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Head Case Inner circle 1138 Posts |
Curious question, How many poeple use the same effect for different type shows.
For example. I am planning on doing bill to lemon for a stage show, But also want to do the same routine for a parlor routine. I am curious if others use the same effects in different routines. Im just wondering if it is a bad idea for example, if someone watches your stage show, but then hires you to do a living room style parlor show, for them to see effects they have already seen in the stage show. even if its only just one. Should it be completely different material? Just a curious question that popped into my head as iv been working on stuff. thanks |
billappleton Inner circle Los Gatos, California 1154 Posts |
Hi derek,
this is a big problem. I have some shows that are completely new and I can do whatever is appropriate for the venue but other shows happen on some kind of annual basis, often for some particular party or group of friends or a company, etc. not sure what to advise, but one thing you can never have enough of is comedy wands and other gag items, they can actually take up lots of time and be quite topical. another idea is to add at least one big new thing. even if you do some old favorites believe me YOU will be more aware of this than the audience... good luck |
Bill Hegbli Eternal Order Fort Wayne, Indiana 22797 Posts |
Derek, the reason many people hire you for a show that they have seen you previously present is because they want to see your show again or have others view what they have enjoyed and may have been talking about.
Today, most acts should be designed to transition from stage to stand-up/parlour shows easily. Over time your interest will change and you may acquire other tricks and routines you may want to add or substitute in your show. I am always on the lookout for effects that will fit my shows, a show is a work in progress, it is never really finished. |
Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
Derek,
One thing to keep in mind is that when someone hires you after having seen your show, they often do so because of the show you did. They obviously liked it, or they probably wouldn't be attempting to hire you. To then not do at least a very comparable show can sometimes be a disappointment. This will sometimes mean that repeating particular tricks or routines is almost expected. In fact, there used to be, and probably still are, some theater venues and booking agents that have a clause that will specify, "As seen", meaning they book with the understanding that they are hiring the act that they know, whether by previous audition, seeing the act live, or by way of video. In some cases however, it is not practical to do everything in a parlour setting that you can do on a full stage. The client should be made aware of that. Changes of venue types warrant shows to fit those venues. But it can be beneficial to you both if you explain that even though some effects you won't be able to do, you also have some special routines that they have not seen, because they are best presented in the type of show they are considering. This way, they feel as if they are not being asked to settle for less of a show, but rather a somewhat different show, with special additions, custom fit to their particular event. It is though, perfectly acceptable to use or adapt material to work in different venues. Bottom line there is that you want to believe they are hiring you and not the tricks! The only thing I would suggest is not to confuse yourself with your own material. If a routine is the same every time start to finish, regardless of venue, this is not a problem. But, if the routines have differences based on venue, and you do it one particular way once for every twenty times you do it the usual way, you may find yourself slightly out of step if autopilot takes you down the other path. EDIT: I was typing while Mr. Hegbli was posting. Looks like some of our thoughts are similar!
~michael baker
The Magic Company |
Head Case Inner circle 1138 Posts |
Very good. Answered my question perfectly.
Thanks guys!!! -Derek |
Alan Munro Inner circle Kentwood, Michigan, USA 5952 Posts |
Sometimes, the same routine can be seen in my kid shows, adult shows and strolling performances. The upside is that the routines get really good, from being performed constantly.
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Oliver Ross Inner circle Europe 1724 Posts |
Bill, Michael and Alan, your comments are completely correct. Me, too, I'm using basic construction of one show with effects that will appear in different types of shows (parlour vs kids show). The only thing that changes is the presentation, specially for kids shows.
After that I put in or switch effects that are more appealing to kids for their show if I'm giving a show for children or adults for a parlour show, but basically the shows are the same. As you've said Alan, this way of working is poslishing the presentation and the flow of the effect AND I'm always ready to change the presentation if I have a few kids in my parlour show, so they will have their moment of magic as well. Oliver. |
billappleton Inner circle Los Gatos, California 1154 Posts |
Mixed adults and kids are a common challenge, I don't want to lose the kids or bore the adults.
Another issue is that some tricks like manipulations and productions are fun to watch over again, but some tricks are bad for repetition because they have a memorable surprise at the end, and a few other tricks can really only be shown once. So over and over: parasol productions, appearing and vanishing canes, animal productions, multiplying bubbles, new gags and wands. Not so good for repetition: run rabbit run, tip over chest, silk cylinder, etc. Can't be shown again: vanishing bandana, magic drawing board, biggest wands, some mental magic, etc. |
Michael Baker Eternal Order Near a river in the Midwest 11172 Posts |
I've gotten to be very comfortable working mixed groups of kids and adults (family shows). What has made all the difference is avoiding material that plays to one group or the other exclusively.
I have heard some magicians say that they will play to the kids, and then make a statement to the kids to the effect that now they will do one for the grown-ups. I think this is suicide. The second the kids think they are not supposed to watch the show, you've lost them. Similarly, I've heard many magicians complain that adults will be starting up distracting conversations in the back of the room while they are playing to the kids. Hey, adults can be just as disruptive and rude as the kids... they just don't run as fast indoors. My solution is to layer the magic and in my case, the humor that goes with each routine. What I mean by this, is that I am actually delivering in some instances, two different presentations at the same time. I make sure to bring everyone's attention to me as I begin. I do this by directly speaking to several people, either in full-on, two-way conversation, or at the very least with rhetorical statements, directing them specifically at first one person then another. I make sure to speak to some kids, and some adults... front of the room, back of the room... everywhere. Once a routine actually gets underway, I present layers of humor and interest that appeal to the different groups on their own level. Kids appreciate situational comedy, while adults respond to intellectual insights. At key points in the routines, while the kids are reacting and laughing at something that has happened, I'll throw a bone to the back row with a comment that the adults can immediately feast upon, and goes right over the kids' heads. It's kind of like running a silent script out loud, at the same time you are delivering the trick's patter. Kind of hard to describe. Anyway, the point is, I don't alienate any group as I perform. I make sure that whether they are kids or adults, they are brought along fully in the routine. The journey is a bit different for each group, but the magical pay-off is the same, and hopefully just as strong for either group. Sometimes the full enjoyment in a routine for the adults comes from the antics and reactions of the kids, even though the trick may be thought to be a "kids only" kind of trick. Don't overlook the strength and entertainment value here. You have to be a sort of translator and energy convertor, but the overlaps can be a lot of fun. Of course, what I've suggested might mean a close examination of the material you have in your repertoire, and possibly delegating certain items for one group or another only. But, in a lot of cases you can find a layer that will appeal to one group, and another in the same trick that will appeal to the other. Very often you can blend them nicely. Adults are used to making sacrifices for their kids. So, when faced with a "family" type show, many will assume it is for the kids, and concede to playing the role of the dutiful parent. What a nice surprise you can bring to them by entertaining the heck out of them at the same time! In fact, this can be done with a third group too, if you consider older children to be more akin to creatures from another planet, than a part of either of the other two groups! This is a special skill though, to put it mildly.
~michael baker
The Magic Company |
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