On Saturday I performed my show for a sold out audience at the Spokane Comedy Club! When I’m performing at on the road at a public show, I always try to reach out to the local magic club. The Spokane Magic Club turned out in force for the show! It was great having them in the audience.
These daytime shows are a lot of fun to do. Years ago when I was in my early 20’s I opened for Brad Upton at a lot of comedy gigs. At the time I was doing a lot of school assemblies during the day. Brad mentioned that being able to get paid to do entertainment during normal people’s workday was like finding gold. At the time, I didn’t realize how correct he was. As I’ve gotten older and when I’m home, I got to bed at 9pm, the later gigs are more work. I still love doing them, however these 4pm shows I’ve been doing at comedy clubs are great, I’m done by dinner time!
Here’s my 55+ minute show from Saturday in 44 seconds:
Another thing that’s fun is that these shows put kids into an environment that is normally just for adults. That gives these shows a special energy that you don’t get at a community center gig and leads to amazing shows!
On this episode we welcome in clown extraordinaire Faeble Kievman. Faeble discusses how he got into clowning, who helped him a long the way and what goes into making a good clown routine.
We also discuss what social circus is and how Faeble focus’s on entertaining in places that don’t have any. We also hear some stories of places he has performed and how he made it work even in some of the most difficult entertainment spots.
When I was 17 years old I won a magic contest at a magic convention. I don’t remember if there was any cash in the prize, but there was a lot of magic donated from the dealers. One of the things that I got was Shimada’s Stevens Greater Magic VHS tape. That tape introduced me to magic Shimada. One of the acts that Shimada was famous for was his parasol act.
I’ve always thought that producing parasols looked great and better than a more modern umbrella. I think that people connect umbrellas with the self opening feature and less so with a more Asian parasol. Yes, I understand that umbrella and parasol mean the same thing, and intentionally using them to refer to different things.
Parasol productions are very cool, visual and fill the stage, however I don’t think most routines pass the “drive home test”. That’s were people in the audience talk about the tricks on the drive home. Parasols pack small and pop open and everyone knows that. That’s the weak spot in parasol productions.
OK, so I’ve wanted to do a parasol magic for years, but is doesn’t really fit my personality (and costuming). Then the other day I was at the store and saw some cocktail parasols. I bought a couple of packs of them and started playing with different ideas of things to do with them.
My airplane reading last week was On The High Wire by Philippe Petitt. While not magic, it’s about variety/circus arts which is relatable. I thought this going more of a biography, but it’s not it’s a technical manual for high wire walking!
By technical manual, there’s not a lot of specific and it teaches it in very general terms. It’s a very fun read. The way he talks about high wire walking, he’s clearly in love with it and that passion carries the book.
It got me wondering why there aren’t really magic biographies for the general public written as technical manuals that teach techniques in broad strokes. They wouldn’t have to really give away any specific secrets that would spoil any tricks. It’d be an interesting read if someone was able to write one. I’m nowhere near a good enough writer to do that.
I finally used MakePlayingCards.com to have a custom gimmicked deck made! I’ve used them in the past to get large size double blank cards, but those weren’t custom printed.
There wasn’t much from a design standpoint as I just used their standard card faces. This deck is a deck of double faced cards, but the back is all the same card. I had these made to do my version of something that Eric Stevens had shown recently at the NW Ring of Fire magic club.
The cards came out great, and I would totally use them again!
One of the constant struggles I have with performing is audiences that don’t speak English. I never really learned a foreign language when I was in high school and it’s one of my biggest regrets in life. Since I perform a lot in Southern California and Arizona, being able to speak Spanish would really help me out.
The last year I’ve been working on my Spanish with Duolingo and I’ve gotten to the point where I can pretty much do my close up set in Spanish. It’s not conversational, but I’m able to communicate what I’m doing to an audience who primarily speaks Spanish. This is one of the best decisions I’ve made as far as learning a new skill goes!
If you’re a talking act that only speaks one language, starting learning another language. It will open a lot of doors!
Here’s a packet trick from the 1980’s that I came across.
I think Nick Trost’s Mexican Monte is a pretty solid routine. Here’s me doing the routine and my thought on how to improve it:
It’s really a small change at the end, and I think Nick really nailed it with this one. I’d change the patter, but it’s good and worth checking out if you find one at a magic swap meet!
My core market is performing at state and county fairs across the USA. I do perform in a lot of other markets, but that’s the one that’s the biggest chunk of my income. Magicians and other performers frequently ask me how to get into fairs. Most fairs book at conventions, and here’s what a day looks like at a fair convention.
Get up and head to the coffee shop for breakfast and to do my morning writing and to get any work out of the way as I’m going to be busy until I go to bed. Then it’s a walk back to hotel to get changed and head to the convention center.
I’ll be exhibiting at the trade show as well as showcasing my act later in the day. I get the tradeshow floor early to chat with people and do some networking. You can get a lot of work from friends referring you for a gig because they’re unavailable, or from an unrelated act that a booker mentions they need a magician to.
The trade show was open 5 hours, so I spent most of that time talking to people and doing close up magic at the booth.
After a couple hours in the booth, I ran over to the showcase stage and did a 15 minute showcase.
After the showcase and briefly talking to people at the stage, I headed back to the booth to wrap up the tradeshow day doing close up magic. The trade show booth is immediately packed up once the trade show closes.
Now that the tradeshow day is over, I head back to the hotel room and freshen up before I head out for an evening of networking. This is where the real relationship building happens. I’m out around town meeting and hanging out with people. I normally just hang out and don’t do a lot of magic for people, but occasionally I do when it makes sense. Also when hanging out, many of the people who run fairs are my friends, so I’m chatting with friends and not always trying to sell my show.
Another thing that I like to do at these is find other magicians and jam with them.
Some performers think that jamming is a waste of time at these because you’re not out talking to bookers. I do it for a couple of reasons. First it shows bookers who are all around and see this know that I’m a MAGICIAN, not some dude that does a couple of magic tricks, and second I love jamming magic!
Then I go to bed, and get up and hop a flight home!
These conferences take place over several days and it’s exhausting, but also a lot of fun. I think they’re a great way to book shows, however they’re not necessarily the best way for everyone to book shows. Some people aren’t good in a trade show booth, or can’t nail their show every time at a showcase. Then there’s the financial consideration, these are expensive to go to, and without any sort of guarantee of a payout…and the gig won’t happen for months!
On Friday I’m performing in a cabaret show called Morbid Curiousitease. I don’t do a lot of these burlesque shows anymore, for several reasons, but the one I’m going to talk about to today is because they are usually themed. It makes sense, if you’re putting on a monthly show, you need to have people performing different acts. I think it’s easier for a dance based act that’s 3 mins to come up with a new routine every month that it is for a talking act. I’m not saying its EASY for a dance act, but I think it’s easier than for a talking act.
I took this gig because the producer is cool and I want to support them. They also said that I don’t need to follow the theme, however I’m looking at this as a challenge. The them this month is “cults”, so I need to either create something specific for this show, or figure out a way to make something I already do fit the theme.
In my morning writing, I’ve been jotting down ideas and I think I’ve figured out what I’m going to do. Here’s the routine:
“My wife and I love watching documentaries on cults. On these cards the names of five docs about cults that we’ve watched. Give me a number between one and five…”
Remove the number selected and show the other ones, then put all the unselected cards away.
“You picked Apocalypse Meow, which is a cat cult! Cats are really little furry cult leaders. I really think they missed the mark, it should have been called A-paw-colypse Meow! They’re charismatic, even after they’re A-holes to you, you still want their love and you gladly clean their toilet!”
Direct attention to an oversized envelope that’s on your table.
“I put a picture of my wife’s favorite cult leader in here, let’s see if it’s the same as the cult you picked…”
Open the envelope to show the picture of a cat!
“Who belongs to the feline cult? What’s your tiny cult leader’s name?”
That’s it, it’s an intro that then gets me into the routine I do about my cat. I’m only doing a 10 min spot and that routine is 7-8 mins. I think I’ll close with my rope routine that I can connect to the cat routine as “my cat’s favorite trick”.
There you go, it only took about three mornings of writing to figure that out!
