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Topic: Creating a walkaround set
Message: Posted by: EllisJames52 (Feb 28, 2019 01:29PM)
I've been working on creating acts and solidifying my walk around material. (I'm not sure what the right term is. Act? Routine? Set?) I know what makes a good opener, and I have a decent understanding on what makes a good closer. But I don't know about what happens in the middle. I know that there has to be a build to a climax, then you close.

But how do you string together effects? For instance, let's say I open with the chicago opener. How do I find the right effect to follow it? If its with a different prop, how do I switch props?
Message: Posted by: warren (Feb 28, 2019 04:36PM)
Personally I never open with cards but obviously you should do what works for you, my advice if your looking at building a couple of working sets of three is to choose the 6 strongest effects you know and that you perform well and the rest will fall into place as what works well for others might not work so well for you as we all have different personalities and skill levels.

If its basically effects your looking for without wanting to sound rude if you use the search function you'll find lots of information as variations of this question gets asked frequently.
Message: Posted by: EllisJames52 (Feb 28, 2019 09:25PM)
Iím not looking for effects. I know enough tricks. I want to learn how to chain or routine together effects together in an act.
Message: Posted by: Dannydoyle (Feb 28, 2019 11:05PM)
Your personality is what strings it all together. It is the constant that runs through the entire performance.

Pick effects that are you.

This is why it is important to find your performing voice. Find the way you do effects. Don't fall into the trap of being the guy who originated the effect you are performing. Always bring your own voice to the process.

This way no matter what the effects are, they all make sense.
Message: Posted by: davidpaul$ (Mar 1, 2019 06:35AM)
"Personality" Interacting with your audience, exactly. Why should your audience pay attention to you? This is first and foremost.

"Routining effects together in an act." Speaking for myself and I can't speak for you because of difference of personality, I open with a bill switch, "Paper to $ Millon dollar bill and give it away. This does not require direct interaction, I have to be invited into their personal space and they realize I respect theirs as well. Once a relationship is established,I ask who at the table is the most skeptical? This is sometimes funny because people will often times immediately point to one person, or point at each other.

Depending on the personality of my audience and their reactions and or comments "that" determines what I do next. Listen to your audience. What do you think THEY would enjoy? If someone talks about money, I go into a coin flurry routine with a jumbo coin appearance ending.

Listin to your audience.(I said that twice) I'm hearing allot about America's Got Talent and Shin Lim. Sooo, I then go into a card transportation routine. My routines and transitiong go in different directions. I work restaurants, so interuptions are commonplace. Somtimes my routines are cut short with a promise to continue after they have eaten and sometimes not. I pick routines that fit that criteria. My personality is comedic so my goal is to make them laugh. Your personality may be more serious, I don't know.

It just comes down to experience and paying attention to what works and what doesn't. That depends on you,your personality and more importantly, your audience. The more you perform and pay attention
and learn from those experiences then you will be well on your way to answering your questions.
Message: Posted by: puggo (Mar 1, 2019 12:16PM)
[quote]On Feb 28, 2019, Dannydoyle wrote:
Your personality is what strings it all together. It is the constant that runs through the entire performance.
Pick effects that are you.
This is why it is important to find your performing voice. Find the way you do effects. Don't fall into the trap of being the guy who originated the effect you are performing. Always bring your own voice to the process.
This way no matter what the effects are, they all make sense. [/quote]

If strolling and doing around 2-3 effects per group (e.g. a 100 people to see in an hour or two), I don't think that you need a theme or link, apart from your personality - that will be the link/segue etc. If your effects have a nice flow - great! However, your personality/presentation will keep people engaged and you can have a running gag or theme which is 'outside' of the tricks/effects (I think this approach can be stronger as well).
Just my thoughts though, based on my perception and experience of strolling.

Message: Posted by: Montana76 (Mar 2, 2019 10:45AM)
I have 12 effects that is always polished and practiced. 33% are card effects.
I jazz between these 12. When/if I am good it is because of my connection with the audience. Eye contact, focus, lack of eye contact, lack of focus are way more important than stringing effects together. My structure:
1. Personality
2. Yaddayaddayadda. Magic.
3. Personality.

I started out with a strict 3 sets of 3, but all is jazzing now.
Message: Posted by: Theodore Lawton (Mar 3, 2019 11:07PM)



Good advice from Montana76

I've tried the 3 sets of 3, but it never worked for me in the trenches. My advice is learn a few tricks so well you practically can't screw them up. Then learn how to do them in a way that entertains people. I'm assuming you're ready to perform here...

You'll find that you perform the same few tricks all night long at a walk around. At least many of us do. Just mix them up and have fun. Jazz might be the term. lol

Engage the people. Entertain them. Show a few tricks. Thank them. Have a good opener. Have a good closer. Make sure all the in between tricks kill too. You never know when you might have to stop and move on. Enjoy the whole ride, but do it well and make it about them, not you.
Message: Posted by: Yellowcustard (Mar 28, 2019 12:02AM)
So much gold here. And I agree a whole lot with the above.

Yes I am a fan of performing a a well thought out and scripted routine, were it flow from one thing to the next and there are overlaps and call back. And all up it tie around a single idea, premiss or thought. This can provide a journey and experience for spectators, it shows and give the performer confidence.

However it all falls of the rails when the room is more busling and chaotic then expected. There are more people then expected or less time.

So I make sure all my effect are stand a lone routines which are grouped in set.
1- Pat pages coin and purse frame routine - I introduce my self and talk about gambling, This start with a quick visual production which builds to a big coin production,
2- Stolen card by Lennart Green- Greta routine has all different casino card so a talk on history of las vegas,
3- Bob Sheet Its the rules - A dice routine and I tell a story of dice riggers and my love of dice,
I might move from group to group and only do one of these per group I might do one of these and another effect from something else. However if I do all 3 together I bring them together with a message of never trust a cockney street con.

i don't do a lot of walk round but when I strted to work like this it became easier. It gave me structure but also flexibility.

Side note- the 2 large dice and the deck of cards really capture people's imagination and if people ask to see them I just hang with them and show them the objects.
Message: Posted by: Yellowcustard (Mar 28, 2019 12:17AM)
[quote]On Feb 28, 2019, EllisJames52 wrote:
Iím not looking for effects. I know enough tricks. I want to learn how to chain or routine together effects together in an act. [/quote]

I creative excise you might like to try.
Get some small A6 note cards. On each card write the,
- name of the effect,
- sentences about what happens,
- The them of the effect,
- notes on the props used (may be a drawing or photo)

When done stick them on a wall with blue tac and take on and look what work with it then put them in sets. Use other cards to put notes around them with over arching themes and links.

This approach works for me a lot I do it on a large board which I call the brain. A friend of my did this and hed grouped 3 effects together a coin production, and card prediction then a match box penetration which when the box is open it has a solid brass block in it. He liked the 3 effect together. he saw it as the classic of magic production, prediction and penetration. I am not sure how but we came up with the idea every object should match the brass block. So he used copper coins and the steampunk playing cards. This linked the 3 effects in a different way.

Hope this helps I do thing we can worry about this to much somtimes but other times great things can happen
Message: Posted by: Magic.J.Manuel (Mar 29, 2019 09:25AM)
I also agree that you don't really need a three trick "show" all the same theme, but a smooth transition is good. It should take you about five seconds to ditch a deck of cards and grab some coins or sponges. You may want to work on a few transition lines like, so if you liked that wait 'till you see this. Like the news man introducing the weatherman. Then pick the six or so tricks and group them into openers or closers and if there is time do something in between. You always open a show with a production so an opener maybe pulling sponges from a purse frame or coins. Also some produce coins from the cards flowing into another routine directly. Then a big finish!
Message: Posted by: Dick Oslund (Mar 30, 2019 02:30PM)
Shalom Aleechim!

I should have replied sooner, but, I have been "BUSY", fighting cancer in Veterans Hospital!

When I was in mid teens, I could buy "last month's issue" of GENII or CONJUROR'S magazines for half price! from the Mystery Mart or Ireland's. When an act was "reviewed" (usually a professional) it was usually a vaudeville act, which were usually 8-10 minutes. A "headliner" was perhaps 15-28 minutes.

Many, if not most were "segue" routines, --performer entered, smoking a cigarette, which was pushed into one hand, and instantly changed into a silk. A knot tied in the silk, disappeared.The silk poked into a hand, changed into an egg, followed by the "sucker egg", or egg bag.

The dealers seemed to advertised routines which "blended"...

(Note: "closeup" magic (Bert Allerton and a few others) was generally an amateur working for friends. Matt Schulien owned the restaurant!

When I got a call for a trade show hospitality suite, I usually grabbed some rope, a couple nylon "silks" (for the Slydini knots) and a couple golf balls, for my ball routine. I could do Prof, Nightmare and a few knots, and the Perpetual Balls, + the ball thru silk.

Later, I used the Burling Hull silk vanish (in my book) which needed no set up! as the opener. the golf ball routine (in my book, but without the 4 ball climax). I could close with the balls (also no set up!) or do a few short rope knot bits and the Nightmare, and, Eskimo YOYO.

There are no "rules"!!! EXPERIMENT!!! See my "criteria"! Keep the EFFECTS V I S U A L!!!!!!!

Best wishes! Present yourself as the neat young man that I believe you are!!!!!!!!!!!!!!!!!

Nate Leipzig, a vaudeville headliner, always said: "If they like YOU, they will like what you DO!"
Message: Posted by: corpmagi (May 13, 2019 12:35PM)
Michael close is doing a webinar on this very topic. Iím sure it will be well worth the $15.00 price tag.
Message: Posted by: imgic (May 17, 2019 11:29AM)
Check out Pop Hadyn's "Creating the Magic Routine"

Message: Posted by: AndyMo805 (Jun 6, 2019 12:55PM)
Ditto to all who said use your best material. I would say put them together and use them. As you perform, you'll quickly know which effects follow others and which ones lead. And whatever you start out with... be prepared to change it... because in walk-around, every 10ft you've got a different audience, and a different situation. Challenging and exciting! Good Luck!