magic show tips – Page 39

Interesting Observation…

After one of my shows yesterday at the fair I’m performing at, I had a guy tell me something interesting after the show. He was a caterer and has worked with a lot of local performers, so he’s seen some magicians, and told me that. The caterer told me that my product wasn’t a magic show, it was my personality.

I 100% agree with his assessment and that’s the goal with the show. It’s not about the tricks, while they are important and I select them to hopefully move the story of my personality forward. What I’m selling is how I work, not what I work with.

Some magicians live on the the tricks that they do and that’s an easier route than trying to live on your personality. One of the hard things is when people don’t like your show, that directly means they don’t like you. Where if you do an effect driven show, if they don’t like the show they don’t like the tricks.

It’s up to you what your art is…

Unqualified Answers…

In the past I’ve written blog posts about how the facebook groups are bad places to get advice. The exception to this is when it’s a curated group of people where you know everyone. Recently in a group someone was asking about where to find some fuse to make a fake stick of dynamite. I’m not sure why you would want that, however that’s a different conversation.

In the comments of the facebook group, someone added this comment:

This is horrible advice. First of all, that doesn’t make flash string. Soaking cotton in lighter fluid makes a wick. It will burn, but not like flash paper. What will happen is the cotton string will light on fire until the lighter fluid burns off, then the string will burn, leaving a lot of residue. It also won’t happen in a flash, it burn like a wick with very little fuel, because that’s what it is.

Be careful out there when you ask for advice on the internet!

No Production Show…

At yesterday’s day camp show where I didn’t have music or a microphone, I initially had a bit a “what did I get myself into” moment. I started the show and the kids were really rowdy, lots of chatter and random screaming. The group was 3-12 years old, with the majority in the 3-5 year old range. That meant most of the kids had no concept of magic, or how to behave during a show.

I opened with a warm up, and did the rules bit that I do for school assemblies. It tells them my behavior expectations in a funny way. Once I did that and then my first trick, it really snapped them to attention. 15 years ago when I was a kid, I really would have struggled with this. I would have thrown energy at the kids, instead of keeping more calm (but still have energy). Starting out calm, like I’m the captain of a ship, really brought them to me…instead of me going to them.

The other thing that having no production in the show made me do was work a bit slower and be comfortable holding for laughs or reactions without any “audio spew” in the background. Holding and waiting for a reaction for me is one of the most nerve wracking things in performing.

More Key of Fate…

Yesterday I wrote about some changes to the Luca Volpe’s Key of Fate routine that I’m making. I figured I should write out the effect:

I show lock that’s locked to a little case and four keys in a cup and only one will open the lock. There are also three colored notebooks and three matching colored spots on the floor.

Three people from the audience are invited onstage to play a game. Whoever’s key opens the lock will win one of the prizes written on one of the pages of one of the notebooks. Each person grabs one key and one notebook, leaving a single key on the table for me. They are to stand on the spot on the floor that matches their notebook’s color.

You flip the pages of the notebook for the first person to see what prize they are playing for. They end up picking 500 Pesos, but unfortunately their key doesn’t open the lock. The first person returns to their seat.

The second person selects the ice cream sundae from their notebook as a prize, but their key doesn’t open the lock. The second person returns to their seat.

The final person, who is standing on the blue spot selects a prize, which is a banana. When they try to open the lock, it opens! Inside the case is their prize, a banana!!! They can keep the banana and return to their seat in the audience.
For the kicker, you show underside of the two spots from the people that didn’t win and there’s nothing under them. The spot of the person that won, has some paper taped to the bottom of their spot. It says, “Congratulations on winning the banana, sorry the other two people didn’t wind the ice cream sundae and the 500 Pesos!”

Ok, so that’s how the routine plays. I’m a huge fan of being able to describe what happens in the trick in a sentence. If I take those six paragraphs of how the routine plays and condense it into one sentence it would be:

The magician predicts the outcome of a game played with the audience.

That’s the effect, it’s a prediction of the outcome of a game.

Double Lifts…

One of the most overused sleights in card magic is the double lift. It’s a great move, but soo many people do it poorly (I put myself in that group). One of the problems is that a double lift looks like a double lift. There’s virtually no one that does one that looks like all the other times they turn the cards over. Everyone says, “turn a single like a double” and they’ll all look the same. In theory that would work, but in practice, it doesn’t. There’s soo much going on with a double lift from the get ready, to however you are getting your alignment down and the force or lack of force to hold the two cards together.

There are other ways get to the end results such as a top change, second deal, or a palm and replacement. The problem with these is they are much harder to do poorly than a double lift. A double lift is easy to do bad, which is why soo many people do it. They can put in a minimum amount of time to do something and sort of do it.

There are some good double lifts, but they are much harder to do. My favorite one is the Stuart Gordon double turnover. While it still looks like something is happening to me, it’s one of the more natural ones to do. I play with it a lot, but I don’t do it, the way you move the card isn’t natural to me. It’s great and I think you should learn it, not necessarily do it, but learn it!

Using Projection…

Lately I’ve been thinking a lot about using projection in my stage show. I’ve been looking at how other magicians and performers are using it. It’s something that can make a lot of difference in how visible something is. For magicians, David Copperfield was the first that I was aware of to use in it his four ace routine. Currently using video is pretty common.

The best use of video that I’ve seen so far is Darren Brown in his Broadway show Secrets. Most people when it’s used, it feels like you are either watching the screen or watching the performer. When Darren did it, it felt like your attention wasn’t torn between two places. You were watching him perform and the video enhanced it.

That’s what I’m going for, using video to enhance what’s happening. Projection would be used for showing the signature of a card, but not the whole card trick. I think when the action happens on the table and the only way you can watch it is through the screen, then it stops enhancing the live show and becomes the audience watching TV.

Sometimes You Need To Take the Long Road…

Magicians love to take short cuts and be lazy. Here’s an example, I’m doing a trick where loose rubber bands turn into a rubber band ball. The easy way would simply be to do a shuttle pass during a hand to hand transfer. However I had some conditions that I wanted for the trick: 1: The … Continue reading “Sometimes You Need To Take the Long Road…”

Magicians love to take short cuts and be lazy. Here’s an example, I’m doing a trick where loose rubber bands turn into a rubber band ball. The easy way would simply be to do a shuttle pass during a hand to hand transfer. However I had some conditions that I wanted for the trick:

1: The change had to feel like it was a visual change
2: I needed to end with my hands empty
3: The trick needed to be able to happen at anytime in my show
4: The ball had to be able to bounce

The first and second conditions made something simple like a shuttle pass not the solution for me.

Ending clean made things a bit more complicated. An early idea was to use a gimmicked rubber band ball that was similar to a Silk to Ball Gimmick. However making one that could bounce and not look strange is something I have yet to figure out.

Here’s what I ended up coming up with:

What I ended up doing from a “method” standpoint was a lot more complicated than a shuttle pass, but I think it fulfilled my artistic vision better than a shuttle pass would have.

P.S. The method for this will be in an upcoming issue of Vanish Magazine

Zen and the Art of Not Counting Other People’s Money

I really need to get off the internet. I can’t believe the things magicians complain about. Recently someone was complaining about them quoting $895 for a 3 hour roving gig and booker claimed people were quoting $150 an hour ($450 for 3 hours). The magician was all upset because the other magicians were “working too … Continue reading “Zen and the Art of Not Counting Other People’s Money”

Here’s my thinking on this, when you stop worrying about what other people do, you will be a lot happier. You can’t control what other people charge for their services. When you do, there’s a term for it called, “Price Fixing” and it’s illegal.

In this specific example the person saying the people charging $450 for three hours was too cheap, yet someone chimed in and said the person charging $895 for the three hours was too cheap.

You will find its place and price point in the market. I honestly think someone starting out should be charging a lot less than someone that’s been doing it for a decade (and gotten better over that decade). If someone starting out charges the prices of established acts and they come in and don’t do well, it hurts everyone. There’s a lot to be learned at a $150 gig for someone starting out.

Think about the last time you went to buy a car. Let’s say you budget was $25,000. Did you buy a car that was $10,000? Probably not. I’m betting your purchase was in the $20,000-$30,000 range. You spent your budget. I think the same goes with party planners, you have been given a budget of money….money that’s not your own personal money. The party planner is going to spend all of it on the event, they don’t get a bonus for coming in under budget. The gig that’s going to hire the person for $450 was probably never going to book you for $895 this year. However next year they may put more money into their budget for live entertainment.

TLDR: Don’t worry about what other people charge.

Subway Stradivarious or Bucket Drummer

A few years ago the Washington Post did an “experiment” where they had a concert violinist play a Stradivarius for people in the subway (You can read the article here). This recently popped up again on my Facebook feed and and I have some thoughts on it. Here’s the video: You can be the best … Continue reading “Subway Stradivarious or Bucket Drummer”

Here’s the video:

You can be the best musician, play the best instrument, but that doesn’t mean you are the right person for the job. Street performing is a skill, just like playing in a theater is a skill, and those skills don’t necessarily translate. I bet the guys paying drums on a $2 bucket were making a lot more than him.

So why didn’t the violinist build a crowd?

Years ago I was told by Tom Frank that before picking a spot to busk, you look the people’s feet. Are the fast or slow? The violinist picked a commuter spot. Not a good choice and any experienced busker probably wouldn’t line up for that pitch.

Look at the location, you really can’t build a crowd without completely blocking the foot traffic. It’s essentially between two doors. If someone wanted to stop and watch, it wouldn’t be comfortable. They’d have people walking in front of them, or into them.

They also picked doing it at “rush hour”…guess why they call it rush hour? People are in a rush! You’ll do better before or after rush hour when people have more time.

Based on a Q & A I read from the author of the article, that place normally doesn’t allow street performers, so they had to get special permission for it. So the place didn’t have a street performing culture, which is another big factor.

Look at the successful street performers, where do they go? Do they go where business commuters go, or do they go where tourists go? Spoiler alert, they go where tourists or people not on business are. Those people have more time. I’m very curious how well the violinist would have done if you put him in a place with a street performing culture?

Even if you gave him a good time at a good spot, he wouldn’t have done as well as the guy playing the bucket on his first time out. He’s playing “ambient music” versus “interactive music”. Ambient music people walk by, stop for a bit, toss a buck in the violin case and go about their day. Interactive music would be he says hi people, has little “bits”, sees a guy wearing a band shirt, calls attention to it and plays the hook from one of that bands songs. It’s a different style of performing, you can’t do you “theater act” as is on the street and expect the same results.

I guess the takeaway from this is that if you are moving venues as a performer, you should expect a learning curve!

Louie

Some Sound Advice…

In a facebook magic group someone asked about sound systems for bday parties. I was kinda amazed by the response of the people. I think one of the interesting responses was , “you don’t need one for a dozen kids…”, i find this interesting because while a dozen kids in average, having 30 is not … Continue reading “Some Sound Advice…”

Another factor is production value. Having music in your show adds a lot to it. It kills dead time and opens up other things to do, like musical gags and bits. Whenever I do shows without music, I feel the show isn’t living up to its full potential.

Then there’s the core issue, having your voice heard. I’ve seen too many shows where you can’t hear the performer and it’s a small group. It could be because the show is outside and there’s a lot of background noise, or it could be the performer not projecting.

Finally there’s the whole, 3 or 4 shows a day thing. You can blow out your voice in a weekend. A $300 bday party isn’t worth it if it wrecks your voice for the $1K gig you have saturday night.

Invest in the best sound system you can afford.