Louie – Page 249 – MagicShow.Tips

Reel Experiments…

The Silk Thru Coat Hanger that I’ve been doing is getting some interest from magicians on Facebook. It’s interesting how many don’t realize that going from the body to the hook isn’t a standard way of doing it. They’re going to try it, but I’m not sure they’ll “understand” the trick.

By understanding the trick, there’s a lot that can go wrong with this trick. I think that’s why more people don’t do Silk Thru Ring or even the Silk Thru Microphone type tricks. In the short amount of time I’ve been doing this, I’ve learned a lot about the trick and the props used in the trick.

The first thing you need is a good reel. Right now I’m using a P & L reel, but still experimenting with other ones. I just had a Kirkendall Reel show up yesterday and have a Tango Ulimate Reel showing up today. I’ve even played with using a badge reel.

The nice things about a badge reel is that they are cheap and have a lot more force than the other magic reels. The downside is that they make a lot more noise. When initially experimenting with a badge reel, I 3d printed a finger clip and glued it on one:

I think when I have time, I’m going to 3d print the entire reel housing and put the badge reel inside it. I think there are some things that I can do to quiet down the cheap badge reel and make it usable!

Gypsy Thread…

One of the tricks that I’m working on for my summer library tour is the Gypsy Thread trick. Basically it’s a torn and restored string trick, but you rip the string into many pieces and restore it. Technically I’ve got the trick down, but having a bit of trouble selling the trick.

I think it’s a matter of figuring out where to put, and what the “magic” moment is. I think this is a case of me needing to tell them what they are going to see. I need to put some sizzle onto it.

Part of the problem with a restoration for kids, is in our modern society, things just fit together, or fit back together. Yes, things break, but with so many children’s products that just snap back together, the concept of a restoration of something like a piece of string isn’t miraculous. Of course this changes with something like Tony Clark’s Gypsy Balloon, where kids can relate to the broken string.

Audience Test…

When I have a new trick, I typically do my audience testing before shows. I do it as “preshow” warm up for people that get there super early. I’m also very clear that they are tricks I’m working on, and not part of the show. Yesterday I performed at a school assembly and had a … Continue reading “Audience Test…”

I was worried about people not understanding the trick when the silk went through the body of the hanger and ended up on the hook. My solution to this was to simply tell them why what they were about to see made it impossible.

The test run of the silk thru coat hanger seemed to go over well, and I think I’ll be working it in more this summer and hopefully have a solid routine in a few months!

More Silk and Coat Hanger

The main reason I’m playing with the silk and coat hanger trick is that I had an idea for a move. I think this is an interesting move, but it’s also fairly subtle. Here’s just a quick video of me running some moves with the props: The first move where the silk goes from the … Continue reading “More Silk and Coat Hanger”

The first move where the silk goes from the body of the hanger to the hook is what interests me. However I think selling the idea of the penetration to an audience may be hard. The concept of going from a locked place to a place that’s not locked in will muddy the effect. I’m worried audience will thing the trick is that the silk go onto the open hook, and not that it got off of the closed body of the hanger.

It’s more about where it started, not where it ends for the first phase. That’s a very subtle difference in effect, but I think that will make a world of difference to the audience.

Learn About Your Tools…

In my continuing work with the Silk Thru Coat Hanger routine, one of the things I’m doing is examining the props. Since the props weren’t made specifically for me and what I’m doing, the odds are that they can be improved for what I want them to do.

The first thing I did was look a the coat hanger. I originally was using a wooden one, however this was pretty heavy and had a seam in a spot where the silk moves and frequently snagged. I ended up buying some plastic hangers at the dollar store and altering them so the were smooth where the silk and thread needed to move. This was a huge improvement.

Next I started to look at the reel. Currently I’m using a P & L Fingertip Reel. I ended up altering this a little bit. Inside the reel, I added teflon discs to the spots where metal touched metal. These discs are sold to add to gimmicked coins to reduce clinking sound and make them slide better.

These teflon discs really added to the smoothness of how the reel retracted.

I also recently ordered a couple of different reels to see if there’s a style that I prefer, rather than simply using the first one I got. I’ve got a Tango Ultimate Reel and a Kirkendall Reel coming this week. We’ll see what I end up using.

Finally I looked at the silk that I’m using. I went from a square silk to a diamond cut one. The main reason is weight, the reel can move a lighter weight faster than a heavier one…or in my case, can move a larger one for the same effort as a smaller one.

All of these little things end up making a difference. At the very least I know my props really well!

Hook for Coat Hanger

Right now I’m getting to the writing phase of the Silk thru Coat Hanger trick that I’m working on. The hardest part it to come up with a hook for it. by hook, I mean a presentation hook, not the literal hook. I need to figure out why I’m doing this.

So far I have a sequence of four moves to do with the silk and coat hanger, that gives me a starting point. One of the moves is similar to the linking ring gag where you show it’s an “optical illusion” with the rings linked, then turn your body 90 degrees and the rings are unlinked. With that used in the routine, I could use the optical illusion angle.

Personally I don’t like using optical illusions as a hook for the routine. Whenever I see someone do it, it feels like they didn’t try to come up with something better. This is probably the biggest challenge for the routine.

Researching the Silk Thru…

Playing with the Silk Thru Microphone Stand concept, and starting to do some research on it, I’m amazed a how little there is about it out there. I guess that part of it is that I’m searching for a specific trick, that really only has two methods. It’s also a quick trick, so there’s a … Continue reading “Researching the Silk Thru…”

Playing with the Silk Thru Microphone Stand concept, and starting to do some research on it, I’m amazed a how little there is about it out there. I guess that part of it is that I’m searching for a specific trick, that really only has two methods. It’s also a quick trick, so there’s a lot le

Then I realized I should be searching for a Ring and Silk routines, as that’s much closer to what I’m going to be doing. Once I searched that, I had a bit more success. Here’s a good example of something similar to what I want to do:

I’m not using a ring, but a coat hanger, however the moves are similar. The size and shape of the coat hanger lends itself to a couple of things that a ring doesn’t. This is what I find exciting. Also the routine I’m going to do, will probably be a talking routine, where I’ve only seen silent ones (not that that’s a huge differnce).

Play With Your Props

Playing with props instead of trying to learn a routine really makes a routine yours. You end up understanding the props much better than if you simply followed directions. Yes there is a place for following directions and learning from the people that came before you.

Personally one of the ways that I create material is to start with the prop that I want to use. I then learn the technical end of the prop and then start playing with it. The play helps me come up with ways to use it that are more based on my mannerisms and movements. Now that I understand the prop a bit, I’ll start to learn all I can about the prop or effect. How do other people do it, and why do I like or not like they way that they are doing it.

After playing with the “silk thru mic stand” a lot yesterday a routine has started to take shape. My routine uses something other than a mic stand, but essentially the same trick. I’ve got three phases for the routine, and that I think gives it a sense of build and each phase has a different texture. These phases came as a direct result of playing and then research, try it, you’ll be surprised at the results!

Silk Thru…

When I was a kid I remember reading in Tarbell Vol 4 called The Penetrative Silk. This was a handkerchief that you can pull thru and upright pole and used a very simple set up. I’m not positive if this trick predates the Silk Thru Mic Stand trick or not. They are essentially the same … Continue reading “Silk Thru…”

When I was a kid I remember reading in Tarbell Vol 4 called The Penetrative Silk. This was a handkerchief that you can pull thru and upright pole and used a very simple set up. I’m not positive if this trick predates the Silk Thru Mic Stand trick or not. They are essentially the same trick with different methods.

If you aren’t familiar with the trick, here’s what it looks like:

In my show I’m always looking for tricks that can be done solo, with just me on stage. I like the concept of pulling a silk through something. This is something that is visual, so would play big. I found a P & L fingertip reel at a decent price and started messing with it.

The hard part now is figure out a routine with it and what’s going to make the trick uniquely me. I’ve found a couple of interesting moves that I don’t think have been done before, or at least I haven’t seen before. Hopefully this ends up being something that gets used in my show!

Power Through It…

Before I went to bed last night I started feeling sick. I could feel the beginning of a cold coming on and this morning I’ve got a sore throat and a stuffy nose. I’m not dying, but don’t feel as good as I could, and this afternoon I’ve got a school assembly to perform at.

Luckily I’m not a singer, so a little bit diminished quality of my voice won’t hurt the show. There are a couple places where I do a falsetto voice that I won’t be able to do. The hard part of the show is going to be getting through the show and not showing how “tired” my body is.

Frequently you hear about performers saying they always rock the show when they are sick. I think this is because they are “acting” a lot more than they normally would in their show. They need to act well, they need to act for their reactions, they are acting the whole time.

Maybe in shows where I feel normal, I need to “act” a bit harder???