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"Abracadabra: A Boy's Unexpected Journey"

The document consists of two passages: the first narrates a boy's unexpected departure from school with his mother, hinting at a significant change in their lives, while the second is a letter proposing a musical about Harry Houdini, emphasizing his life beyond magic and focusing on his escapes and personal struggles. The first passage highlights the boy's frustration and confusion regarding the abrupt change, while the second passage outlines the writer's vision for a theatrical portrayal of Houdini, blending humor with dramatic elements. Both passages explore themes of change, identity, and the complexities of personal relationships.

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0% found this document useful (0 votes)
17 views3 pages

"Abracadabra: A Boy's Unexpected Journey"

The document consists of two passages: the first narrates a boy's unexpected departure from school with his mother, hinting at a significant change in their lives, while the second is a letter proposing a musical about Harry Houdini, emphasizing his life beyond magic and focusing on his escapes and personal struggles. The first passage highlights the boy's frustration and confusion regarding the abrupt change, while the second passage outlines the writer's vision for a theatrical portrayal of Houdini, blending humor with dramatic elements. Both passages explore themes of change, identity, and the complexities of personal relationships.

Uploaded by

Gam3r1o1
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

2

Part 1

Read Passage A carefully, and then answer Questions 1 and 2 on the Question Paper.

Passage A: Abracadabra

The mother of a ten-year-old boy arrives unexpectedly at his school. She enters his classroom whilst he
and his classmates, including his friend B, are being shown a documentary film during their geography
lesson.

Our teacher had a whispered conversation with Mama. I took advantage of the welcome interruption
to stop playing Hangman1 with B (one more mistake and I was hanged). What was Mama doing here?
Shouldn’t she be at work or helping Papa with the court case? Maybe she’d come to pay my school
fees and stopped by to say hello.

‘Get your things, you’ve got to go,’ said my teacher.

I made a covert, triumphant gesture. B, robbed of victory, looked annoyed and filled in the missing
letters. The solution it turned out was simple: ‘abracadabra’2. And with that my old life disappeared…

At this point it’s essential to dwell for a moment on the merits of the car in which we made our getaway.

If Mama’s lime-green car had crashed into marshmallow it would’ve crumpled like an accordion. Its
flimsiness was obvious as soon as it was in motion. On sharp bends it listed to port or starboard – it
felt like sitting in a bowl of custard. Fortunately, the squealing engine was incapable of reaching any
great speeds. The gearstick, a uniquely-designed metal lever embedded in the dashboard, looked as
if it belonged in the control panel of a flying saucer. The aluminium-framed seats bit savagely into your
flesh. Sleeping stretched out on the back seat felt like lying on a bed of nails. But Mama’s car was a
noble beast. It never failed her.

My kid-brother was waiting for us in the car. He was wearing his pre-school uniform and having one
of his frequent naps. Mama slipped another mint into her mouth and twisted the gearstick. Everything
was fine until I mentioned going to B’s that evening.

‘You’re not going to B’s tonight,’ Mama said, turning off the radio as the news came on.

‘But it’s Thursday!’ I pointed out.

‘I know, but you’re not going. We’re going … to a friend’s house,’ said Mama. ‘Then, on a … trip.’

‘On a trip? In term time? How long for?’

‘Papa can tell you that,’ said Mama, her tone suggesting it was his turn.

‘Are we leaving as soon as we get to your friend’s house or staying there for a while?’

‘We’re staying until Papa gets there.’

‘Then why can’t you just drop me off at B’s and pick me up later?’

‘Because I say so.’

‘That’s not fair!’ Nothing annoyed Mama more than this pet phrase. My obsession with justice infuriated
her – just like your father, she’d sigh.

The Squirt woke up to ask where his things were: his pyjamas, his cup, his Goofy.
© UCLES 2017 0500/22/INSERT/M/J/17
3

Mama glanced over her shoulder, silently pleading with me to help limit the devastation caused by the
Squirt’s inevitable explosion. He couldn’t get to sleep without his toy Goofy.

I glared, then deliberately betrayed her: ‘Why now? How will I catch up? Why can’t we stop by our
house even to just get his Goofy?’ This last question, I knew, would set off the Squirt.

At some point in the silence that followed I realised the car had stopped. We were in a huge traffic
jam. Metres ahead, two black limousines, parked across the avenue, were creating a funnel through
which only one car could pass at a time. Mama was tapping the wheel. This intimation that she
was on the brink would usually have made me wary, but I’d nothing to lose – or so I thought. I’d
been temporarily deprived of my precious possessions. I wasn’t even allowed to go to B’s. I kept
nagging her, the Squirt’s voice providing counterpoint. Mama endured our litany of complaints in
suspicious silence as our car inched towards the roadblock, like a grain of sand flowing towards the
neck of an hourglass.

‘Why can’t we pick up my Goofy?’

Ahead, men peered into each car at the neck of the funnel. Though I was scared of them and
instinctively hated them, right at that moment the person I hated most in the world was Mama.

Mama stared straight ahead, her knuckles white.

‘It’s not fair…’.

It was my thoughtlessness that saved us. I imagine the men saw only a hassled mother and screaming
kids. They waved us on.

When the roadblock finally disappeared in the rear-view mirror Mama reached back, but I pushed her
hand away. All I could think about was B, the TV episode I’d miss that evening and being forced to go
on a holiday I didn’t want to go on, wearing my school shoes.

Mama must have felt terribly alone.

1Hangman: a spelling game often played by children

2abracadabra:the word traditionally used by magicians when performing tricks, e.g. when making
something appear or disappear

© UCLES 2017 0500/22/INSERT/M/J/17 [Turn over


4

Part 2

Read Passage B carefully, and then answer Question 3 on the Question Paper.

Passage B: Playing Houdini

The writer of this letter has written a script for a musical about the life of the famous escape artist and
illusionist Harry Houdini and wants a particular actor to play the main role.

Dear Mr Jackman,

I’m hoping your agent will have passed this email on to you, together with the script for my proposed
stage play ‘Houdini’.

No, don’t stop reading – I know there’s history here. I’m not connected to the other theatre team who
were trying to plan the musical you pulled out of. Like you, I can see plans to base that show on
Houdini’s crusade to prove that mediums claiming psychic powers were fakes was never going to
make a great story anyway. You had a narrow escape there yourself! It’s just that we both know there
was so much more to the man. I think you’ll like my ideas for how a new musical might work, if you
were to agree to play Houdini after all.

I’ve not made much of his Hungarian birth, rabbi father and the whole name thing – much of that is
covered already in books like the Silverman biography, ‘Houdini! The Career of Ehrich Weiss’. I’ve
really kept the focus post 1899 when he’d abandoned traditional magic to concentrate on his escapes
and tricks. Let’s face it, they were amazing – we all want to know even now how he did them. You’ve got
the same physical strength and athletic build he had so you could perform the tricks relying on those
qualities for real, though you might have to practise if you’re going to emulate his skill in swallowing
and regurgitating keys for escape purposes or holding your breath under water for over a minute!

To build to his death at the end, I’ve left hints of the theories throughout and included facts that support
them. I’ve made it clear he was suffering ill-health, supporting the appendicitis argument. The death
threats will be obvious of course, hinting at murder whether by arsenic or not. I’ve underplayed the
student-punching-him-in-the-stomach-before-he-was-ready claim, so that audiences realise later that if
true, it might’ve been the fatal blow. The whole death-bed scene we can do through original newspaper
releases on the one hand and his wife’s reactions on the other – ‘Mr H was operated on at 3 o’clock
this afternoon for an obscure abdominal condition which proved to be appendicitis … first twinge of
pain was felt last week’ … and so on, leading to ‘Mrs. Houdini is said to have affidavits from three
students … in Houdini’s dressing room at the Princess Theatre … struck the magician a friendly blow
in the abdomen … rupture of the appendix,’ etc.

It’s not all heavy though – I think the potential for contrast and humour was missed with the original
stage script. Amusing details are included: his pet parrot, Pat, allegedly escaping by picking the lock
on his cage, and Houdini’s assertion he started picking locks as a child to raid his Mum’s pie-cupboard.
Brilliant! You’ll know Houdini had more than one brush with the law, so there’s slapstick running all the
way through with police trying to curb his activities and so on. The scene where he impersonates a
medium to help a struggling show is based on a real occasion in Kansas. I loved the idea of recreating
that wonderment and puzzlement as his audience on stage get more and more spooked by how much
he can tell them of their dead relatives, sucking us all in too. I’ve set the silent-movie screen at the back
of the stage – partly as a reference to Houdini’s own ill-fated ventures into movies – so that we can
see, as he’s fooling his audience, what he’s been up to earlier in the day, snooping round cemeteries
for information and drawing out the gossips. Classic!

Houdini was no ordinary entertainer: his impossible escapes and illusions would amaze audiences
again. Hopefully, you’ll like what you read and agree to bring our hero back to life one last time.

© UCLES 2017 0500/22/INSERT/M/J/17

Common questions

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The letter to Mr. Jackman in "Playing Houdini" effectively utilizes persuasive strategies by emphasizing the uniqueness and potential success of the stage play. The author acknowledges Mr. Jackman's previous disappointments with other Houdini projects, offering assurance of a fresh take that focuses on Houdini's later career as an escape artist, which is lesser known yet dramatically intriguing . By aligning Houdini's physical capabilities with Jackman’s own characteristics, the author creates a personalized appeal, arguing that Jackman's physicality would add authenticity to the performance . Further, the inclusion of humor, historical depth, and a blend of drama and amusement in the script accentuates its potential for theatrical success . These elements combined aim to assure Mr. Jackman of the play’s distinctiveness and his suitability for the role.

Escape serves as a central motif in both "Abracadabra" and "Playing Houdini," symbolizing both physical and metaphorical evasion. In "Abracadabra," the protagonist and his mother are physically escaping from an unspecified threat, with the act of abruptly leaving school representing broader themes of fleeing from danger and the familiar . In contrast, "Playing Houdini" addresses escape as the core element of Houdini's magical performances, focusing on his ability to defy physical restraints and boundaries, thereby capturing the public imagination . Both narratives employ escape as a pivotal device, where in "Abracadabra," it underscores personal and emotional upheaval, while in "Playing Houdini," it spotlights artistic mastery and illusion. The juxtaposition of these interpretations highlights the multifaceted nature of 'escape' in thematic storytelling.

The dialogue between the protagonist and other characters in "Abracadabra" reveals his internal conflict primarily through his persistent questioning and resistance to his mother's decisions. His insistence on fairness and justice ('It's not fair!') surfaces repeatedly, showcasing his struggle with understanding and accepting the abrupt changes being imposed on him . This ongoing dialogue illustrates a deeper internal conflict between his desire for stability and the unsettling nature of their sudden departure. The disparity between what he wants—to visit his friend B and partake in routine activities—and what he must do underscores his grappling with agency and acceptance in an uncertain situation . The conversations highlight his inner turmoil against the backdrop of external forces beyond his control.

The protagonist in "Abracadabra" exhibits a strong sense of justice, as seen in his repeated objections to his mother's decisions with the phrase 'It's not fair!' This reflects his obsession with what he perceives as injustice, a trait he shares with his father, which greatly annoys his mother . The narrative illustrates a conflict between the child's demand for fairness and the mother's authoritarian stance, highlighted by her insistence on overriding his wishes despite his protests . This theme of justice underscores the broader narrative tension between childlike innocence and the adult world's pragmatic decisions.

"Playing Houdini" integrates historical elements by focusing on significant aspects of Harry Houdini's life after 1899 when he pivoted from traditional magic to escape acts . The script appeals to historical accuracy by highlighting Houdini's escapes and tricks, while minimizing his early Hungarian roots and his rabbi father, which are already well-documented in biographies . The narrative builds towards Houdini's death, leaving hints and facts that support various theories about it, and presents scenes with both dramatic and humorous historical recounts, such as impersonating a medium in Kansas and his legal troubles . This blend of history with imaginative storytelling enriches the play’s narrative depth.

"Playing Houdini" explores the theme of illusion versus reality through its detailed presentation of Houdini’s famed escapes and showmanship juxtaposed with the behind-the-scenes truths of his performances. The play emphasizes Houdini’s practices, such as using physical strength to perform seemingly impossible escapes and his skills in swallowing and regurgitating keys, bridging the world of illusion with tangible reality . Additionally, Houdini's mock seances, where audiences are awed by his ability to reveal personal details about the deceased, are contextualized by his prior research and eavesdropping activities, revealing the meticulous real-world groundwork behind his illusions . This dichotomy highlights the intricate balance of reality and illusion that defined Houdini’s career and legacy.

The description of the mother's lime-green car in "Abracadabra" serves as a metaphor for the protagonist's life changes. Its flimsy structure and quirky features, such as the uniquely-designed metal gearstick, symbolize the instability and unpredictability of the transitions he is experiencing . The car's unreliable nature reflects the protagonist's abrupt and involuntary shift from his familiar life, akin to the way their sudden departure marks the disappearance of his old life, much like the execution of a magic trick with 'abracadabra' . This use of metaphor deepens the narrative's exploration of sudden, life-altering changes.

The roadblock scene in "Abracadabra" is significant as it represents a crucial moment of tension and transformation, highlighting the family's precarious situation and underlying stakes of their sudden departure. As their car approaches the roadblock, the simultaneous external pressure from the guards and internal family conflict reaches a peak, symbolizing the thresholds both in their journey and in the protagonist's personal growth . The protagonist's obliviousness to danger, amid his fixation on personal inconveniences, underscores the innocence and myopic concerns of childhood. This scene also serves as a narrative pivot, marking a point where safety is narrowly achieved despite underlying familial discord, thus deepening the exploration of themes like protection, escape, and the innocence of youth .

The inclusion of details about Houdini's personal life and career trajectory in "Playing Houdini" suggests a complex impact on the audience by offering a multidimensional portrayal that goes beyond his public persona. By covering his post-1899 transition to prominent escapes and hints about his death, the portrayal conveys Houdini as a resilient and innovative figure whose life was as enigmatic as his illusions . The narrative emphasizes both his dedication to physical mastery and the personal sacrifices he made, highlighting his appeal as a real person who overcame physical limitations for his craft . This biographical depth draws the audience into his personal narrative, enabling them to appreciate the human effort and vulnerability underlying his legendary feats, thereby fostering a deeper, more empathetic connection with Houdini as both a performer and an individual.

Irony is evident in the interactions between the protagonist and his mother in "Abracadabra" through the contradictory nature of their dialogue. While the protagonist is habitually proclaiming 'It's not fair!' in response to decisions made by his mother, it is his thoughtless behavior during their escape—nagging her and inadvertently drawing their attention—that ironically ensures their safe passage through a roadblock . This situational irony highlights the child's lack of understanding of the gravity of the situation, juxtaposing his self-centered grievances with the mother’s burden of ensuring their safety, enhancing the tension in familial dynamics.

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