Recently I had a kid ask me to do a back flip during the show. This is a trend and I finally had someone ask me to do it. After it happened I came up with this trick:
When I was stage hosting a couple of weeks ago, one of the things that I was asked to do was a contest for the sponsor on the mainstage at the event. One day’s entertainment was geared towards a Spanish speaking audience, and I don’t really speak Spanish, but wanted to try.
I had one of the people on the catering staff who was from Mexico help me translate the beginning of my script.
That’s the opening of the script, but then I needed to figure out how to transition into English. So we wrote a little joke:
That was a great little transition joke, and the first joke I’ve written in another language.
The lady helping write it also helped me with my pronunciation. I think people really appreciate when you make at attempt to communicate with them in their native language.
The new version of Applause Please is now available at Hocus-Pocus.com! Right now there are only five units available and they have them all, so if you want one, be sure to order one now!
I don’t know when I’ll be able to get more of these made. I probably won’t have time to make any more until after the summer.
Applause Please 2: The Encore Applause Please has been a hit of Louie Foxx’s show for about a decade! After releasing it to the magic community 8 years ago, the prop has gone through many changes based on feedback from magicians who use the trick and Louie’s pleased offer Applause Please 2: The Encore!
Louie has performed it for kids, adults and everything in between at libraries, school assemblies, comedy clubs, theaters, and on cruise ships! The basic effect is you use an applause sign that lights up when you step on the foot switch throughout your show. During your show something disappears and reappears inside the lightbulb inside of the applause sign!
The Applause Sign and base have been redesigned by MagicCrafter and built in high quality wood. The remote control units have been upgrade to be completely battery powered, so you don’t need to plug it into a wall, this makes it much more versatile than the original version!
Warm Up: You show an applause sign and light it up by stepping on a switch and the audience claps. When you look away the sign lights up on its own and the audience applauds. The applause surprises you and you look back at the sign just as it turns itself off. This comedy “look don’t see” bit is repeated until the audience is warmed up and ready for the show!
Routine 1: An applause sign is utilized throughout your show. During your show, you pour a bottle of juice into a folded up newspaper and the liquid vanishes! You step on the foot switch to turn on the applause sign and it DOESN’T light up. When you open it up the light bulb inside is FULL of the juice that just disappeared! You twist the end off the light bulb and pour the juice out!
Routine 2: An applause sign is utilized throughout your show. You show a handkerchief, and it changes color from Red to Yellow. You then teach the audience how the trick works and reveal that there are two handkerchiefs. You demonstrate the trick again, while “teaching” how the trick works and at the end the red handkerchief has vanished! You step on the foot switch to turn on the applause sign and it DOESN’T light up. When you open it up the light bulb inside is the missing red handkerchief!
Bonus effect 1: An applause sign is utilized throughout your show. At some point during your show, you make a red handkerchief disappear! You step on the foot switch to turn on the applause sign and it DOESN’T light up. When you open it up the light bulb inside is the missing red handkerchief!
Bonus effect 2: You borrow a dollar bill and have it signed, it ends up inside the lightbulb of the applause sign! You get video of a routine that Louie did for a library tour almost a decade ago. The method isn’t taught, but if you own a thumb tip, you can figure it out and is included as another example of a routine you can do where an object reappears in a lightbulb.
You get:
– Remote controlled applause sign! – Plastic lightbulb with 2 bases (one for liquid and one for the silk routines) – Flash drive with instructional video – 9v battery – Evaporation liquid vanishing trick (sports drink style bottle) – Dye tube – Yellow and red silks
You get everything you need to put Applause Please 2: The Encore into your show right away!
The comedy bar gig I did the other night had a pretty simple set list. It was some stand up comedy, then four tricks and it ran 22 mins. The set list was
Tape Measure Prediction
Choices Routine
Whip Act
Hoop and Cup Balancing
This set list only uses one person from the audience onstage, and that’s for the whip act. This makes for a show that’s much punchier and doesn’t have the dead time of bringing people on and off stage.
The Tape Measure Prediction and the Choices Routine both use people from the audience, but they stay seated. If a persons only job onstage is to pick a card or something very basic like naming a number, I’ve been leaving them in their seats. This saves time if you only need someone to perform a basic task, and breakup up the constant flow of people coming and going from the stage.
Look at your show, are there routines where you don’t need the person physically onstage? Try using them from their seats!
This morning I’m heading out to AZ for my first fair gig of the year. When I do fairs, I try to work on new material. I’ll be doing something like 15 stage shows, plus I can do as much close up as I want in between shows.
The presentation is based on a old myth that was popular during the WWII era myth that Asians can tell time by looking at a cats eyes. I had some posters made of my cat and someone is going to try to guess the time and that’s the time on the clock.
I’m hoping the idea of having a cat and talking about my cat will suck people into the trick. I’m not sure how it’ll play, but I have five full days of shows to try to figure it out!!
One of the huge lesson I learned last month on the school assembly tour that I was on was how to get more our of the people who helped me onstage. Basically I just asked a lot of questions. The questions aren’t random, and I have preplanned joke responses for some answers, but I’m looking for thing that I can use to create a real live moment.
The other thing I learned is not to jump in too quickly with my response, especially if I already have a joke answer to what the kid says. You need to let the kid’s answer land with the audience, then hit your response. If you reply too quickly, the audience doesn’t have time to process, but I think it also feels less real and in the moment.
Yesterday was the end of the third week on the road performing my new school assembly show. This week I was really focusing on getting more out of the people who help me onstage in the show and letting them “shine” more.
One bit in the show where I draw a picture of a kid. I have the kid face the audience and do different emotions. I was using and older kid in the 3rd to 6th grade range and they weren’t really doing much interesting. My reasoning for an older kid was they are standing on stage by themself, so I was worried a kid that a younger kid would be uncomfortable onstage alone. Turns out I think that was the issue with an older kid, they feel a bit self conscious.
This week I switched a kindergarten or first grade kid and the difference is HUGE! Every kid I’ve used was great, and really played up the emotions that I was asking them to do. Also there’s something that all ages love is seeing a little kid have fun. Their joy is infectious!
It’s little things like this that make a good show great! My show still has a lot of these little things to be fixed.
Today is the beginning of week three of this school assembly tour. One of the metric’s for figuring out how well you are doing is laughs per minute (LPM). My first show of the tour and first time doing the whole show for an audience I got 1.57 LPM’s. That’s an OK number, as this show has a lot of content in it, and isn’t a “just for fun” show.
I listened back to my last show on friday and it had 105 laughs in 45 minutes, giving me 2.3 LPM’s. that’s a huge improvement over the the first show. I added about 50% more laughs to the show!
If you don’t know how to calculate LPM’s, it’s super easy. Record your show, then listen back to it and count the laughs. I used a counter app on my iPhone. Then dived the laughs by the length of your show.
The question I always get asked is what qualifies as a laugh? That’s really up to you to decide.
Another metric is reactions per minute. In that you could count applause, or people going, “wow”. The thing I wouldn’t count are call and response, so anytime you ask the audience to do something and they do it.
A few months ago I wrote a blog post about a set of gimmicked handcuffs I had made a long time about. You can read about them here. The allow you to escape from the cuffs, but they also have another feature that allows you do a thumb tie style effect.
These cuffs have two very different gimmicks in them and I finally got around to making them again!
Essentially these cuffs will be used as a gag in the show. The premise of the trick is a rope escape, however at the end I’ll say I didn’t get out…of the handcuffs. The appearance of the handcuffs will hopefully get a laugh, then I’ll go into the thumb tie bits. I’ve never really done anything like this in the show, so we’ll see how it plays out.
One of the reasons that I’m not a fan of stock lines is that 99% of the people who use them only use them because they have heard other people use them. Not because they fit their performing persona or move their show forward, but simply because other people use them.
Recently I saw a magician and he asked where I was from, and I said “Seattle” and he replied “I’m sorry”. This is a very old gag and not a good one. I replied with several reasons why Seattle is an amazing city and he had no follow up. Was I “heckling” him? NO. He asked me a question and opened up a dialogue by putting down where I live. Had he had a joke set about why he dislikes Seattle that wasn’t connected to asking me question, then I would have been heckling. However he asked the question to me, which opened a dialogue…and he didn’t have the point of view or comedy skills to follow up. I wasn’t even funny, just factual with my response.
My point is that if you ask a question only to have your “comedy” response, you might want to rethink why you ask. Especially if your comedy response potentially insults someone. That brings me back to why I dislike how most stock lines are used, the performer doesn’t think about them. So if you use stock lines, think about them…what they are really saying beyond the laugh (if there is a laugh).
