Hello,

Well I've got my first "real" (not for family) shows coming up and am planning out a routine. It's mostly card productions with large portions of flourishes and some other simple gadget based things like cane productions.

I need help tying it all together with a context though, as it makes no sense to just walk on stage and start making a bunch of stuff appear. Here is what I am thinking so far and I would really appreciate some suggestions from more experienced members.

I'm sitting offstage in a shabby old jacket and hat with a cane (or walker) Firstly, my girlfriend introduces me as her Grandpa that has performed magic for 50 years and is here today (I'm actually a very young looking 26). She says my hearing has been going bad lately so let's give him a very loud round of applause to welcome him onstage.

So I teeter onstage slowly and miming a pain in my back. My face is hidden by the large old hat (I'm thinking a fedora). I accidentally drop my beat-up old walking cane, but when I go to pick it up I feel a twinge in my back and can't quite reach it. So instead I reach outwards and produce a cane (I prefer without the silk) Now is where I am unclear on how to take it to the next level.

For my opener I was thikning I drink some sort of potion labelled "from the fountain of youth". The jacket flies off (maybe by a cord tied to something) and I start some simple cane manipulation, spinning it, I take off the hat and balance the cane etc. Then I put the hat on a pedstal and start doing McBride-style backpalm productions to fill up the hat. After backpalms, perfects, split fans and interlock productions, I will do David Regal's "sudden deck 2" and use the produced deck for a flourishes routine.

What do you think of my routine so far and does anyone have some ideas on how to tie in the theme or of how to end the routine? I am really stumped and would greatly appreciate any help (or maybe a better theme altogether who knows)

Thank you,

Fletcher

Fletcher,

You are off to a great start in that you begin with a vision. You quickly establish a character with the old man. The dropped cane/produced cane is a wonderful bit you've come up with. It is the basic formula for drama... you've created a conflict and allowed your character to deal with/solve it.

Then... it seems you wander from that. The card manipulations, while pretty to watch I'm sure, don't seem to be rooted in anything that the audience can latch onto. Think about why this "transformed" magician is doing what he is doing. If the grandpa has actually become young, then there should be reason why he is now doing all these cool things with the cards. Find a motive.

On the other hand... let us imagine that the grandpa is only transformed in his own mind. What the audience "sees" are his memories of when he was a young, virile magician. What the magician then performs doesn't have to make sense IN THE PRESENT, because these are only images of what happened in the past. We see excepts of the young magician performing on stage. We uderstand the main point... he was once at the top of his game.

At the end of this young magician's act, let's suppose he takes a bow, and suddenly finds it difficult to raise back up. We suddenly realize that this magician is actually an old man who was living vicariously through his own memories. He becomes an old man again before our eyes.

Now... how does he deal with that??

Answer that question, and you have an ending for your show.

The above post had some very good points! I have a different outlook on canes these days. MOST people don’t know what they are. I have had a person tell me that they really like the red handkerchief that turn into a silver stick. STICK!

This should be over looked by the spectators because of the image of the older man, as many associate a cane with an older person. I would also have on a fake beard and mustache.

Once you bend down and are having back trouble reach into your pocket and remove a white handkerchief. Wipe your forehead and face with it. Then turn the handkerchief into a cane and straighten yourself upward to a standing position. From there you seem to have trouble with your balance and start to lean to the right side and then the left. Just like the scarecrow in Wizard of Oz.

Once your balance is recovered you walk toward a trunk with your name and the word magician printed on it. Set the cane down behind the trunk and then open the trunk. Pull out a few things and hold them and act like you are thinking about your youth. Remember, MUSIC is everything and is used to get people emotions hooked to your act at this point.

Remove a large poster of you at your prime! Your name and the word magician are on the poster. The picture is live size with you standing in a pose and wearing a Red jacket (if you like). Now hold the poster so that it faces forward and hold it up in front of you so that it covers you just for a moment. And drop it to the floor. There you are now posing as in the poster and wearing a red jacket (because it really stands out) The beard, mustache and hat are gone also. You just did a costume change!

Now go into your act…. I am not sure about the cards in this act. I would more than likely leave them out.

Maybe to close your number, pick up the cane (2nd cane) and do a dancing cane bit. Keeping it VERY short. The cane turns back into your white handkerchief along with some glitter to enhance the transformation. Pick up the poster and hold it upward once more and let it fold down in front of your body. You have changed back to the older man complete with hat, bread and mustache.

Fold the poster up and place it back into the trunk. Rest your hand on the trunk and bow your head as if sadden. Remove your handkerchief and wipe away a tear. Turn and walk away a few steps and stop.

Turn back to the trunk and noticed that you had forgotten to close the lid. Start to take a step toward the trunk but stop. Pause… Hold out your upstage hand and look at it. Act as if you are thinking about the power you once had as a young magician. Hold your pose for a moment then look away from your hand and toward the trunk. Slowly reach out with your hand and pause…….now motion for the trunk’s lid to close. The lid indeed closes on its own. Once the lid had closed hold your pose for the count of three to make sure that all eyes are back on you. Once again look at your hand and then SMILE REALLY BIG!

Face forward and look left, right and center. Pause for the count of three and then grab the brim of your hat and pull downward on it for a small bow. Drop this hand to your side and now wink at the crowd and smile once again. Make your exit.



Best
Ray

Thank you both very much for your input, I will definitely be using some of this and I really appreciate the help.

Fletch

If you're looking for a quick, free read on how to actually create a stage persona, check out my column on that topic, right here in the Café, in the Buffet section. It won't give you all the answers (it wasn't intended to), but it will get you started on asking the right questions.

I also have a few articles I have written on the subject. If you or anyone is interested in these ideas, let me know and I can happily post them here. My pleasure.

Kyle

There's aswell the book called "Foundations" by Eberhard Riese translated from german in english.
It has everything inside how to create a magic act, combining stage personna, effects, stage set up, light...
A lot of german magicians work with Eberhard Riese : Topas, Julius Frack, Wave...

Oliver.

George, I will check out that column right away! And Kyle, would you be willing to share some of your articles please? It would be much appreciated

I am structuring this act a little differently now based on factoring in the advice above, and trying to figure out a motivation for why do the card manipulations. I agree with Magical Dimensions point above that the cards do not really factor into the story at this point. What if I were to make the poster transformation - and the poster has a picture of my younger self, billed as "world greatest card manipulator" or something to that effect. Then, as an old man, I can perhaps attempt some card tricks and complain about arthritis ? this will then make sense if I try the same trick but actually accomplish it later as a transformed youth.

I'm also thinking of how to effect the transformation into the storyline, perhaps the same "old trunk" that contains the poster, can also have something like a beaker/vial with some liquid in it, from the "fountain of youth" or something like that... my assistant (girlfriend) hands it to me, I drink, stagger behind the poster and the transformation is effected when the poster drops.

the only difficult thing that I'm really trying to wrap my mind around is why / when / how would I transform back into the old man. It seems very quick to rip off a wig and hat and coat but a lot more difficult to put it all back on quickly. Or... perhaps I shouldn't transform back at all? I would be interested in hearing what the working magicians think on this topic, or maybe, put yourself in the audience, what do you think they would prefer? Thanks for all the responses so far and I will go read those columns now.

Fletcher

Transforming back into an old man was only suggested if the premise was of the old man thinking back on his youth. With that premise, the old man is not actually transformed, but rather the audience is given a glimpse back in time through the thoughts and memories of the old man. The "transformation" back is merely a return to reality.

If you choose to use the premise of the old man discovering the fountain of youth, magic elixer or what have you, then there may or may not be a valid reason for returning.

My goal is not to write your act for you by giving you specific tricks to do, as has sot of been done above, but to give you points to ponder as you write your own script. The mere fact that you are now giving this a second look, especially in regard to motivation, means that I did what I set out to do. You'll do fine coming up with your own script. Just keep asking questions...

Why is the character doing the things he does?
What is he thinking?
What, as the script writer, are you trying to communicate to the audience?
Is there an underlying theme that communicates a question or a conflict, and is that resolved?
Are there any loose ends left over, and if so, should they be resolved or not?
Is this a comedy or tragedy... does the main character win or lose?
What is at stake for the main character?

Think of your act as a big piece of clay. Sometimes you know what you want it to become, and you set about creating that. Other times it may be more beneficial to just push and pull the clay until it resembles something that you can wrap your thoughts around.

In regard to your thinking on how to effect the transformation, don't put that on the front burner just yet. Nail down your story, if that is your main goal. Methods are a dime a dozen, and can be dealt with later.

Very GOOD advice in the above post!

Yes, when I suggested that the old man transform into a younger self, it is as if we were seeing inside the old man’s mind. He was re-living his youth in his mind which is the reason for his returning to his old self. Get it?

Here is a little method for you to think about when developing an act. This may be the last thing that I will share because I do not what to spoon feed you. LOL…..SO, take it for what it is worth.

A lay person will ask, “WOW, I wonder how he DID that?” While a creative ENTERTAINER will say, “WOW, I wonder how I CAN do that”

With this thinking your answers will come, if you are grounded in the basics.

Good luck.

Best
Ray

You may want to check out Character Development for Magicians by Woody Pittman. It is a booklet with a DVD that offers good information.