
But surely with the bulk of escape work, the securing must have to take a fair while, emphasing the difficulty the performer is going to be in.
Otherwise the escape would not be believable to an audience?
It's really where you need a very good compere, spieler, or dramatic voice over to keep the audience interested.
The real problem, depending on the escape, must be.... HOW long can you hold an audience's attention before making the escape.
And, is the escape to be visible or like the sub trunk, partially concealed.
One of the great things about David Copperfield's Fires of Passion, is how quickly he is secured and then that agonising, brilliant, pacing of the escape, when he is suspended , upside down. strung to a burning rope, with both fire and sharp steel rods beneath him.
Near the end when one, later a second of the ankle attatchments round his ankles breaks...wow what a marvellous piece of Theatre that is.
I know he is still secure and those attatchments breaking are a set part of the build up

; the genius director's touch,making them look accidentall, always, on every viewing, makes me sweat with fear!
Now that's the sense...emotional..that is rarely used by magicians.
And when he clings to the descent rope, safe, the circular platform from which he was suspended plunging down into the fires below..THAT IS a bang, crash, wallop, slam, Finale. Then the audience's tension is released
Applause. Applause!
Allen Tipton
Began magic at 9 in 1942. Joined Staffs M.S at 13. Nottm.Guild of M. (8 times President. Prog Director 20years)IBM. Awarded Magician of Month 1980 By Intern. Pres. IBM for reproducing Dante's Sim Sala Bim. Writes Dear Magician column for Abra. Mag.