Hi Richard,
The more mentalism shows I perform, the more I realize how important it is for
the audience to see the spectator's reactions when the effect happens. In a close-up
or parlor situation it's easier for audience members to see the person's reactions
even if the volunteer is sitting in the audience. However, when it comes to larger venues such as theaters and hotel banquet rooms staging becomes more of an issue,
especially since you lose the intimacy.

I'd like to know your thoughts and how you overcome these issues. For instance, do
you prefer to have the house lights up when you perform in a theater? What about the audience members you call on to verify information during a Q & A routine? Are there
ways to make their reactions more visible to the rest of the audience, besides having them just stand up?

Thanks,
Woodfield

Woodfield,

Thank you for a very, very good question!

Actually it was my managers Paul Landerman (now retired) and Tom Clark who first suggested to me that I always have my spectators stand at their seats when I am working with them and to hit them with a follow spot. (I have that written into my rider) So, when I am doing my Thoughtscan Act, for instance, the entire audience sees their reactions, which is vital.

Even in a smaller show where a spotlight would be out of place, I still always have them stand so that they are clearly visible.

As a mentalist, the people are your props! You have to understand that and use them to your best advantage. Obviously, seeing them is the first step!

Hope that helps.

Richard

Do you find it is better to have them in their own seating area than on stage? Or, do you bring them on stage as well for some effects?

Stuart,

OK, here's how it goes. The first routine is the Bank Night. They stay in their seats and I am on stage. The spot hits the players.

Second is the Card Calling Routine. I bring them on stage and spot hits us both.

Third is the Watch Routine. I bring both ladies on stage. Spot alternates with them and me as the routine progreses.

Fourth is Thoughtscan. People stay in their seats and the follow spot hits them as they stand and alternates with me. Think of it like camera shots on a live TV special.

Last is the magazine test. I bring up the spectator on stage and the spot hits us both.

Encore is the linking finger rings. Spot hits me and the spectators as I run around the room. It end with 2 flanking me as I finish.

That should give you an idea of the staging.

Richard

Richard,
Thanks for the responses to my original post.
I have done only a few mentalism shows for small to mid-size corporate
audiences, but for large crowds I would certainly look into the possible
option of providing or having the client provide a large sceen and a
camera man to get live shots of volunteer reactions in the audience as
well as segments on stage such as bending demonstrations. I'm
sure this has probably been done before.

Now there's also the matter of picking volunteers that are expressive and will
give the desired responses. I have found that doing strolling entertainment is
a great way of finding these people.

Thanks again for all your insights,

Woodfield

Woodfield,

Yes, the large screen idea (like Copperfield uses) is great. I have had the opportunity to use one a few times and it works great for mentalism. I'm sure that in the future a large screen will be almost standard fare for sales meetings.

Richard

Richard --

Your schedule must be horrendous since you are taking this time for answering so many great questions here. A sincere thank-you for the sharing.

And -- to save some time on that schedule -- please ignore the PM I sent previously about spotlight use. I guess my question about "deer in the headlights" is fully answered above!

Again -- thanks for sharing the art to keep it going......

Gregg (C. H. Mara)

Gregg,

This week was pretty open, so it worked out real well. But thank you so much for your generous words.

Richard

I like this thread.
I have tons of questions about this type of thing?
Like
Who is doing the spot-lighting?
Who would be managing the large screen?

All of that needs to be set up checked, double checked, tested,
re-tested, used, torn down, put away?

Who does all that? It is very imporant to the success of the show
that all this goes well.

Do you employ key-grips? Gaffers? Set Dressers?
Do you have a stage manager?

When I do larger shows, this is the most stressful part of the entire thing.

I have used DJs and other people for my larger show and have always had a cue sheet (or whatever) available. But the degree to how much the sheet is studied is always variable.

I've had wonderful success but also have been disappointed as well in how
much preparation the person(s) put into their part.

Thanks,
Frank

Frank,

You have to remember my work is always corporate. I have a rider that states what I need in the show. I don't carry any AV equipment with me. Just my mentalism equipment. (one catalog case)

I go over the show with the light and sound men and hope that they get it right. I have tried not to make too complicated so as to minimize the chance of things going wrong.

When I do work where there is something more elaborate in place, such as a large screen, I write out what I want the camermen to do. This happens in a show by show situation.

As for music, I really don't have anything I use because it has always been so impossible to manage. If I were to have a theater show in place, things would be different.

But for traveling, my golden rule is the simpler the better.

Sincerely,
Richard

PS I'm sorry this doesn't answer your question in more detail.