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Hey guys. Right so I'm sat on the overly comfortable cream leather sofa in my school common room, when my phone buzzes. Answering it I find it's a girl I know from the nearest magic shop, who I know vaguely. A lovely girl, she's offered me gigs before and yesterday was no exception. She informs me that the Women's Institute in a neighboring town are having a Christmas party and are looking to hire a magician. They want someone to perform a 45min show and, never one to miss a business oppertunity, I gladly accept; pleased I've pocketed another 90 or so quid.

It's not until 5 minutes later that I realise I don't have a 45min show...
Bummer!

I'm a young, close-up magician. I currently only work locally and usually do table-magic for corporate events. I'm no stranger to the stage, and have performed on televised talent shows and small slots at school showcases and other events. However, the longest time I've spent on stage is probably only quater of an hour.

I have a large repetoire of close-up, mentalism and comedy magic and I'm confident I have enough material to make a show, however I was wondering if anyone could give me some tips. I know it's going to be a speedy job to make a show in such a short time but as a competent performer I'm already over half-way there.

If anyone has any tips or ideas on how I can routene my set or have any ideas on what tricks, jokes or themes I could incorporate into my act I'd love to hear a response.

Thanks very much guys...

mmmm well your opener wants to be something big and visual (no, not that, I don't think the WI would appreaciate that ) maybe some sponge balls, silks, ropes, something that's going to grab their attention.

Perhaps you could split the show in two, the first half could be 20 minutes of stage type effects, as you've said you've done that already. Then maybe mix it up abit in the second half and do some more interactive type magic, either call a few people up on stage or go into the audience and do some sort of walk about stuff.

I've never done a gig for that long in front of a big audience so these are only rough ideas. I'm sure the more 'veteran' magicians will be of more help.

From a stage I always like to start with a 4 or 6 envelope divination routine. Have your volunteers come up on stage if possible, or if not wander into the audience yourself and engage with them on a very personal level. The actual routine would only take 5 minutes, but a combination of organising volunteers, chatting charminly with them and the audience, and hamming up each divination can easily eat up 15 minutes.

Follow this with a swami number prediction choosing another volunteer. Ask the audience to put their hands up if they feel they are in any way psychic or intuitive. Chat amiably about your own "powers" or beliefs. Choose one spec who you feel most drawn to to be your volunteer. Ham it all up. Get the volunteer to call out the number they're thinking of. Get another audience member to shout out the number you've written. Applause, asking the audience to recognise your volunteer as a very intuitive person, having her stand up and take a bow - all eats up another 10 minutes.

Then have the swami volunteer join you on stage (now that you have "a link"). Do a centre tear or billet switch routine from the stage. Really ham it up. No rush. Another 15 minutes have gone by.

Conclude your show, then say you're being drawn by some unseen force to another member of the audience (act like this is very weird). Run into the audience and ask someone to name a card, any card (laugh with the audience at the cliche of it all). Take out an ID, present the cards to another audience member and ask them to shout out and hold aloft "the one card in all the deck that before I came on stage I had the strangest impulsion to turn the wrong way round in this deck of cards!"

Applause, exit stage left, another job well done.

In all seriousness, and I know I'm going to be the bad guy here, pass the gig onto someone who does have a show. You are talking about a professional job, and for that you should always provide the best product. There is no shame in knowing your limitations.

Throwing a show together in short time rarely produces something worthy. There is a _world_ of difference in doing a fifteen minute close up set and three times that on stage. Stage routines are very often less about the mechanics of a routine than the presentation, and that takes a long time to develop.

If you go ahead with the show and bomb, you run the risk of getting a poor reputation as a performer. The person who recommended you will look bad to the client, and everybody feels bad. However, if you pass it on you will (ironically) appear more professional, in that you are aware that you may not be ready yet.

The problem, then, is how do you get ready? The short answer is that there are no shortcuts. My advice on that would be to build up a number of 15 minute slots - a strong opener, something new in the middle and a good closer. Do as many of these as you can and in a year or so you will find that you have over an hour of tried material. It is at this point where you can look at your repetoire and cherry pick the best bits for a show. Then you will be ready.

I'm sure this is not the post you wanted to read, but I do feel it had to be said. I wish you the best with whatever path you choose.

Take care, Ian

I'm glad that Mr. Kendall said it, because I didn't want to be the one. He is 100% correct. You shouldn't be accepting jobs for which you do not already have an act. That's not to say that you can't start somewhere, but with a bit over a week and no real show to offer, you have done this young lady that offers you jobs a disservice.

I know, you have bits that you can piece together. But that is a far cry from actually having an act.

I'm sorry, but you were wrong to accept this gig. Take Ian's advice - it is excellent.

Mike.

Having re-read the original post, I feel (call me psychic) that the lad is ready to take the next step. And heck, we all have to jump in sooner or later. I've heard too many horror stories of young magicians being held back by their local magic club, waiting years before the wise ones decide they're ready to go public. If the lad feels he's ready, then he probably is.

If he dies, he won.t be the first and he certainly won't be the last. But if he genuinely is a confident about himself and his ability as he sounds, I think he should go for it - as the young folk say.

But don't quote me if it all goes pear shaped!

BTW with a week or so before the booking, if he bails now I doubt he'll ever get another booking from his contact again.

I have to agree with the holding back for now.

Recently I have had an enquiry in a similar vein to which I have responded by letting the potential client know that if they wish me to supply stage element to the evening it could be no more than 10-15 mins as that is all I am comfortable providing as my main work is close up.

The worst thing you can do is plaster something together at the last moment as it will not look slick (even if all the effects go well) and may harm your reputation for repeat bookings.
I'm sure the impression you would rather leave any client is one of "Wasn't he brilliant!" over "The close up magic was brilliant but the stage wasn't as good".

by all means work on a stage act but certainly get it ready first before taking a booking for one.

themagicwand wrote:Having re-read the original post, I feel (call me psychic) that the lad is ready to take the next step.

I agree, I think that he is ready to take the next step. Then again, click here.

I'm not saying that this young man isn't ready to put together a show, only that it is highly unprofessional to accept a gig that you do not have a show for. We are already looked down upon as being second class entertainment, so why add fuel to the fire?

I further agree that he is almost required to do the show at this point. I still stand by the fact that accepting a show without_actually_having a show, particularly with less than a fortnight to prepare, is terribly, terribly unprofessional.

Mike.

Occupation: Student/Popcorn seller at a Cinema/Part-time magician
Interests: Magic and Parkour

from your own profile my friend, the only sensible way i can see for you to achieve this show and come out a winner would be to either change the format and to a round of table magic or get a friend with a video camera and a projector / large tv to film you doing the close up stuff on stage for the audience to see ala lecture style, worked for me translating coin work for stage.
but then i did have my own kit and 6 months to prepare and a camera-woman / wife who new what to film and when.

Another idea. Do you know a juggler in the area? If you can get ahold of one split the show. Sure you already agreed to the 90 so you won't be making a lot of money, but the exposure can be worth way more. If you blow it all those folks in the audience will NOT be hiring you in the future nor will this venue and the people that recomended you will probably think twice about calling on you again, (harsh yes, but reality bites) However put on a great show and that easily turns around. Plus you will get on good terms with another performer in an allied art who may pass some shows onto you in the future or also split shows. It may be worth sharing the money.

Jumping from 15 minutes on stage to 45 is a huge jump. And yes at one point you have to make the leap but this is quite the leap. And reading some of your previous posts you may be lacking in experience to pull this off. Again we don't know each other and you may just be the person for the job. At any rate good luck and think postive and this won't kill you no matter what the outcome.

But I can't let this go without saying that I'm in complete agreement with Michael on this one. This is not very professional and does make it harder on professionals, (or part time pros)

Thanks very much for the advice everyone, particularly Ian Kendall who I had the pleasure of chatting to briefly at the Edinburgh Festival (in all honesty I doubt you'll remember it but simply being able to witness your muscle pass was a wonderin itself!).

In all honesty I'm inclined to agree with you all on the idea of turning the show down and if it was anyone else in my position I would have offered the same advice. However, I need to explain that the gig is not definitive yet, my friend at 'Jesters' magic store has simply passed my details on to the organiser and asked to contact me; which she hasn't done yet. Given the oppertunity I will certainly attempt to convince the client that table-magic or a shorter show would be preferable. Despite this I thought it would be a good idea to throw some ideas together in case I was forced to do an entire 45mins but on reflection I may insist this be shortened.

My gratitude must also be extended to 'themagicwand', your tips and advice may prove to be very valuable and there are certainly some ideas I'd love to expand on, whether doing a show or not. May I also thank you for your 'psychic' faith in me, much appreciated?

In response to Bmat's idea I do know a fair few jugglers (my brother coincidentally being of a pretty decent standard) and this may be a realistic and entertaining possibility. Thanks for the idea.

If anyone else has any ideas I could incorporate into a show I would be very grateful to hear them, whether I use them in a fortnight or they become ideas for a more developed show many months down the line.
Thanks everyone, keep posting...

I am no veteran magician but I ran into a similar problem. I hadn't done a show before and had the opportunity to take one up. I asked for advice and everyone told me to decline, as I (like you) were asking for performance tips and tricks that would be suitable.

Personally, I like a challenge. In school I didn't ever do the paper until the last minute, and when I did I got an A. I was confident that I had the material, so I did the show and it went off without a hitch!

I read your post and although your show seems to be more professional than mine was, you also seem to have more experience. If you are confident that you have what it takes I would say certainly go for it! You can't spend all the time practicing and putting off oportunities because you might not be perfect for it.

Take a chance, and when you succeed excel you will feel incredible!

get your brother with a video camera and a projector / large tv to film you doing the close up stuff on stage for the audience to see ala lecture style, worked for me translating coin work for stage

.

this is certainly a way to go in the future, with most video cameras having a webcam feature and projectors being relativly cheap thease days you can kit your self out for around £500, add a cheap laptop or hardisck recorder and you can flog them a dvd of them being magiced.
i have a similar setup at discos because people love to watch themselves dance and for the magic part of the show its a bonus see above.

that reminds me iv'e some editing to do.

Firstly, for a stage show, you are vastly underpricing yourself. Secondly, you need to ask if they have a raised platform or stage and do they have a sound system (depending on the number of people you may need one).

Consider effects large enough to be seen from the back of the room such as silks, ropes, jumbo cards, large equipment, guillotines and steer away from ordinary sized playing cards or coins etc.

Consider using volunteers on stage and you have time to have some fun and byplay with them (ask them their names, what they do for a living & where they come from - each can open opportunities for comedy)

Consider doing a couple of effects to music to add variety.

Consider doing a range of different effects for variety.

If I was in your position with only a week to design the show and rehearse i would steer them towards what you know (ie. how about table hopping ?)

agreed. Stick to what you know, or what you know you can ADAPT to the stage. For example, as anyone who has seen Paul Daniels perform will know - you can do a Chop Cup routine from the stage just as effectively as you could close up. Ditto the Sponge Balls, if you know any sponge ball work, you can adapt a simple close-up routine to a stage routine, and waste a few minutes selecting audience memebers etc. to come up and help.

I've performed Professor's Nightmare in front of 300+ people as recently as 2 weeks ago, without anyone reporting any difficulty seeing it (my wife, who is as blind as a bat, was sitting up the back and could see without any trouble).

Also, if you know a simple find the lady type thing, and have some jumbo cards lying about...finally, if you have a copy of Mark Wilson, there's 101 things you can build with washing up bottles and sticky back plastic that are suitable in there that you could quickly cobble together.

How about a simple 'Clippo' type thing, where you have a list of objects (I have a list of all the James Bond films, and have the theme running in the background when performing) printed in a list, and you run a pair of scissors down the list, stopping when the audience say. Of course, the blank DVD case you have given to a voulnteer beforehand has the DVD in it that the rest of the audience stopped at...

I'm sure you get my drift. There's plenty of 'smallish' things that you can do both close-up and on stage. Also, if you haven't got time to prepare a proper routine, do it to music. I perform my Zombie, Stratospheres, and Linking Rings routines to music, and have done others in the past, it wouldn't work for everything, but can work for some things.

If you don't already perform Marc Oberon's Oddball, you can pick that up for just under £15, you can learn to perform it in minutes, and work out suitable patter quite quickly. You also need 5 people to come up and help, and can be used close-up in future. Worth a look if you don't already have it.

Hope that helps!