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I am making my first foray into public performance (from theory and friends/family). I have the effects I want to use, but before I write the script I would like some input from those more experienced than I. The assumed atmosphere is some form of restaurant table hopping, while working for free/tips.
The effects allow for me to practice three (what I see as difficult) things, cold-reading, muscle reading, and hypnosis, all with a guaranteed success ending.
Methods are simple and direct.

Here is the basic opening sequence.
Polite introduction
introduce three business cards, ask the three spectators to make a simple drawing.
cold read drawing #1, identify drawer
cold read drawing #2, identify drawer
tell drawer #3 that i will attempt to recreate their drawing, but I will have to get to know them a little better first.

from there, there are two things I want to do, but am unsure as to what order to put them in.

The first is a spectator-as-mind-reader routine. This is done with the spectator I told I have to get to know better (the 3rd drawer in the previous effect).
Basic synopsis: I bring out a deck, and have them visually choose a card, and the I do the same. After that I explain that in order to do this they must clear their mind, and be open to the experience. I have some short script (mostly an extension of the subscript) dealing with Lao Zi (author of the D(T)ao De Qing), Zhuang Zi(The butterfly dream), and other East Asian philosophers about harmony, and empty mind. Then I lead them through a short trance/induction. I receive their thought, and pull their card from the deck and place it in front of me. They receive mine and place my card in front of them. I lead them out of the trance, ask them their card, and it matches the one I pulled from the deck. Then i say what my thought of card was and the spectator turns over the one they pulled out to find it matches.

The second effect is basically an adaption of Osterlands bank night. The spectator uses their money, and there is no bet (as per the original). It is here that I use the muscle-reading over the 5 coin envelopes.

To conclude, I would reproduce the drawing of that final third business card.

Here is the dilemma. I think that the spectator-as-mind-reader routine has more drama in it. It has the potential to pull the spectators from their environment, and allow THEM to do something amazing. It leads well into the final drawing duplication, closing up the performance (on the other hand, the final remarks of the first effect lead well into using this effect next, with the logical justification of getting to know the participant to be able to reproduce the drawing). There is no readily identifiable explanation, like the other two have (potentially the spectator would assume some form of graphology and muscle reading). This lends it to be well placed at the end.
Conversely, I do not know if I should end on such a dramatic note, of if i should disperse some of that with another effect. Also, in terms of tips, the spectators wallet is out for the bank night sequence.

Any input would be appreciated.

I have a version of spectator as a mind reader in my strolling (and stage) act. I always have that as the last effect because i always perform two effects per set when strolling as a mind reader. I always find that ending on such a thing leaves a lasting impression on the spectators.

Thank you for the suggestion. I have received advice elsewhere that I should shorten and lighten the routine--that what I have purposed would be too "heavy" for a short non-paying audience. Would you be inclined to agree?
Thank you, again.
Nate

N8,

I too use a similar effect in one of my table sets. I don't labour about the drawing repro though, I think to do so at a table is a bit too 'heavy'. I personally open with a mental card effect. I've explained in other threads, I find using a mental card effect (I don't do sleighty card tricks professionally) helps as an introduction, while not everyone has seen a magician perform live in such an environment, many many fewer have seen a mentalist. So introductory patter is something along the lines of "Good evening, welcome to <venue>, my name's Vanderbelt, I'm part of your entertainment for the evening. Have any of you seen a magician perform live before?" <Acknowledge those that have, engage small talk, take deck from pocket> "Well, I'm not that kind of a magician, I don't do sleight of hand, what I'm more interested in is sleight of mind.. here, let me show you".... quick 2 min mental card effect and then an effect as you've described in your opening post. Again, I don't feel the need to labour the point of how I'm getting the repro - look suitably mystic, ask them to concentrate on their image, throw in a few lines suitable to the image and voila, produce it.

In answer to your second question, I presume you're going into this free/tips arrangement in an attempt to gain experience and confidence in this field. Whether they're paying nothing or £150/hour for you to be there, your standards should be the same. Just because you're not professional, doesn't mean you shouldn't be professional. Make this table routine the one you would aim to go out and perform for pay. The customer's shouldn't experience less of a show because of it. I agree it's too heavy at the moment, but not because you're not being paid for it, it's just too heavy.

Thank you for your insight.

Here is how I have re-worked things so far.
Still start with the cold-reading/graphology on the first two spectators.
Break that effect, ask for a coin, and perform the beginning of Predic-A-Date from Mark Strivings book.
Go into the spectator-as-mind-reader routine, but significantly toned down from my initial post.
Finish with the Drawing dup from the first routine.

This significantly shortens the routine, removes the need for table space (from the initial Bank Night routine), and lightens it up.
Regarding the Predic-A-Date, what do you think about leaving that with instructions to open at home? My only problem with that routine as published is I do not see a rationale for the envelope unless the prediction and coin are going to be left for a significant length of time.

In regards to your advice about starting with a card effect--I do think that it is a good way to broach the magician vs. mentalist idea with a layman, but I feel that the card effect I have is the strongest piece in there, primarily because of the spectator involvement.

I am conscious need to be polite end genuinely concerned about the well-being of the customer. That said, the establishment is also most concerned with serving the customer consumables, not entertainment. It is important for me to help the establishment reach their goal, instead of just my own. I firmly believe that I would need to be a liaison between the customer and the restaurant, making sure their needs are met, first and foremost. My opener first identifies me as an employee of the establishment, quickly followed by asking if there is anything I can take care of for them. I won't turn myself into a waiter (unless I get double hired), but I can let one know if something needs to be done before performing.


I would certainly hate to perform anything sub-par. I in no way want to add my name to the list of performers that make people gag, cringe, or run away screaming. Hence why I am on here getting advice from those more seasoned than I

Again, thank you for your help and advice.

I'm a big fan of leaving a reveal with a spec until later. My final reveal of my 2nd table set has just that, usually (from advice from Looch), I tell them to wait until I've moved on to another table. Then, when they do and there's the gasps of amazement, they're looking over at you as you approach your next table, something your new table won't be able to miss, which gives you such a good introduction. Also, I've found it's quite a nice ego-cooler for myself!

In terms of what you've got - give it a try with some friends, see how long it takes. If I'm at a table for longer than 10 mins then I'm doing something wrong. 5 is my ideal. For me, the most important considerations when considering table routines are a) how many people can be involved and b) how long is it going to take. Things like angles etc come way after that. If you can do one effect that includes all/most of the table, ideally has a bit of variety in terms of 'abilities' you're displaying, then that's enough.

Thank you for the info!
I'm working with making a script for my updated routine. I don't think I could accurately judge the time without one. I hope to have it posted here soon!

Everybody's been wonderful, thank you all for your guidance and advice.

Nate. I believe that for a 'first foray' into performing at a table you are attempting TOO much. For the first dozen shows keep to a short--6 to 8 minutes, maximum act.
Until you are more sure of handling a table audience keep things to a minimum. Possibly a short--very short opening & the spectator as mindreader UNTIL you have the experience of working under table conditions.

1. Cut the 'polite' opening. The minute you say--'Good evening ladies & gentlemen, I am a magician OR a mindreader- or I am going to show you some magic'' etc. You MAY lose them.
2. Find a short 'trick' opening as one I used to use.
Approach with a note pad. 'I have come to take your order ladies & gentlemen'.
Now whether they say they have ordered or not..you go on..'Oh not an order for food. An order to show you some magic or in your case--read your minds, while you wait-to be served.'
Then the notepad (in my case)changes into a deck of cards and I would perform a short card trick. Note..short.
I have my own notepad to cards or there is my friend Gary Jones's version. Made up in 2 minutes.
Karrell Fox would approach a table and pretend to pick up a sponge ball off the floor. Has anyone dropped this? No. Look at what happens.
Then he would turn it into 2 sponge balls.Then he'd go into his routine.
Another Fox approach was to have some business cards printed 'You are invited to watch the Close Up miracles of professional magician, Karrell Fox'.
He'd hand these out then say..'May I join you and show you a few miracles?'
I think this might be adapted to your giving out 3 cards to have the drawings on.
It is novel and SHORT & straight into 'the Act'.

3. Please REMEMBER: They are there to enjoy a drink, a meal or a night out..SO NO oriental philosophies etc. No strange theories. You are an intruder. Be a friendly, polite one.
Entertain them--with mystery.
Keep the 'longer winded stuff' for when you do cabaret or stand up.

4. And yes-- The spectator as mindreader is the best dramatic finale.

Allen Tipton

Thank you for your help. I will keep all this in mind as I move forward.

Allen Tipton wrote:Nate. I believe that for a 'first foray' into performing at a table you are attempting TOO much. For the first dozen shows keep to a short--6 to 8 minutes, maximum act.
Until you are more sure of handling a table audience keep things to a minimum. Possibly a short--very short opening & the spectator as mindreader UNTIL you have the experience of working under table conditions.

1. Cut the 'polite' opening. The minute you say--'Good evening ladies & gentlemen, I am a magician OR a mindreader- or I am going to show you some magic'' etc. You MAY lose them.
2. Find a short 'trick' opening as one I used to use.
Approach with a note pad. 'I have come to take your order ladies & gentlemen'.
Now whether they say they have ordered or not..you go on..'Oh not an order for food. An order to show you some magic or in your case--read your minds, while you wait-to be served.'
Then the notepad (in my case)changes into a deck of cards and I would perform a short card trick. Note..short.
I have my own notepad to cards or there is my friend Gary Jones's version. Made up in 2 minutes.
Karrell Fox would approach a table and pretend to pick up a sponge ball off the floor. Has anyone dropped this? No. Look at what happens.
Then he would turn it into 2 sponge balls.Then he'd go into his routine.
Another Fox approach was to have some business cards printed 'You are invited to watch the Close Up miracles of professional magician, Karrell Fox'.
He'd hand these out then say..'May I join you and show you a few miracles?'
I think this might be adapted to your giving out 3 cards to have the drawings on.
It is novel and SHORT & straight into 'the Act'.

3. Please REMEMBER: They are there to enjoy a drink, a meal or a night out..SO NO oriental philosophies etc. No strange theories. You are an intruder. Be a friendly, polite one.
Entertain them--with mystery.
Keep the 'longer winded stuff' for when you do cabaret or stand up.

4. And yes-- The spectator as mindreader is the best dramatic finale.

Allen Tipton

Seriously could not agree with more with the bulk of the above, your first foray? What you propose is ambitious for a first foray, perhaps you should proceed with your idea as an end goal. First learn to know what it is to actually go into table hopping start easy, simple not to taxing on you or the spectator. Learn to perform in public then start in on your routine.