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Any ideas on routining tricks into a show.

I want to build a full show - maybe an hour.

i have some 20minutes shows...

but just trying to think about how to do this - how to sort out the timing - because i guess my problem is i could go out and perform a set of x amount of tricks - but i want routines where one section takes 20minutes - and it might contain 3 or 4 tricks or effects - which make one 'routine'.

if you understand that?

and then move on to the next bit of the show.

so my questions are for any advice on linking tricks together... routining... flow... (flowing the effects together and the routine sections of the show) etc...

Thanks.

The simplest answer by far is to group effects by theme or content (e.g., Mentalism effects using dice), and see where you go from there.

I suppose the best answer is by example, so a favourite routine of mine goes as follows:

(Opening and introductions)
Cards Across (Leap of Faith - Paul Harris and Bill Malone)
Thought of Card Across (Mine)
(Card is signed)
Signed Card transposition (From David Britland's blog)
Signed Card to Wallet (Mine)
(Close)

The full deck is reduced to 20 random cards for the first "cards across" plot, then the same twenty cards are used to choose a single card, the "thought of cards across".

That same chosen card is then signed, switched, and vanished a couple of times, and the final time appears in my wallet or pocket.

The (very harsh) requirements for the routine were that it needed to work under awkward conditions, surrounded, standing and with instant reset, from a shuffled deck with no clean up (although the deck will lose cards to Sharpie tyranny, of course). The only prop or gimmick is the wallet (JOL Plus wallet), which could be a pocket instead - the JOL wallet just makes it more impossible.

There are several linking themes - obviously there are a succession of transpositions, with successively less cards.

Also, all of the effects use two people - this can work with a couple (both would sign the card), or the pair can rotate around the group, so the effects can play to a small crowd.

Possibly the most important link for me is that the effects above (especially with the specific handlings I'm using) are extremely "hands off", at least to begin with - I'm there mainly to facilitate the moment, not to wrestle with it or demonstrate how wonderful I am.

Okay, I like you already.

Your question is not an easy one to answer by any stretch of the imagination.

Here is the words of Wisdom by Jeff McBride, love him or hate him his success speaks for itself.

make a list of all your highs and lows in your life now link the effects you would like to perform that bests describes those times in your life. Again not easy and really have to think in the abstract. What you are putting together is a story, your story.

An example, and they may be silly but it may give you a place to start.

Internal Struggle equals linging rings (events falling apart and you stringing them together).

When you are just two steps behind in life equal dancing cane. (Life just keeps evading you you come so close to being able to grab it but at that last second it slips away...until eventually you have success)

Loss Equals Zombie ball (its a manifestation)

Seperation equals cut and restored rope...do I need to explain.

Now I'm not saying any of it will work, or its how everyone builds a routine but keep it in the back of your head, you may just be able to pick something out. Jeff Mcbride mask routine is all about inner struggle and all the different 'faces' one puts on through life.

As in the above posts it will be easier to string effects together that would naturally go together but really you can link them together through story as well, a combination of the two in my opinion would be great.

Just my thought, hope it is of some value to somebody.

Jing wrote:Any ideas on routining tricks into a show.

I want to build a full show - maybe an hour.

i have some 20minutes shows...

but just trying to think about how to do this - how to sort out the timing - because i guess my problem is i could go out and perform a set of x amount of tricks - but i want routines where one section takes 20minutes - and it might contain 3 or 4 tricks or effects - which make one 'routine'.

if you understand that?

and then move on to the next bit of the show.

so my questions are for any advice on linking tricks together... routining... flow... (flowing the effects together and the routine sections of the show) etc...

Thanks.

You're talking about "modular show building" it's actually how it was done waaaaaay back when... when performers, even under a different name, would go out and work out of the way locations to break in new material and in so doing create complete acts. Some of these acts/modules would be as short as 3 minutes while others ran into the 15-20 minute time frame. The thing is, you have to be very careful to not do too much of the "same thing" For an example, 20 minutes of card flourishing, silks & birds gets boring and quick, even if you're another Lance Burton. Such an act rarely lasts for more than 10 minutes, usually less... my old dove act was just at six minutes.

So, let's break things down a bit and hopefully I can give you a clearer picture as to what needs to be done (on paper), how and why...

1.) You need a fast, simple and "killer" opening, something that grabs their attention and willingness to respect and work with you. This is vital in that it will help you tame the would-be hecklers up-front... it's part of audience management... As to what this opener is depends on you and the kind of act you want to offer, the show SPELLBOUND in Las Vegas opened to Laser Lights and one hell of a big bang (it was deafening) and yet both Blackstones opened with the creation of a most spectacular garden of flowers (current retail cost of roughly $40,000.00 via Owens Magic oi!)

An opener can be the Channing Pollock/Lance Burton styled manip act or something steeped in fast talking patter with tongue firmly planted in cheek... the option really are limited only to your personal tastes and the limitations you place on yourself (as well as natural limitations such as not being a solid comedic artist). The real key here is that you MUST grab their attention and get them on your side in under 15 seconds and then, within the following 15-20 seconds, make them want to be A PART OF the magic rather than just being there and noticing you every once and while as they continue to chat.

2.) FLOW... how will you move from this initial opening into your first interactive/patter bit of business... your segue?

In my old Dove Act the last thing that happened was a newspaper covered Tear-A-Part Vanish of 4 birds followed by an instant black out, three second pause, then a disco piece of music would start. A pin spot would light up one key point on stage where a top hat table could be seen, along with my white gloved hand... it was a card manip sequence but likewise introduction to the larger effects... as the lights came up on the stage I'd be seen in a completely different outfit that was quite "Liberace" if you get my drift. With the playing card theme rolling we introduced 3 very large cards and executed a Triangle Production of a young lady then moved into a Mismade Girl...

... so in roughly the first 12 minutes of the show I did the classic Doves & Silks type manip act followed by a very short card control bit and then moved straight into the grand illusions for which I was better known for doing at the time (do bear in mind, I was 16 and 17 when doing this particular act... that was very long ago). This was however, one module that I used for the full evening show format while, at the very same time, it was a complete act all by itself that could be booked by itself. This is the other point to consider as you create each themed segment; bookability! Can said act stand on its own as a club or theater attraction (whatever your key venues would be)? There is one other "little thing" you need to weigh when contemplating this thought however... how can I lengthen or shorten the act if and when required by the situation?

Sadly live shows tend to have serious time constraints so you may have to run longer than normal in order to help cover a missing act or something that's not yet set, or you might have to cut something short (I've had them drop the curtain as soon as we finished the final part of a bit, just to save an extra 15 seconds or show... it does add up).

4.) The Roller Coaster... every full evening show has to have a beginning, middle and end. That is to say, you need a hard hitting opener as well as a very solid finale but you also need one bit in the middle, that's exceptional... memorable. It does not need to be anything overly fancy or grand. My mentor did the old Orange Bowl Production. When I took over things I coupled that with my version of the Canary, Egg, Lemon & Orange... very simple and enchanting magic. You mention the Rings in your post and they make a great bit of artistic highlight which could, if you have a solid "enchanting" routine, fill this niche but you could go the other direction and do something as cumbersome as a Sub Trunk or Levitation... think about it though and find something that "fits" both, the over-all feel of the show as well as your own personality; both are important.

5.)Mentalism & Magic... ok, this is a bit nit that I pick on frequently in that the two arts are psychological opposites to one another when it comes to how they are presented... that is, if you are NOT a magician and someone seeking to do very solid mentalism. Frankly I don't see that in your case, though I believe you have an "out" as it were, to do so.

Dunninger and several others would often do an early evening program that was 100% family oriented and composed of traditional stage magic and grand illusion but, at the intermission point the kiddies would be sent either to the hotel room or some facility other than the main show room so that the performer could present a more adult/intellectually stimulating form of magic that dealt with the higher functions of the mind and/or things esoteric. It was a very practical division that allows you to "shift gears". On the other hand, if you are just a magician that wants to add the feel of things psychic and/or paranormal there is absolutely nothing wrong with a segment that features routines that hosts such themes but are obviously a magician's trick. There are many, everything from Larry Becker's CASINO ROYALE to the Dick Zimmerman Prediction Chest now manufactured by Malloy Magic (and, I believe, Wellington). Even the old Mental Epic and the current Smash & Stab insanity fits into this mold BUT there is no reason for you to bust your haunches in learning how to do a solid Q&A routine... I do have another couple of "outs" for you though, should you wish to hold to a more serious side of things... you will need a partner however in that you are giving them credit for having these abilities rather than you being the Great Karnack or whatever. This is another popular yesteryear ploy that allowed the small touring magic shows to extend a nice variety.

One more little ditty from the past... many smaller shows even today, do quite well by opening with 30 minutes of magic and then moving into a Hypnosis styled program that runs a good 45-60 minutes. This is a highly commercial package that's appealing to public schools, colleges, civic events and more!


The last couple of things you must consider as you pull this all together is that strong closer I mentioned and most importantly your personal image and how everything in that show applies to who you are and the kind of persona you are striving to sell. YOU after all, are the product; not the show, not the tricks, but YOU.

Best of Luck

Wowza - thanks a lot... some great advice there...
i'll think hard about it.
Ed.