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Character Conflicts

mandrake I recently watched a magic show that was pretty rocky. While the performer was technically proficient, I spoke with my friends about why his act had failed to captivate the audience. This brings up a good discussion of character, but the magician will remain nameless, since this isn’t an article about him, but an article about how we can make our magic better.

Basically, he was having a conflict of character. Or rather, multiple conflicts with character throughout his act.

Because he wasn’t able to determine whether he was cool, flirty, boy-ish, mysterious or pedestrian, we as the audience weren’t able to “buy into” any of what he was selling us.

For example, in one routine he’d be using flirtatious, almost blue material with a woman onstage. Yet before it was completed, he’d lapse into a “boyish charm” awkward shrug and smile. This doesn’t sit well with an audience, because we have a tough time believing either personality when they’re so opposite.

Can it be done tastefully? Sure. And are we all guilty of it from time to time? Absolutely.

But do try to consider, at least from routine to routine, what your character is. Your audience will buy into it better, and as a result, your magic will be stronger and leave a lasting impression on them.

Posted October 14, 2009

Dealing With the Elements: Outdoor Magic

outdoor_magic First and foremost, I’m not a big fan of performing outdoors. I feel like, in general, any advantages to an outdoor are eclipsed by the disadvantages. So when possible, I try to steer clients clear of outdoor gigs. But sometimes it’s unavoidable, and such is the case with the Howard County Fair.

I’ve been performing there for over a decade, usually over a dozen shows in a week, so I’ve learned a lot about dealing with the “elements.” Because it’s in the summer, the weather-in-question tends to be wind, heat, and the occasional shower. Let’s take ‘em one at a time, shall we?

Wind: Whether it’s silks or playing cards, it seems us magicians are always using objects that like to blow away. I usually try to use jumbo playing cards outdoors, not only for the visibility, but also because they are heavier and it’s less likely that I’ll lose individual cards. Depending on their use, silks often can be weighted on the corners to make them less prone to wind. At the very least, make sure you have a means of securing them in your performance case, so they’ll stay put when not in use.

Heat: For starters, think of yourself, and dress in appropriate clothing. No one likes to see a performer in pain, and sweat pouring down your face can be seen as “pain.” And don’t forget to include the all-important water … even if not onstage, it should be readily available just out of sight should the need arise. As for your props, try to keep the ones that may have heat issues in a cool, dark place for as long as possible before use. And, when in doubt, stick to more durable items that won’t be affected by heat and humidity.

Rain: Have some manner of waterproof covering just out of sight (with your water). Especially in the summer months, thunderstorms can spring up quite quickly, so having some plastic bags in your vehicle may not be good enough. Another thing I’ve found useful over the years is deciding on your plan of action in the event of rain, being sure to prioritize what items need to be saved first. Better to let a $2 deck of cards get soaked while you cover up your $100 speaker system, as opposed to the reverse. Much like a “fire drill,” determine what you’ll do when the sky opens up on you.

Overall: use common sense, plan for bad things before they happen, and use only your must durable of props. This will lead to peace of mind and confidence, resulting in better performances. Have fun out there!

Posted August 11, 2009

Rolling With the Punches: Say “Yes” When Possible

boxing_glove Last night I had a gig that could have been bad, but turned out to be a lot of fun. The potential issue was that the audience was close in age to mine, which typically means it’s harder to maintain a level of control and flow in the show. But by using my script as a guideline, as opposed to a lifeline, everything worked out great.

As I launched into my sponge ball routine, someone in the crowd shouted out that I was pulling them out of my pockets. She was right, and while I thought I was doing it convincingly, I didn’t want to immediately go into my pocket for the next steal. So I adjusted the routine on the fly, and showed some other sleight of hand with just two sponge balls. During an off-beat moment when there wasn’t a lot of heat on my pockets, I casually put my hand in, removed the sponge, and eventually was able to finish the routine. (to learn the complete routine, check out our Table Magic DVD).

Had I doggedly continued with the routine as planned, I almost surely would have been caught stealing a sponge out of the pocket. But by improvising along with my audience, and having backup material ready, I was able to avoid this hazard.

Even if you don’t consider yourself witty, you just have to remember the first rule of improv: say “yes” whenever possible. I don’t mean that you should answer yes to a question like “Are you sneaking them out of your pocket?” Rather, you should be willing to try new things and improvise as your audience suggests, while still having an overall sense of control to the show. What my audience member meant was “Are you able to do magic away from your pockets?” and so my visual answer was yes. Even though she didn’t realize it, I was adjusting my plan to fit her “request,” and got off the topic of “where’d those sponges come from?”

One final related, sponge ball story. I was performing a stage show one time, with a very cute little boy who was very energetic and excited to see these yellow sponges appearing one after the other. At the end of the routine, he asked “Can I keep these?!?” I said sure, he beamed, and the audience applauded as he took his seat.

The cost of those sponges was minimal compared to what I was being paid for the performance. Furthermore, it showed the audience that I was a nice guy, and gave the kid a lasting souvinier from the show. And perhaps most importantly, if I really had made those sponges appear by magic with the help of my volunteer, of course I’d be able to freely part with them … I’d just make more at my next show!

Remember: say “yes” as often as you can: your magic will be stronger, you’ll become more versatile, and your audiences will enjoy the show.

Posted June 13, 2009

What to Wear: “Looking” the part of a magician

magician_clip_art What should you wear when performing your magic? Quite simply, whatever you want. Just understand how you’ll be perceived …

Casual: This puts you on the same plane as your peers, which can have good and bad consequences. It makes you seem normal, everyday, and “one of them,” but then when you do an amazing trick, it may come off as a puzzle or challenge, as opposed to entertainment or art. Also, in terms of logistics, you’ll likely have fewer pockets or places to hide things in casual clothing.

Business: If you’ve been asked to perform a show (either for money or as a favor), this may be your way to go. You’re less likely to get hassles from your peers, and you may be taken more seriously, since you’ll “look the part.” However, you need to remember that you’ll be a magician for as long as you wear that attire. If you don’t blend in with the rest of the crowd, you may be called upon throughout the evening to do some magic.

Formal: Gone are the days where typical magician attire is a tuxedo with a cape. If you’re making a specific character choice (such as the “Misfit of Magic” Ed Alonzo), then that doesn’t apply here. However, if your friends are hanging around in jeans and t-shirts, and you show up in prom attire to do a few card tricks, the costume is hurting more than its helping.

My basic rule of thumb is this: if I’m performing magic for friends and family, I’ll dress as they are. If I’m being paid to perform, I’ll dress one strata higher than the attendees. This sets me apart as being a magician, without appearing under- or over-dressed.

Posted June 7, 2009

half gone - Great trick by Barry Taylor

half gone by Barry Taylor

Just wanted to put in a quick plug for a great effect by my friend Barry Taylor, half gone. This amazing vanish of a half dollar or quarter off the back of someone’s hand fooled me badly when he showed me for the first time!

What I was most impressed about is that you can do it with no sleeves, and with no sleight of hand. Certainly a good candidate for someone who wants to wow people with little time investment.

Plus, a little fun fact: the title “half gone” was my idea, as Barry was brainstorming what to call it! I’m quite proud that this trick has become as popular as it is. Check it out: https://www.barrysmagicshop.com/index.php?main_page=product_info&cPath=1_16&products_id=316

Posted June 3, 2009

Prop Transitions

When you’re performing magic, consider what your prop “transitions” are like. This means: where do they come from and where do they go?

Early in my magic career, I came up with this concept of a “magic trash can” … no joke! Basically it was a large silver can, about the size of a 5-gallon bucket, that I labeled with stickers “SHAZAM MAGIC COMPANY.” When I was doing a show, I would bring the necessary prop(s) out of my bag or suitcase, and when finished, would dump them in the trash can. This meant that the props were out of site and out of mind, although somewhat unceremoniously stuck in a trash can.

The physical idea of the can didn’t last long in my act, but the psychological principle is still sound. When you’re performing a trick, where do your necessary props come from? And where do they go when finished?

There are some cases where having a prop “on stage” before it is needed is useful, in that it builds dramatic suspense and interest (i.e., “What’s he going to do with that?”) But 95% of the time, once you’ve used the item, it needs to go away. I don’t recommend using an actual trash can, but make sure you have a plan for where props will go after the trick is over, and make sure that they don’t run into incoming props which you may be using for the next effect. Whether performing on stage, or casually for friends, making these transitions minimal and natural will increase your professionalism ten times over.

Or maybe you do a trick with trash, and actually put it in a trash can at the end