magic show – Page 59 – MagicShow.Tips

How To Be a Good Guest…

Recently I was interviewed by The Variety Artist podcast and that interview comes out tomorrow! If you don’t listen to it, it’s got tons of tips from people way smarter than me. In my episode we talk about creating original material, and some fun stories from my life. One thing that’s important when being a … Continue reading “How To Be a Good Guest…”

One thing that’s important when being a guest on podcast, or at a TV spot is to plan what you are going to do. Don’t come in with and just “wing it”. One this. A few days before the show I wrote down things that I wanted to talk about and my responses to what I thought John would ask me. During the podcast I kept my notes nearby and referenced them during the podcast.

The key is having thought about what you’re going to say. This doesn’t guarantee you’ll talk about those things, but having thought about it makes you a stronger guest. The majority of things that I talk about on the podcast had a note of some sort written on a legal pad in my hotel room.

Preparation is 80% of the key of being a great guest!

Bonus Tricks…

A year or so ago I published a trick in Vanish Magazine that used a Sharpie Marker as a prediction. How it went was someone picked a card and drew picture on it. I then told them to look a the pen they are holding and it said, “you will draw a smiley face” which was exactly what they drew. This was playing the odds. I noticed that most people when asked to draw a pic on a card will draw a smiley face. If they don’t draw it I don’t tell them to look at the pen.

I call things like that bonus tricks. Tricks that when they happen are amazing, but don’t always happen.

In my close up card set I force the same card over and over again. Finally they get a different card. I top change it for a similar card. If the initial forced card was a 7 of Diamonds, the different card will be something like a 9 of Hearts. They remember the 9 of Hearts, and I top change it for the 7 of Diamonds and ask them to sign it. At this point one of two things will happen, they will either notice the card had changed or they won’t. If they don’t notice the change, then I get a bonus trick once they are done signing it!

The bonus trick is that I take the card back face down and top change it for the 9 of Hearts, which is what they think they signed and set it face down on the table. I do a pass to bring the signed 7 of Diamonds to the center of the deck. I ask them if they remember the card that they signed and they’ll say the 9 of Hearts. I then rub it on the table and show that their signature has disappeared. For the finale of the bonus trick I spread the deck and show that their signature is now on the 7 of Diamonds!

This is a really amazing trick and hits hard! Being on the lookout for bonus tricks in what you already do, you can do some real miracles!

You Gotta Change…

In the last few weeks Holland America Line has implemented a ban on using balloons on their ships. This isn’t just for decorations, but also for use in shows. Here’s what’s making the rounds on social media: It’s interesting what magicians have to say about it. Most are asking questions about latex products. These magicians … Continue reading “You Gotta Change…”

It’s interesting what magicians have to say about it. Most are asking questions about latex products. These magicians are idiots, clearly this is specifically balloons, and not just latex balloons, but all balloons (so this includes mylar).

I perform on Holland America Line and I use a balloon in my show. I got this notice a few weeks ago, and I’ve dropped the trick that uses the balloon from my show, not just for that line, but all shows.

Why all shows?

Simple, it will keep my show tight. My muscle memory isn’t going to start doing that bit, then I have to back track.

Keeping up with the times is important, whether it’s using preferred pronouns, or not using a balloon. It also forces you to grow as a performer. People who cannot innovate will be left behind, where people who can will rise.

You Get What You Give…

Recently I was working at a fair where there were two stages next to each other. One stage was going while the other was doing its act change over. When one stage ends, it sends its audience right next door.
This usually works great…

What ended up happening is that one of the acts on my stage started his act on time, but the act on the other stage was running long. A bit later in the day the act on the other stage asked us to not start until he’s done. That’s fine if he’s done in a reasonable amount of time.

Then as the week went on the act on the other stage started doing preshow bits on the mic while our stage was still active. The courtesy of us not starting until he was finished didn’t extend the other direction to him not starting while we were still going…and we were still within our scheduled times.

This easily could have turned into use blasting music into his show, both me and the other act on my stage were much louder shows. However were are also professionals and know that no one wins when two stage right next to each other try to drown the other out. Once we realized the courtesy wasn’t being given to us, we simply did our scheduled start time, and frequently stepped on the end of his show.

Travelling…

Right now we’re at the peak of my busy performing season. Something that seems to throw off a lot of performers is travelling (especially by airplane) with their shows. Today we’ll just talk about travelling by car, which in some ways is more difficult that travelling by airplane.

When I’m packing up my show for a few weeks of shows, and putting it in the trunk of my car I have some decisions to make. The first one is the size of props. I don’t mind taking large props by car, but the prop still needs to justify loading it in and out for several weeks, and I need to be able to move it by myself.

The next thing to consider is the amount of supplies it’s going to take. While doing a mouth coil routine once doesn’t take up a lot of space, however doing three shows a day for three weeks starts to take up some space when you are packing.

Then you’ve got to decide whether to bring things you might need. This could be things like an extra power cable, or even an extra filler trick. Bringing extra material on the road is a good idea because sometimes props break and you can’t immediately get it repaired or replaces.

Personally when travelling by car I tend to overpack, but then I’m never at a venue without the proper connection to plug my mic in!

Breaking It In…

One of the fun things about performing on the road is when you get to perform with your friends. This week in Wyoming I’m performing with my buddy Matt Baker. Matt does a comedy stunt show and we both co-host the Odd and Offbeat Podcast. Besides hanging out, we both are working on a ton of new material for our shows.

We made a mutual pact to do no “A” material this week. We’re working on building up new material and maybe moving some routines from B to A status. Not having your best material as a crutch to get you through a show. It makes you focus on getting a couple more laughs and selling the trick a little bit harder.

I’ve had a routine that’s been a preshow trick that really had no routine. It now runs about 4 mins and has a lot of laughs. The nice thing is that I’m working with a buddy who is watching my show and giving me ideas, and I’m watching his and giving him ideas, so we both win and create much faster!

Play With Others…

Quite often I’ll be performing at an event with other acts. We’re all booked at the same venue, quite often we’re all doing separate things. A couple weeks ago there was a ton of great entertainers at a fair I was performing at. I decided to get everyone together and put on a variety show! … Continue reading “Play With Others…”

After doing this, I’m amazed that more fairs don’t have a variety show, or split bill show. It’s great for an audience to watch, and it’s something different. It also breaks up the “monotony” of doing your show three times a day. If you work with other acts, I highly recommend putting together a variety show!

Keep On Schedule…

Recently I was performing at a county fair where my act was the only paid act on a stage, the rest were unpaid acts. There were only three out of about 15 acts that were on that stage that cared about keeping the stage on schedule. One was a rock band, one was a hip hop group and the third was me. The other dozen acts were going to play their set lists regardless of when the started, or how unrealistic their set list was to fit within their scheduled time.

Of all of the acts, I was the only one that was on the stage more than once. I was on the stage three times a day, in between each band. I don’t think they realized how much it impacts every other act. If the first act ends at second acts start time, that means the second act starts late due to stage turn over time. At this point it’s not a huge deal. If the second act then starts late and plays their full set they will run into the third acts start time. Now we’ve got a problem because people looking for the third act will see the second act and assume the schedule they are looking at is wrong. The third act has now been robbed of their base audience who was looking for them.

The first two acts being selfish have hurt the third act, and potentially every other acts on that stage. That’s why sticking to your end time is very important when you are working on a shared stage with a published schedule. Sticking to a schedule is also a good habit to get into. Let’s say you are working a union house, and you run over your scheduled stop time because the show started late, it could cost you hundreds, or thousands in overtime to the stage crew.

When you are performing on a scheduled stage with other acts, sticking to your end time is very important! It’s a good habit to get into early on in your career.

Be Prepared!!!!

Yesterday on the stage that I’m performing on at a county fair there was no sound tech. This is fine for me, as I reasonably understand how to turn on a PA and use a sound board. It’s really not hard, since I’m not singing to get my voice to sound right. When I first got into performing and encountered sound boards, I asked the tech to show me the basics. I learned what all the knobs do, I barely understand how to use them, however I can get my show up and running (usually) without a sound tech.

On the stage I was performing on there was a dance school right after my show. I finished my show and unplugged my cords and put them with my stuff. The leader of the dance group freaked out, she didn’t know what to do for her audio. She was very unprepared. She asked for my help, and I asked her if she had brought a cord? She said she didn’t know she needed one, and I told her I didn’t know I needed one either.

Here’s the kick in the butt, she didn’t even have the right connector to get her iphone to connect to the standard 3.5mm cord!!! Even if there was a cord, she couldn’t have plugged her phone into the sound board.

I really wanted to pull her aside, but she was mid-meltdown and tell this is a teachable moment. Instead of freaking out, she should get her dancers and tell them the problem and it being a result of her not being prepared for the worst. As a performer that’s a good skill to have. If you have a prop or piece of gear that’s easily lost, have two of them. If there’s an essential cord or adapter that the venue should have, but cost less than $10 and easily fits in your bag, you should have one!

For under $50 she could have a mic, mic cord, and a cord to plug her iPhone in. She really should have a dedicated iPhone for the show, and her personal phone should be a back up. After seeing how she reacted at how unprepared SHE was, I wouldn’t let my kid go to her dance school.

Eye Contact…

Recently I watched a juggler perform at a county fair and as far as I could tell he never looked at the audience during the entire show. I get that to be a juggler you need to look at the props you are juggling, or manipulating, however the audience should still see your eyes at some point.

Eye contact is very important to connect to an audience. Have you ever talked to someone that doesn’t look at you? It’s strange. When you don’t look at the audience, it’s like you are ignoring them. No one likes to be ignored, especially a mobile audience like one at a fair.

It also makes the audience feel like they are being talked at, not talked to. I go through spurts of when I fell like I’m talking at the audience. It’s because for whatever reason internally I’m rushing to get to the next joke. Lately, I’ve been doing a good job of holding back on the joke, sometimes it won’t happen because I’m letting the audience decide where I’m going…but you need that connection with them to happen, and it all starts with eye contact.