I’m still working through The Bat magic magazine and I can across this notice about a magic show:
It’s crazy how bad this magic show must have been that the local magic club had to take out an ad to say they had nothing to do with it! It’s also a flash back to a time when magic clubs were bigger and had some more “influence”.
Today most magic clubs struggle with getting/keeping members.
-Louie
I don’t think I wrote a post about seeing the That’s Magic at the White Rabbit Theater in Reno. This is an illusion show presented by Kaileigh and Chase Hasty. I saw the show with 17 magicians!
They do a great job with the magic show. It’s a fairly standard magic show, but they have some original “bits” with the effects they do. Chase does a great job of being in the moment during the show. With a seven day a week schedule, I’d imagine it’s easy fall into being robotic onstage.
The show is more than illusions, Chase shows he has some skill doing ball and card manipulation and Kaileigh does the aerial silks, so it’s not just “store bought” stuff, which I appreciate!
The show uses a lot of lighting cues, which really adds to the theatricality (Is that a word?) of their magic show. Lighting cues really make a show feel bigger. At some point, I should find someone to write some basic ones for me to use when I work in theaters. Just one or two, so it adds visual texture to the show.
I really enjoyed the show, and it’s worth checking out, there’s a lot you can learn by watching it.
-Louie
This snake basket magic trick I’m working on feels like a “project car” that’s in someone’s garage that they are constantly working on. It’s something I keep finding ways to improve. The first version is barely finished, and I’m working on a second one!
The big change is that I’m going to move it away from a card trick. I’m going to merge it with Terry Seabrook’s Chattering Teeth Routine. The snake will chew holes in the paper, and the reveal will be when the paper is opened. A paper is physically larger than a playing card, even a jumbo playing card. Bigger is better for a reveal!
Moving to paper also allows me to customize the routine to a show. For example, if I were doing a safety-themed show for kids, the snake could chew a stop sign in the paper. It could still be a card a la the original Seabrook routine, or spots (like on a die) or even the image a piece of art!
I’m liking flexibility of this idea!
-Louie
This is an idea I had a while ago, and 3d printed it:
This is a three phase mental magic type routine. I read someone’s mind, then they read my mind, then a magic trick happens. I took it to a magic meet up and here’s what the magicians think of it:
Billy McComb, in one of his books, mentions an easy way to create new routines is to combine two tricks. I think his example is a thumb tie and card to wallet. The block trick I came up with combines the Color Vision Block with a super old stage magic trick. I don’t think people are expecting the part that uses the old stage magic effect, and by the time that part is revealed, I’m way ahead of them. Also, people newer into magic may not recognize it as it’s not really used much anymore.
-Louie
The snake basket magic trick that I’m working on won’t have a basket or any of the old snake charmer tropes. The main reason is that after reading about snake charmers and their rise in pop culture, I don’t think my personal values align with that imagery. It’s like “yellow face” Asian stuff that used to be popular in magic. The original intent of it was not positive.
Another reason I’m not using the basket is that it’s a trope that no longer exists. It’s not something that appears in modern pop culture. I know it was in every Bugs Bunny cartoon, but kids haven’t watched those for decades. There’s really no reason to have a basket today.
If you see a reptile show at a school or library, none of the snakes are in baskets; they’re all in boxes or tubs. That’s what I want my snake basket to look like, a box, well, specifically a wooden crate. I’m waiting on the supplies to make it, but the box will be cardboard, so it packs small and light. I’m going to cover it in wood grain contact paper and then add trim with wood grained duct tape.
I’ll post pictures of it when it’s finished!
-Louie
The snake basket that I’ve been building is finally starting to take shape! I have a completely functional version of it! Here’s what it looks like:
I’m going to make a small change to the code. I’m going to add a three second delay after the button push for the action to take place. I want to be able to have some physical distance between my hands and body when the actions take place.
-Louie
In the course of a month, I get to see a wide range of green rooms of offstage spaces for the performer. They range from nothing, a table in a conference room to what they have in nice clubs.
A couple of Decades ago when Jim Gaffigan was really becoming a big, we were chatting with a comedy club owner and Jim said something like, “I know what you pay me, just put me up somewhere nice.” That’s something that really stuck with me, if you treat the act right off stage, it’ll payoff onstage.
A couple weeks ago the comedy club I was performing at had a cabinet of snacks!
More than that, it had three tubs of toiletries:
That’s HUGE if you’re doing two shows back to back and you want to freshen up a little bit between shows. Personally, I try to not take these green rooms for granted, because the next gig I do won’t have anything and I’ll spend 20 minutes hunting down a cup of water!
-Louie
I found a stack of Chinese Laundry Ticket papers in a box of old magic from the early 1960s. This is a torn and restored paper effect with a strip of paper. The theme of this trick is a ticket from a Chinese laundry that’s torn and restored, and this routine is typically filled with offensive (racist) patter lines. A better themed version would be Arnold Furst’s Fresh Fish paper tear.
Anyway, I have these Chinese laundry ticket papers, and I was curious what they actually said, so I ran them through Google Translate and here’s what they say:
This is one of the things that’s problematic with these older magic tricks, is that what’s actually written on them isn’t what it’s supposed to be in the trick. This trick, if it actually had numbers on it instead of talking about rice, would be slightly less offensive. The simple fact that the trick is taking something from another culture, but not taking the most basic step of making sure it’s correct, is just one of the reasons I dislike this trick.
Go out there and be a better human.
-Louie
With the closing of Hocus Pocus (under the Gross family), I need to make some decisions about my magic products. There really isn’t a family run magic shop in the USA that has the reach of them, aside from maybe Steven’s Magic Emporium, and without Joe and the fire a couple years ago, I have a feeling their time is limited.
Personally, growing up in magic in the 1990’s every magic shop and city/state had a culture and style. The magic tricks available in Minneapolis may be different from what we had in Seattle. Back then, it was great when someone would travel and bring back a trick we didn’t have in Seattle. Now that the magic business has changed into a global thing, all the shops are virtually the same. There are very few magic products that are made and sold locally.
With my magic products, I wanted a dealer that I knew and someone that I could give something unique to. Something that gave people a reason to shop with a specific shop that wasn’t just price.
Going forward, what should I do with my product? Should I start reaching out to smaller local shops, or go with Murphy’s Magic and have them distribute it? With Murphy’s, I will move a lot more units and make more money. I’m really not motivated by more money (I probably should be), and I would rather have a relationship with a magic shop that’s a singular home base for my products.
I don’t know…
-Louie
Last week when I was performing at a comedy club, I had a drop during the Hoop and Cup. When it happened, a kid from the audience said something. Here’s what happened:
When someone says something in the show, I try to lean into it. It’s a real moment and something that makes that show unique. Many magicians would shut the kid down with a hack line like, “I checked, and you don’t have a speaking part in the show,” or whatever. Personally, I hate lines like that, and I think 99% of shows could benefit by embracing real, spontaneous things that happen. Yes, there are times you need to shut it down because it’s going now where, however, you usually should explore it first.
