A couple of weeks ago I did a magic show at a library and their marketing department recorded my show and made a little promo reel about the show.
I think it came out pretty well! It’s always a nice surprise when I the venue does something like this. It may end up being something I send out to other libraries in the future.
-Louie
I have a prop that I altered to run off of an ankle switch. I made a simple holder for the straps to hold the magnet and the switch. These are the tops of an old pair of socks that I cut off.
I simply folded them in half upwards to make a little pocket. Then I sewed them to make the pocket hold the magnet or button. Simple solution, however if I keep the prop running this way, I’m going to make a better version.
-Louie
This is a cool looking stage, but a hard one to work on. In the picture you can’t see the depth of the stage behind the proscenium arch. It’s about 8 feet deep to the video wall with name on it, then the stage sticks out about 20 feet or so in front of the proscenium arch.
The challenge is sight lines for the audience, no matter where you stand, there are people that can’t see your face. The drawing below might help visualize what’s happening:
No matter where you are, either the side of the arch is blocking or people are behind you. That’s just the seats on the floor, there’s spots above that are almost on the same wall as the arch!
This makes showing things really difficult and time consuming as you have to show everything to the extreme right and left sides.
Challenges aside, this is a really fun room to work! I’m glad I got to do seven shows there, and was able to dial in the show to just work worked in the room. It would have been a shame if I only did one show there and that was it. This is also a good reason to travel with back up material, two of the routines that I planned to do in the room weren’t ideal for this space.
-Louie
Now that I’ve had a chance to do the summer library show a bunch, it’s gotten tweaked and changed. It’s now in its (mostly) final form, at least the trick list is. I’ll keep adding gags, etc to the show, but the set list is solid.
Here’s what the show looks like from the front.
I only use the table cover when they give me a giant table and don’t have something smaller for my prop box to sit on.
I use a rope for my front row, but move the rope a few minutes into the show. I’ve learned over time, that noting will keep the one or two kids that are going to cross the line from doing that. As I say, “scooters gonna scoot” and nothing short of a fence will stop that.
Here’s what the show looks like from the back:
Early on, I didn’t like the Milson Worth Silk Cabby in the show. It’s too much of a magicy prop for me. The prop’s use is justified in the show. The effect is a small scarf turns into a 20 foot streamer. There’s a lot of silliness/clowning that can be done with a silk cabby, and it’s a great prob (it just doesn’t fit my normal show aesthetic). What fixed the routine is that I added a hotdog production from the streamer at the end and that’s what made the routine click! It when from my least favorite routine to one of my favorites to do!
Here are the props that are on me during the show:
The PopSchticle by Whit Hayden is a prop of opportunity, and not something written into the show. I don’t use it often, but look for places where I can “organically” add it, like when I ask a kid a simple question and they tell me a long story that’s unrelated to the question. It’s a great prop for things like that!
So that’s what my library/summer camp show looks like.
-Louie
There’s an old magic prop/gag called the Doty Scope. The way I’ve seen it done is the magician has their back to the audience to not see something. Then a periscope with a eye at the end pops up over your shoulder and the eye looks around. I think that’s how its intended to be used, but I’ve never owned one to see the instructions.
I have a use for the gag, but they’re not currently being made. I decided to make my own little one. There’s not much to making a simple one. I used a Eyeball Finger Puppet and a mechanics extendable mirror to make one.
Construction is pretty easy. Cut a slot in the eyeball so the mirror fits into it. Shove the mirror in and then glue it in place.
This will fit in the pocket of my vest. During the trick I turn my back and while my back is towards the audience I extent it and have the eyeball pop over my shoulder. I then rotate the handle a little bit to make some motion to make the the eyeball appear to be looking around.
That’s it, easy to make and do.
-Louie
One thing that the internet has ruined is the regional styles of performing. When I was a kid, in the USA you would see different styles of performing on the east and west coasts or even different trends/styles within the same state.
Someone shared a video of a magician from India and the style is very different from what’s performed in the USA. For example there was a piece that I’m assuming was a patriotic piece that ended with an enemy impaled on a giant drill while flags were waived by the military.
You can watch full video here:
There are a couple of acts that potentially used without permission of the creators, so there’s that. It is great to see things that look different from what in the USA can be cookie cutter magic shows and magicians. For all I know, this is what a normal theater show looks like in India and it’s a cookie cutter show there.
-Louie
Oh man, I remember when you had to have an OK act to get work. Here’s a post from a comedian group:
Apparently all you need to get a gig is a speaker and a car! Notice the listing also has not mention of pay for the spot on the show OR the use of the PA. It does mention that they are looking for a host, so typically that’s 15 minutes. That means the comic who does the gig gets minimal stage time AND has to be the sound tech!
Gigs like these unless they are paying a market rate are a horrible idea. I get showing up for stage time. If you’re starting out, stage time is worth more than the paycheck, but if you’re providing sound, you should be getting paid for that. You’re not going to bet a better sound tech by loading in gear for a comedy show. That’s very bare bones audio set up and if you own sound equipment, you can already do that.
Say no to gigs like this.
-Louie
There are a lot of things that can take focus away from a show. One of them is having stuff happening behind the performer. Recently I worked an event that’s really well run and attended, however there’s one small thing that I’d change about the event. The sound booth is set up BEHIND the performing area and there is no backwall on the stage.
That means the sound guys are clearly visible behind the performer.
Even the most engaging show for the audience isn’t the best show to watch from behind. That leaves a situation where the sound guys are behind the stage, but essentially in the performing area. They don’t necessarily look like they’re into the show, sure they’re working, so they shouldn’t be dancing, but it’s just not a good look in pictures.
If you are setting up an event or have the a voice in the set up, move the sound booth to the side of the stage, not behind it!
-Louie
Here’s a new addition to my vanishing bird cage collection!
This one has the ends of the large bars pointed instead of square. In theory that is going to hang up less than having the ends square.
This is something that I have thought about, but never did to any of my cages. First of all, not all the corners would need to be pointed, just the ones that are on the leading side of the cage. Next, I think that IF this one did hang up on your sleeve, it would really hang up and wedge the sleeve into it making any possible continued yank up your sleeve much harder.
This is a fun cage variation to add to my collection!
-Louie
A month of so ago I picked up the book Dynamite In a Small Package by Doc Dixon. It’s lived in my backpack since I bought it and I’ve finally read it. It’s a quick read and a GREAT book!
The book covers five card tricks with a regular deck of cards. Each of the card tricks has a different flavor and are distinctly different tricks. The big thing for this is that each of the tricks was designed for the stage and plays bigger than you average card trick.
The book has a script for the tricks, and Doc does a good job of not only teaching the WHY, but how to apply his thinking to other tricks. I’m a fan of Doc’s stuff, the guy is a worker and has been for years and it shows in his marketed magic stuff.
For $35, this book is a great part of your emergency plan for when the airline loses your luggage!
-Louie
