness, captured the sophisticated and personable character he presented on stage.
As a creative entertainer, he devised numerous perplexing tricks such as the Mascot Moth, where a helper with wings seemed to disappear into a candlelight, and the Magic Kettle, which could instantly supply any spirit requested by spectators.
One incident that attracted press coverage occurred when a runaway psychiatric patient in the capital confronted the magician and demanded he produce coins from thin air. The entertainer complied until medical staff from the facility arrived to remove the agitated audience member. Another deception involved reading text sealed within an envelope, leading spectators to assume he possessed supernatural or telepathic abilities.
Performing with the Maskelyne & Cook troupe, he was a regular attraction at the capital’s Egyptian Hall, eventually rising to partnership status in 1905. At this venue he delivered one of his most notable contributions to performing arts history by bringing motion pictures to Britain. He personally obtained a Theatrograph projector from cinema innovator Robert Paul and courageously presented moving pictures on March 19, 1896, at the Egyptian Hall. This occasion represented the inaugural public exhibition of cinematography in Britain, occurring two days before Paul’s own commercial presentations at Olympia.
He broadened his cinematic activities by providing private exhibitions in residences for 25 guineas and integrating the Theatrograph into his travelling conjuring performances throughout the country. He also featured in numerous early productions by the Muswell Hill-based Paul, including The Mysterious Rabbit and The Egg Laying Man in 1896. He exchanged early film technology and productions with the French conjurer and visual effects pioneer Georges Méliès, also appearing in one of Méliès’ filmed conjuring performances. He regularly journeyed to Paris seeking fresh French productions, which ranked among the finest globally.
Despite his numerous pursuits, he co-authored Our Magic and authored several instructional guides on illusion work. As a prominent figure of the Edwardian era, he participated in the inaugural Royal Command Performance in 1912 and contributed items that became the foundation of The Magic Circle’s library and museum collections.
In 1904 he wed Annie Maria Gosling, who performed as Marion Melvill and aided him with stage illusions, and together they had a daughter named Vida who occasionally performed alongside him. Honouring his legacy, the organisation presents an annual award bearing his name and maintains a bronze statue at its Euston headquarters illustrating one of his signature illusions featuring a young boy, a young girl, and several eggs.
Even as he remained at the summit of his profession, his wellbeing deteriorated during the First World War and afflicted by what he termed paralysis agitans, he had no choice but to step down in 1920. He passed away in 1941 and rests at Highgate Cemetery.