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ades888 New user 91 Posts |
Hi Phil,
I've seen your show a number of times over the years in Sydney, both at public shows and at corporate events where you have been kind enough to allow other magicians like myself to attend to learn, which is greatly appreciated. Having seen the how in various forms over the years, I wanted to ask what your secret is to keeping the show fresh and relevant to changing audiences and tastes over the years. Also, what's your advice for honing a performance piece and the overall show down to the sharpest one possible? For example what's your thought process and goals when looking to add a new piece (or remove for that matter) to the show Thanks Adrian Saw |
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Thanks Adrian. The offer is there, as it has always been, to see first-hand why the act works. If anyone else reading this would also like to be a guest of mine at any one of my corporate shows here in Australia - and it doesn't matter which city - please feel free to contact me. Oh, you also can contact me too if you want to buy my lecture notes
You've snuck in a few questions there Adrian so I'll just ramble and hopefully end up answering them. My aspiration has always been to give an audience a sense of wonderment and awe, whilst simultaneously having them roar with laughter (and of course, for the right reasons). I don't want to just amuse my audience with this thought, I want to convince them. So much so, that my presentation of magic is not merely acceptable, but highly desirable. The stand-up, comedy magic act that Philippa and I perform is quite intricate in that various plot lines are running simultaneously, resolving themselves by the end of the act. I didn’t sit down at any one point and decide to write out this act but, never-the-less, it is very much a planned evolution. A lot of thought and practical experience has gone into structuring the act over the years, as Philippa and I have fine-tuned, changed, added to, and thought out the proper psychology for each routine. And also, in which order they work best to emotionally hook an audience and take them on a little journey. It’s a psychological attack designed to king hit the audience emotionally. It’s not just a question of learning the sleights & the mechanics of magic. You've got to have showmanship, stage presence and be an entertainer. You've got to have empathy; you've got to think like the audience. My aim is to have people want to see me, not my magic tricks. The magic must of course be strong and memorable, but it is the character that must become memorable. The environment we perform in also plays a direct role in the way our act is received. People who book the act are sent a strict and precise plan as to how to set up the room so that our show will have every chance of succeeding. The results speak for themselves. By having this overriding concern for audience appeal, I choose magical effects that not only achieve this but also coincide with my on-stage persona - that being a larrikin or rogue who is both an approachable and likeable ‘cheeky bugger’ …a practical joker, an expert trouble maker. I’m real,genuine and have no fake smiles. I have witnessed shows that are so saccharin sweet and nice that they end up being well, offensive. I don’t wish to be one of them. As far as the majority of the paying public are concerned it also explains the success and popularity of Roy Rene (“MO”), George Wallace (Junior & Senior), Paul Hogan, Dame Edna and so on. Also ask yourself why the ratings are so consistently high on shows such as the “Footy Show”, “Just for laughs” or “Just Kidding” or the “Funniest Home Video Show.” To deny it is to deny the Australian ethos. With this persona then, I can quite often push the envelope as to what some magicians perceive themselves to be or at least should be. I believe that the audiences that I perform to are able to tell that I’m a cheeky devil. I have my own line marked out. All of the time I walk this line with big clown shoes on. Sometimes I may teeter over but thankfully I generally have the sensibility to know this, and get back on the line and regain my balance. This is what I believe makes the show exciting for an audience member… I’m not just another ‘nice’ guy doing tricks. I adapt to and deal with a lot of variables every show. This duck & weave situation keeps me nervously on my toes and ensures I remain fresh. Doing thousands of performances over the years for all different types of crowds and venues has enabled me to know instinctively what I can and can’t get away with in certain situations. I’m very much on the edge, but the audience can also see that I’m professional in what I do, and all of the one-liners and bits of business that happen in the show are done in the light of comedy, and in no way vindictive or purposefully hurtful towards the spectator. So Adrian I believe the trick is to have the will to discover what makes you tick and to carry this knowledge along with you into a focused on-stage persona. To make this discovery is very difficult but hugely rewarding because you will have found your purpose, your destination. Once you know why people like you, and you’re sure of your characterisation, then everything else will fall into place... from costumes, to wit and the one-liners, to the type of magic performed. You have your own personality Adrian – so look through the grease paint and false nose and discover it, then beat it into shape. Don’t fear failure, fear mediocrity. The more you try things and the more times you fail the more experienced and polished you become. Researching and having a constant thirst for knowledge definitely helps, and so does a lot of trial and error. Very rarely does someone pick up a trick, and bang, they have an entirely entertaining routine that they couldn’t possibly add anything else to, or change in any way. In the process of creating a new routine, if the audience laughs at a new bit of business, or at an off-the-top-of-the-head one-liner, try to recreate that moment in the next show. Don’t get lost in appreciation of sleights mate but rather, see yourself as a versatile performer or personality; an entertainer, if you will, who uses magic as a tool to present your particular persona. I'm told by agents and bookers that I'm a “safe” corporate entertainer… one of the acts that can be relied upon not to fail in front of their clients. I have to live up to that… and also to substantiate the higher performance fees. I’d like both the bookers and the audience to think that I’m Australian, likeable, extremely entertaining and worth the money. Presently I have about 3 hours of audience tested material to choose to work from, but my act has to have continuity and meaning so I cannot just present a series of unrelated effects nor can I present a totally new act at any one outing. People book what they have seen and any large bulk of new material must be up to or better than what was originally experienced. In other words, a corporation or an entertainment agent wanting to book Phil Cass is not looking for a $1,000 act. They have much higher expectations. If it ain't broke, why fix it? (…but if it is broke btw, gaff it!) So it is presently a slow process for me to add new material. The time I spend on working up new material is very hard to quantify because I'm constantly trying to think up new bits of business and new methods to try to evolve the act further. I make sure I try a new bit, or a new magic item, 12 or more times before keeping it or discarding it. If I can’t make the timing work, or if it just doesn’t really suit my character, I’ll get rid of it, but not before giving it a good chance, in a lot of different ways. I will place a new line in different parts of the act or I might try different inflections in my voice over and over just to try and make the new bit or line work. I come down on myself pretty hard too. I very much compete with myself. After every show Philippa and I chat about it, the flow, the audience reaction, my timing (which is a crucial factor in performing comedy and magic), and analyze it to see if anything could have been done better or maybe not done at all or if we liked any new bits that came along in that show. We take notes. Another excellent fine tuning method is to video all your performances, not only to learn of all your idiosyncrasies in the present but they can be used for your future ROFLMAO entertainment pleasure. Believe me, you are your own worst critic! Oh, and I always ask other entertainers (not just magicians & friends) if my show still looks fresh and if they can see anything that I can improve on or to change theatrically and so on. Working on cruise ships is good for this. Told you I’d ramble. I hope though that there’s something there that you can hook onto. |
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Sean Macfarlane Special user 880 Posts |
Hi Phil, love listening to your wisdom on here. I am keen to get your lecture notes. Are they available through E-Book? If so I am on it right now
How do go about raising your fees? Is it a gradual thing that happens as you grow. Love to hear your thoughts on this subject. Sean |
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ades888 New user 91 Posts |
Thanks for taking the time to share your thoughts here!
Will read that over a few times to let it sink in! Cheers |
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
I see you ended up purchasing the lecture notes Sean. Many thanks.I don’t know what stage of your career you’re at Sean or what style of magician you are so my answer here to your question will have to be general so it can appeal to all.
My first real corporate job was way back in 1984... I didn’t know what to charge. That year I was being paid $300 for an afternoon (3 hours) down at Fisherman’s Wharf so I used that as a yardstick… I figured that having the same fee for only 30+ mins instead of 3 hours seemed fair (?!) It was an Awards Dinner for the Suncorp Insurance Company and it was organised by my brother, Marshall, at Sea World on the Gold Coast. I did well. (Tom Ogden and the late Terry Seabrooke were my inspiration.) While my brother was thanking me side-stage for not letting him down, the CEO came over. He asked Marsh what they were paying me. Marsh replied, "$300". The CEO raised his eyebrows, said "double it" and walked away. From that moment on my fees went boom. 30 years on, I have now performed over 5000 gigs. My fees over the years have fluctuated depending on the type of gig and how good I was being perceived to be. Cruise ships are one thing but up to 5 figures sums have been paid for the corporate comedy/magic act and also several major 5 figure ones too, going close to triple figures on a couple e.g. the Grand Prix Ball where I produced amongst other things, 2 ponies, Miss Indy in a racing car, and an elephant; I did an underwater escape for IBM in 1988; 4 car appearances with the one in 1995 being my favourite… I made a Hyundai car appear and then transformed it 8 secs later into their new station wagon. I don’t know who said it first but people who expect nothing are seldom disappointed. I guess I could have finished my answer there Sean but to add meat to this answer… sheesh, here I go again… why is it that I can’t answer a question without going too far in-depth?! This week at The Magic Café has really developed into being a week of self-discovery and self-awareness for me personally. I really don’t know the answers... it’s just my story that’s all... and my story is not coming from any exotic form of narcissism on my part either... just that, as I was about to say... it might help and you might be interested to understand my beginnings and how I knew it was time to turn professional and what to charge. In late 1983 I found the courage to go busking in Brisbane's Queen St. mall. (Took a few mates with me to ensure I drew a crowd & to throw money.) After arriving home, I sat on the floor and counted the coins... $100 in 2 hours. Whooshka! I kept busking. (This is where I also learnt to play the pea & shell game for real.) One night a lady asked me to perform at a Lioness’ Club (part of the Lions Club but they were all women). My fee was $50. (I can’t believe it but I closed the show with the Hippity Hop Rabbits!). At that function a socialite lady in the know (from Amie’s Jewelry shop) took a liking to me and my Aussie style, and thought that I would be a treat to have at a charity fund raiser she was organizing for the Blood Foundation. For my second gig I did 3 hours of walk-a-round for $0.00 fee. I was however an immediate hit… and as luck would have it, got a picture in the paper next day in the socialite pages… as a consequence I became the hottest thing to have at your party or function in Brisbane/Gold Coast. The snowball to the corporate world was set in motion. I had simply gone out into the streets, grabbed opportunity by the throat and dragged it inside. So by mid-1984, I basically had no choice but to turn professional. I was flat out performing… private engagements, kids parties, shopping centres, weddings, close-up at 3 night clubs between 10.00pm and 1.00am twice a week, The Crest Hotel on Wednesday nights, Fisherman’s Wharf beer garden on Sunday arvo’s, Friday nights at The Pancake Manor, Saturday lunches at The Breakfast Creek Wharf Restaurant, and recording a spot on a kids TV show every Monday as Mr Juicy. I had to make a decision… keep playing professional football & selling insurance to supplement my footy contract or sell me ...simple as that. If magic is your chosen destiny Sean and you have discovered your performing style you must also decide what you want to accomplish and then develop skills to assist in the accomplishment of these goals. Skills are necessary not only in the performance area but also in the business area - that being, the marketing of product and skill. In showbusiness never be anonymous. Make a noise! I'm not saying that you've got to be a loud mouth braggart and boast about your efforts. Just make sure that the right people know about them, that they recognise who & what you are and what you've done and what you are capable of doing in the future. The word showbusiness is made up of two words. There is a clear separation between the two words, yet they are so closely related that they become one when the optimum result is achieved. To make a living out of performing magic, one has to be able to adapt to many varied performance opportunities. The more you can adapt, the more progress you make in your path to becoming a professional entertainer. I believe that you create your own luck. To this end, I embraced all avenues of performing magic over the years and for all sorts of fees. You name it, I’ve done it. In the early days I tried to score as many gigs and type of gigs as I could just to get as much on-stage time as possible. I got to a point eventually where I discovered what I was good at, what gave me & an audience the most enjoyment and what was also financially rewarding. I particularly like performing the up-close and personal magic (especially street magic with or without the cameras in tow). When performing close-up, I love the brain explosion… the extended eye blink combined with that slight backward head jolt! I have enjoyed watching David Blaine's growth & success. A huge chunk of my stage act can be done close up, because that’s where it originated. I still occasionally perform some walk-around magic at well-to-do cocktail parties, or when the job could generate great publicity, or lead to more lucrative engagements. (My difficulty is that, due to the demand for my floor show, I simply do not get enough chances to perform close up anymore. Hence, my ability to learn and polish new close-up material is hindered.) It’s interesting to note that very early on I learnt to absolutely refuse to work as an 'atmosphere magician'. That's where you and several other variety performers are hired to walk around entertaining the guests. They don't really want you, they want someone to dress up and do tricks for them. And generally it's crappy pay. Not everyone is in it for the money but from my experience, if making a high income is one of your goals then close-up has limited earning potential compared to comedy/magic stage act, and in my opinion, unless you’re on television it will generally stay that way. My preference these days is for stand-up, comedy magic but don’t get me wrong though... if the bottom fell out of my business, I’d be doing close-up in a second... but I’d probably have to be working 7 nights a week and still might not go nowhere near the amount I’m earning now for stand up. My progression to performing on stage came from working at the Fisherman’s Wharf beer garden on the Gold Coast for 5 years and a few deep down feelings. One, I’m lazy. I’m able to perform to more people at once doing stand-up, rather than performing the same material over and over again for small groups of people. Consequently, I believe there is more perceived glory, public recognition, respect and as it turns out, stronger financial reward. Two, there are so many walk around, close-up atmosphere magicians that it is easy to get stuck in a general price range, and never really be able to break free from that. Even though close-up seems more difficult technically, I think that it is actually more difficult to keep say 500 people entertained all at once. Stage performance based on personality utilizes different skills. If it wasn’t more difficult, there would be more of us! There is less competition in the market of stage performance. Therefore, if you have got the goods, and can market yourself successfully to your target market, then you will be financially better off. I proceeded to buy large illusions and I toured and performed these illusion shows in clubs & theatres mainly in the first half of my career. I’ve also been lucky enough to have had the opportunity to do some really big budget corporate production illusion shows. Generally speaking, I reckon there’s too much huff and puff in large illusions, both on and off stage, for far too little in return. These days, if they want the big stuff, they pay the big stuff. I have always been a firm believer in always pushing your fee higher and creating/working in the correct environment for your act to be seen in the best light. You earn more & you are treated with more respect both from clients and from production people. For way more than a decade now I have been in the fortunate position of being able to decline work. I have performed for several Prime Ministers over the years… I’ve even had Bob Hawke in the electric chair… but a few years back I said no to performing for ‘Little Johnny’ because they wanted to put me on way too late in the night. You’d think for that one I’d smile, take the money and run. But no. Strangely I get a weird sense of pleasure in being able to say no to jobs which could compromise my personal standards. You’re only as good as your last gig and after ‘dying a tortuous death’ on stage in 1986 for all the wrong reasons, I swore I would do everything in my power to have my production requirements taken into account when planning for any function that I was booked for... and in so doing, I could avoid breaking some of my golden rules for my style of interactive comedy/magic act... 1. Always work on a 60cm stage, along the long side of the room not the short end 2. No dance floor in front of the stage 3. Go on after the main course and before dessert (& going on after entrée is better than going on after dessert) 4. Make sure the audience is focused before being introduced 5. Always follow up on your production rider and always do a sound/lighting check The very moment you break these golden rules for whatever reason, you find out that you shouldn't have broken the rules again! It usually ends up being a crap gig... with the production & staging letting you down. We are talking corporate here of course and speaking very generally but subject to the merit of each opportunity to perform, I truly do try to keep my fees up and tend not to get into a competitive race with other entertainers. If they want Phil Cass they will pay my fee. If they just want a magician because they heard magicians can be good fun at a function then I will no doubt lose the gig to a cheaper act. Assuming you have developed a strong act, have a high fee and are not willing to compromise on fees or on production, you do lose a few gigs here and there and you don’t do as many gigs, granted, but your integrity will be kept intact while still making lots, if not more, money than all the cheaper gigs put together. Plus your performance will also surpass the client’s expectations more than 9.9 times out 10. Word of mouth advertising will then be at its strongest. So the very next time you get a call and you know that they want you and not your magic, just add a huge chunk on to your fee... and tell them firmly... now hold your breath and be sure to wait out the pregnant pause. Congratulations. I was one of the supports for Frank Sinatra & Whitney Houston at the Sanctuary Cove opening on the Gold Coast in 1988... I believe Mr Sinatra only did one gig in that year... he was paid $1,000,000 to appear. |
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Sean Macfarlane Special user 880 Posts |
That was way more than I could have hoped for! I don't need the lecture notes now.....kidding. Thanks for being so thorough Phil. You have given me a lot to think about.
Sincerely, Sean |
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Pete Biro 1933 - 2018 18558 Posts |
Great stuff, Phil.
STAY TOONED... @ www.pete-biro.com
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Joel Howlett New user 32 Posts |
Hi Phil,
I'm really enjoying all your answers and valuable advise you are sharing on here. Really curious to hear your thoughts on the current trends in magic (for example the popularity of mentalism in stand up performances and the street magic we are seeing a lot of on TV)? I would also be interested to hear about your experiences of traveling with your duck. Does he go on the cruise ships with you? I'm guessing that a duck would need a lot of room and would be a little more messy than traveling with doves or other smaller livestock. Joel |
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Thanks Pete! Your support is much appreciated.
Joel, I'll get to answering you as soon as I can. |
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ades888 New user 91 Posts |
This thread has morphed into multiple topics which is great.
Would you mind sharing what happened in this experience: You’re only as good as your last gig and after ‘dying a tortuous death’ on stage in 1986 for all the wrong reasons I only ask because it's through hearing "war stories" from real world experience that others can learn not to make similar mistakes! (And because in hindsight it will no doubt be a good laugh for you!! It is ANZAC day after all, a time of reflection for those that have sacrificed before us) |
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Adrian, this is how the golden rules I mentioned in the previous post came into being.
I remember it like it was yesterday. It was a function being held on the Gold Coast in the showroom of Jupiters Hotel & Casino for the crowning of Miss Queensland in 1986. The audience is made up of families & friends who were there to support their particular female entrant and of course to have dinner. The function was running late due to contestant interviews & speeches running over time. At the required time, I’m waiting patiently in the wings to go on…. I’m nervous. (I always am btw.) I was comparatively green in 1986 with the standard of my act & my command of the stage getting stronger (but it was nothing like it is now). I was totally oblivious to the fate I was about to befall as I didn’t have the experience or the know-how at that stage of my career to avoid such fate. Ok, the winner is crowned with much wooharr from the girls and the audience. All 20 of the girls who didn’t win file off the tiered staging and into the wings. The audience was in a buzz… everyone was in conversation about the winners …and the losers. The MC segues from the crowning of the winners to me without any fanfare, direction or focus and simply says “and now to keep you amused, we have Phil Cass.” The stage manager virtually pushes me on stage… you’re on kid. I go out. There was a huge dance floor in front of the stage… there was at least a 14 metre (46ft) gap between the stage and the first tables which were raised behind guard rails. The microphone was a lead mic not a radio mic. The lead was twirled around the mic stand restricting any freedom of movement. After a couple of minutes... which felt like an eternity... of me trying to verbally bridge the 14 metre gap between me and the audience I became dumbfounded when all of a sudden the house lights came up and all the girls strolled back out into the audience. Virtually every member of every table began to stand up to welcome back their girl to their particular table and to offer their commiserations. The level of conversation grew even louder. I lost all attention, what little I had, from my non-caring audience. At the same time, the main course came out! Apparently the kitchen had to try to catch up the time lost from all the lengthy speeches. The fork & knife is the natural enemy of the sight act. No doubt the 'producer' had put the wrong sort of act on for what was required at that time of the function. A musical act would have worked. There was absolutely no way that an interactive, talking comedy/magic act could have worked in that environment. I was heckled. I was booed. I heard a couple of people yelling more than once, get off! The experience was gut wrenching... just awful. I died a certain death. |
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ades888 New user 91 Posts |
Ouch...!! Thanks for sharing though, much appreciated.
I had a similar situation performing a talking act at a wedding which gave me a valuable additional question to ask when making a booking: "Does the majority of the audience speak English?" I think only the bridal party did, so 90% of the room (of maybe 500 guests!) continued talking during the act. Pushed through the show but it was a very painful experience indeed. But a valuable lesson learned!! And a good laugh in hindsight.. |
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Yep, been there done that... but when I arrived and realised the situation, I sold the client on performing close-up roving instead... had a ball doing sign language and broken English... did 3 hours instead of the expected 40 mins on stage but it avoided certain death... and still surpassed the clients expectations. Win Win.
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Ok Joel... thanks for your questions.
Here in Australia I’ve been working since 1983 within a social consciousness that until recently could only be described as having a negative view of the performance of magic ...that’s why my 100 page booklet/lecture notes written in 1992 were called "Oh No! Not a Magician!!" I do sincerely hope even if it's only been in a small way, that through all the many & varied live performances & all the TV spots over the years, I have helped alter the Australian perception of the cliché magician. So here we are in 2014 and it is indeed very pleasing, exciting & rewarding that magic is coming back into the mainstream via YouTube & television. We have a lot to thank David Blaine for. (Btw, his last TV special 'David Blaine Real or Magic' was extraordinary... having the Breaking Bad guys on there for me, was very special). Although it could be debated whether Penn & Tellers Fool Me confirmed for the public that the performance of magic was just a puzzle, it is however truly wonderful that it went to air & showed a fascinating contrast of styles and in the process raised the awareness of how good magic is. In other words, it helped raise the collective respect for magic as an entertainment form. It’s a good thing that the public has been able to switch from watching tricks being revealed on the TV (or PC) to tricks being played on the magic shows... in some way, balance is restored. It is of no consequence what people personally think of the actual style & delivery of the performers who have broken into commercial TV in the 21st century e.g. David Blaine, Chris Angel, Steven Frayne/Dynamo... just to name a few. I’m just so grateful for the fact that they have. I believe everyone wins. Being very much a live performer myself, I do agree with Penn’s opinion of the TV magicians who are apparently doing miracles on there... https://www.youtube.com/watch?v=9s9smBP04Pc ...but right or wrong, I believe it doesn’t matter whether this school of thought deems TV magic to be ‘cheating’ or not and whether or not such performers could actually entertain a live audience on a stage ...the fact is, they are raising the respect for our art form by helping bring back magic into mainstream culture. It was a long time coming so thanks to all of them! ******* The public do seem to be fascinated with mentalists and apparently don’t perceive it be magic (yet). I would imagine a lot of magicians probably like it too because it allows them to raise the Copperfield eyebrow. So if that’s your thing, go for it... I deride no man’s destination. Let it be known though that many years ago I used to smoke. When the mentalist acts came on in FISM, that was when I’d more often than not, go outside for a smoke. However, having said that in a half-way grin, I do actually like the modern presentation of the mentalist… if it is presented in an entertaining way. Does it say anything about my thought pattern here knowing that I did actually buy a book on mentalism? It was Chuck Hickok’s book, ‘Mentalism, Incorporated’. Derren Brown certainly has the WOW factor going on... he impresses me both on TV and live. I’ve only ever really seen a handful of other mentalists do their act live on stage... and they were all entertaining… coming to mind are Marc Salem, Philip Escoffey, Docc Hilford, Max Maven, Banachek and McCambridge (whilst at Hooters in Vegas) and here in Australia, I’ve seen Sean Taylor & Timothy Hyde... both fine performers who do a top job. I’m actually playing and developing a new(ish) bit in my show using mentalism ...but it’s my duck that does the mind-reading (Speaking of the duck... I think I will have Philippa respond to your duck question as she actively cares and loves them dearly.) Your thoughts Joel? |
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Hi Joel, this is Philippa writing. As far as our duck is concerned I suppose I should answer the more direct question first. No, unfortunately he can't travel on the cruise ships with us because of quarantine laws. If we could we would! On our land based gigs however, no problem and Badabing loves it!
He is a beautiful white Peking drake (a male duck) and is a loving, textile inquisitive boy who loves his cuddles & my fishnets! I have trained him so well now, that believe it or not, he knows when to be quiet (like while backstage or when we’re sneaking him up to our room so he can have a wonderful bath and his food), and when he can quack and have a good time, (i.e. when he is in the bath or shower and eating and flapping and quacking!, we just turn the TV volume up a bit! As a matter of fact, he is so tame and comfortable in our company all I do is open up his travel cage door and he wanders out and straight into the shower, does his thing, (eating, drinking, preening himself, flapping and quacking), and when he’s done and had enough, he just wanders back out of the shower and into his travel cage to go to sleep for the night! Believe me….it’s the cutest thing you could ever see! Of course though, I’m left with the mess to clean up and it’s always an immaculate clean at that. We have had only 3 drakes work in our act over the last 27yrs. We do keep 2 ducks at any one time so they keep each other company and we can interchange them if we are working too much. They’re almost identical but with totally different personalities. You never know, we might want to perform 'where do the duck/s go' again at some point. Our pets have all lived way past their due dates….even the duck farmer couldn’t believe we had an 11yr old (almost 12yr old drake) that we were looking to retire! They are fed on good quality grain produce and are well loved. As mentioned, our present little buddy is Badabing and he is a very special drake. Not only has he been a lady killer from the start, he is a very intelligent & affectionate boy. I’m thinking I should open his own Facebook page. He has a personality all to his own and we are now exploring further ideas e.g. he is a very good mind reader and just loves to quack his findings into the microphone. Flying interstate is not a problem, but you will have to fly with Qantas as Virgin and Jetstar will only take cats and dogs. It’s a bit of a hassle transporting him around the country (but one we persist with because his magical appearance towards the end of the show makes such a worthwhile impact on a live audience.) The cheapest way to freight him is to put him on the same flight you’re on. In the ports of Brisbane, Sydney & Melbourne, Badabing can be checked in as passenger baggage and will not cost us anything unless we carry more than 4 bags. If we do, the excess baggage is $30. For everywhere else in Australia though he must be checked into Qantas freight strictly no less than 90 mins before the flight (they request 120 mins but 90 mins is ok). For this they charge $120 return if he is on the same flight as you. A lot more if he travels unaccompanied on a different flight. We used www.dogtainers.com.au once to get him back home to Sydney because after the lunchtime gig we had just outside Melbourne (We were supporting Chris Isaak at a private party and he, the duck, Phil & I arrived by helicopter!) we had to fly out again from Melbourne early that same night to Dubai to join the Dawn Princess on its world cruise. Cost us $450. To get him into Perth is a bit more hassle. White Java doves are banned altogether btw. To bring a duck into Western Australia is still ok. We can take a duck out of Perth at any time but ducks are now only allowed to arrive into Perth during working hours Monday- Friday because Quarantine all of a sudden passed a law that ducks have to be seen by Quarantine upon arrival. This is where, of all things, Badabing has to have his picture taken, each & every time. (He loves it and poses so well. He’s an unbelievable show-off.) Conveniently, Quarantine is now charging $56 for the red tape that they themselves created. Thankfully, the last 4 shows in Perth have been on a Friday night. If you do have your beautiful pets in your act, always make sure that they’re well fed, hydrated, rested, loved and handle them with great care & respect both on and off stage. xo Philippa |
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Tom Cutts Staff Northern CA 5925 Posts |
Your duck wears your fishnets???
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Ha ha... that's funny Tom
nahh... Badabing likes to smooch my legs when I’m wearing fishnets and does this funny nibbling action with his beak up my legs! He loves them! |
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Dave Lord New user Brisbane, Australia 7 Posts |
Quote:
On Apr 27, 2014, Phil Cass wrote: Now is that Phil or Philippa answering?
I would rather have a bottle in front of me than have a frontal lobotomy.
www.davelord.com.au |
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Good one Dave... you just made me laugh out loud... when I re-read the quote I laughed even louder... very visual...
and very wrong |
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Phil Cass V.I.P. Sydney, Australia 34 Posts |
Still laughing
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