by Demitri » Nov 3rd, '06, 21:09
Nice work. Some points to consider.
As tk said - for this kind of presentation, you should be standing throughout the entire routine. Sitting down and standing back up is distracting, and takes away from the overall effect. These kinds of things make you look fidgety - which breeds suspicion. Couple that with sneaky/dodgy moves afterwards, and some spectators are no longer watching a magic performance, they're watching to see how you're doing it.
You have most of the technical aspects smoothed out. What you need to work on is presentation.
The first color change was excellent. However, the effect is immediately ruined when your hand goes to your pocket. Why does it go to your pocket? There's no legitimate reason for you to put your hand in your pocket.
One thing to always keep in mind. If there isn't a plausible reason for you to do something - don't do it.
Throughout the routine, you tend to suffer from magician's guilt. You aren't allowing your obvious skill to serve its' purpose. Your vanishes are done well - and as such, you should be confident in your performance of them. This video shows that while you have these skills with sleight of hand, you aren't fully confident in them.
First vanish/travel
Case in point - you perform a vanish and upon display of the empty hand you IMMEDIATELY go to your pocket to show where the ball has travelled. There is no need to rush. Your handling was fair and your display of the vanish was convincing. Let the magic sink in for a moment or two, before you move on.
You're also fiddling A LOT when you retrieve that ball. Remember - no movements that aren't without reason. If you only have one ball in the pocket, you should be able to reach in and grab it out immediately. No fiddling - in and out - show the ball. This should be quick and effortless. PM me for some ideas on how to combat this problem.
This bit also dampens the effect of the crossed arm multiplication. Because you spent so much time in your pocket, an attentive spectator can figure out how this was done. From a personal perspective, I don't see the merit of this kind of display. There's nothing really magical about this kind of multiplication. There are countless explanations for the production of the second ball, and while most will be wrong - the mundane possibilities are equally as unimpressive as the ACTUAL method. You want this to be visual and magical - as such, the production of the second ball should be made right in front of them. You can do an on the table "roll" production like TK mentioned - you can do the sawing in two production, or the pulling apart multiplication. You have many options, all of which are more powerful than the presentation here.
This is another personal tip, so do with it as you wish. Personally, I think you brought in the second ball too quickly. One of the best ways to convince people you only have one sponge ball - is to only use one sponge ball. For instance - you can repeat the ball to pocket effect you opened with. Doing so keeps the tension going. Yes, it causes people to burn you a bit more - but so long as your technique is sound, you have nothing to worry about. Besides - after the repeat, while they may be looking more closely - they'll be stumped when the second ball suddenly appears. Perhaps think about working on using just a one ball sequence for more than just one vanish. You can toss in the comedy bit of making the ball "vanish" from the specs hand by grabbing it and putting it behind your back. This lightens it up and also serves a good purpose of putting people off their guard, making them more an interested spectator than a scrutinizing observer.
Transpositions
These were done very nicely. Your technique is sound and this phase was probably one of the strongest in the entire routine. Pay close attention to your pacing here. In this instance, your confidence shows. However, don't rush the effect and let it sink in. You were better here, but you could slow it down a bit and let things register before moving along. Remember this confidence and timing throughout the routine.
You might already do this, but just a thought. This is a really powerful phase to perform with the spectator, making both balls jump into their hand. Again - you probably do that already, just thought I'd mention it.
3 ball routine.
This is just me, but I've never been a huge fan of mundane introductions of additional balls. To me, it kills the entire routine. Just idly pulling a third ball from your pocket can explain everything to a spectator. Again - they're more than likely wrong in their thinking - but you've just HANDED them the solution they may have missed. From this point on, any move or effect they couldn't explain away (which, in some ways helps them suspend disbelief), is now clear as day.
ie - "oh that's how he did those things. He just uses three balls".
Try to work in a way to produce the third ball as part of the routine - not just as a way to get from a two ball to three ball sequence.
2 in hand/1 in pocket
Your guilt shows a bit here, as well. You come out of the pocket, fist clenched with one finger pointing. Why are you doing this? Yes - you're directing attention - but you're also drawing attention to your hands. Everything else was so open with your gestures - why are you suddenly clenching your fist? Are you holding something in there? These are things your audience will think - and they're things you'll have to think about, prepare for, and obfuscate.
You handled this effect nicely - and it's a great sequence. Most important thing to remember here. Don't drop the balls!! I won't go into why, as it's pretty obvious.
The finale was strong. Your handling was fine and the presentation was excellent. While the clean finish is always a great way to close it - I think the effect could be strengthened by bringing back the red ball as the finish. Perhaps something to think about?
Alright, as usual I've blown enough wind to start a hurricane, so I'll shut my yapper. Your foundations are there, my friend. Now it's all about building the presentation. Great job.