On this episode we welcome in the youngest person we have interviewed Matthew Laslo. We learn about how he started in magic, what it was like being the only magician in his town and where he looked to for inspiration.
He tells us about all the people who has helped him a long the way and some of his great success’s including multiple TV appearances and a crazy trip to China. We also learn how he came to be a part of the touring Broadway style magic show called Shazam. A great interview with a fantastic young performer.
A couple of days I wrote about the podium struggle at a gig, but that’s not the only challenge at the gig. After I had set up, the event planner filled the front of the stage with prizes.
These were to be raffled off after my show. These create a huge visual distraction and barrier between the audience and me. Also, I was standing when I took the picture, so if you were sitting, you’d be looking up at them and they obscure more of performing area.
Not being able to see the whole performer does make a difference. Bob Fitch once told me “Acting is in the feet“, and while I’m not exactly acting, seeing as much of me helps. This is also why you want to try to avoid doing a low show. If you were sitting on stage left, anything I did that was below my belly button wouldn’t be seen.
During the opening of my show, I do something at events like this that no one thinks of. I ask the audience to turn their chairs so they are facing the stage. You’d think that would be instinct if your chair wasn’t facing the presenter, but hardly anyone does that until you mention it. While there’s that minute of shifting chairs, I looked at someone whose view was blocked and asked if they could see. I pretended to hear them say they couldn’t and I told them I’d fix it and started setting prizes on the floor.
Also I have verbal bits I do while people are moving chairs, so the show has started and was able to do them while moving the prizes.
Ultimately you need to know what you need for the show to work and for it to succeed and do your best to create those conditions. There’s nothing worse than a bad show that’s due to conditions that aren’t your fault.
Holiday parties are a wild west of show set ups. Many times you have some who isn’t an event planner running things and it’s their first time running an event. I did an event last week where I came in and got set up on the stage.
My first challenge was to get the ballroom staff to move the podium off the stage. As you can see from the picture above, I was unsuccessful. I asked if they requested the podium and was told “no, but everyone wants one“. I told them I can’t do the the with the podium in the middle of the stage. They said they could move it. I told them, “great, so you’ll have staff ready to move it when I’m introduced?” They told me that they didn’t have someone to do that, so I then explained that I can’t start until it’s moved, and the show has a firm end time, so any time hunting down staff cuts into the show and the value the client gets. That led to the compromise of putting it on the corner of the stage.
In case you’re wondering, no one used the podium.
Why didn’t I move it?
Simple, it’s not mine. I don’t want people moving my gear, and I extend that same courtesy to equipment that’s not mine. Also there is someone on staff whose job it is to move the podium and sometimes there are union issues where I’m 100% not supposed to move it.
This is a case where I can see a potential headache for my show and speedbump for the event. Sure, moving a podium isn’t a huge deal…if there’s someone to move it. When I presented why simply finding staff to move it which doesn’t sound like a big deal, but actually is potentially a big deal.
I guess the moral of the story is explaining why after the initial NO answer can help them see the problem.
I was at a gig and another act forgot their stand for their cellphone. They needed a way to prop up their phone so they could see their timer. This was the solution that I came up with for them
Sure I probably could have used a coffee cup or something like that, but this was way more fun! This actually helped the act stay in “in the moment” because it made them laugh whenever they looked at it. It made them have fun within their show.
It’s important to have fun on stage and sometimes little things will help put you in the moment. -Louie
One way to build a show is to get more time out of the props you already have. There is a limit to the payoff the the trick, like a 15 minute Professor’s Nightmare routine might be a bit much (but maybe not). It’s up to you to figure out what the maximum of any routine you do is.
I have a trick rope routine that I do in the show. By trick rope, it’s a lasso demonstration, not a rope trick. The whole thing runs about 3 minutes and is fairly basic, but has some laughs and a big applause ending. I’m working on adding a few more things to it to hopefully build it out a minute.
I’m working on adding some vertical loop tricks to the routine…but first I need to work on doing butterflies which is the basic skill for vertical loops.
The challenge with something like lasso tricks is that they are a high practice, low payout skill. People think that it’s easy based pretty much on cartoons and think you can do tricks with the rope that are basically impossible due to how gravity works. That said, people still like it.
The nice thing is that most magicians aren’t going to put in the time to learn to do lasso tricks, so it gives me something semi unique right off the bat! The side bonus with lasso is that it’s easy to travel with, and has no set up. I can grab it and do it!
While I’m stuck in the office for a few days while I have my COVID isolation, I decided to read a book that I haven’t read yet. The book I grabbed was David Ginn’s Kidshow Magic Kompendium and a little ambitious of a read at over 500 pages!
This book is does a great job of laying out what makes a good kid show trick! You get complete routines with most of the tricks as well. There aren’t necessarily complete descriptions to how the things work or how to build them as there are many dealer items and things that the average person couldn’t make at home. I don’t think this is a bad thing, but just something to be aware of.
If you want a solid foundation of kid show performing and props, this book is great! I’m about 200ish pages into the book and it’s a fun read. David gives you advice and stories from the past.
It looks like this book is $35 on GinnMagicShop.com and for that price it’s a steal if you’re getting into or want to learn more about kids magic!
One thing that I don’t really do anymore are themed shows. However there’s one exception, and next week I’m doing a show with some Christmas/winter themed magic. It’s for a client that’s used me for close to two decades, so I’m willing to do things for them that I normally wouldn’t do.
This is a family show, but geared to kids as I’m the opening act for Santa. I agreed to do 30% of the show themed for them. I ordered a few things for this event that I’ll be doing two back to back shows at. All of the tricks are similar to things that I’ve done in the past, so I’m familiar with them.
These trick are easy to plug into my show. This show will be what I consider “commercial art”. This show isn’t what’s in my heart (well 30% isn’t), but it helps keep me funded to do my art!
In stand up comedy circles there’s an inside joke that when someone does something cool, people say, “Who books that?” Typically newer comics or comics that are plateauing are asking comics moving up how they got a cool gig. Or really what they’re asking is how they can get a gig without putting in the work to get the gig.
In reality, it’s really easy to find out who books a gig, you simply call the gig and ask!
Recently I did a casino, which was a tribal casino in the middle of nowhere:
I posted that picture of my picture on their sign on social media and had four magicians contact me asking for the bookers information. These were magicians that I know, but I’m not really close with. If they were a close friend or someone I frequently trade referrals with, it’s not a big deal. But when it’s someone that I chat with twice a decade, the request feels gross.
Don’t be the person taking the lazy way out, do the work!
Here’s what loading in my 60 minute stage show looks like!
That’s actually not quite right, the doctor bag on top isn’t part of the stage show, and neither is the brown tabletop on the left side of the luggage cart. I just didn’t want to leave them in the car. So the actual props I’m moving is slightly smaller.
I’m not a believer in the “briefcase show” where you have 60 mins in a briefcase. There are a handful of people that can pull it off, however most look like every trick was selected because it’s flat and the show has no visual texture.
So my advice is to pack as small as your artistic vision allows!
I’m playing with adding some visual effects to sizzle reels, or social media videos. Here’s two versions of a sizzle reel, one without effects and one with some visual effects.
Here’s the one without:
And here’s the one with:
The goal is to not use the visual effects simply because I can, but to hopefully use them to enhance what you’re watching. I don’t want to be like soo many of the videos in the early days of consumer level video editing where every transition was a a huge deal, with star wipes or whatever.
