Today I was booked to do close-up magic, walking round for people who were casually sat at round tables, but there was also a dance floor next to it. People are getting up, walking round - going to dance, sitting down again and so on. It sounds like the perfect environment.

I've done this quite a few times now. There's a DJ playing music and of course it's loud; just enough to prevent words being exchanged with complete clarity. But who needs that?

The magician does. You reach the part of a trick where you need to explain something to the spectator: "Please name a random playing card". The person, already clutching a drink in their hand and having to fend off interuptions from overly-excited friends nudging them to 'come and meet so and so', politley tries to engage with you. Yet instead, at this point, they respond by either try to hedge their bets and just nod, assuming that would have been an acceptable response to whatever you just said, or just look blank.

Now, you are about to embark on a battle. A battle to try to say as little as possible, as loud as you can, so that you can just get the trick done. You've both started the trick; you've gone too far to just stop. You lean over to their ear and explain "no, a playing card". She turns to the person standing next to her and with a confused expression mouths ''what?''. You can begin to see the despair in her face. Her urge to walk away is now subdued only by common courtesy. You probably end up yelling for the rest of it - both of you feeling awkward and uncomfortable. But the night is just beginning, as the bass line thumps on, and the event's organiser who has paid you his hard-earned cash, watches you from the sidelines expecting to see you busily entertaining.

It would just be interesting to hear any other people's experiences with doing events where there is music in the background and people cannot hear you properly. Of course the obvious answer is to try to pick your tricks which are more visual. Those that require simple observance. We all know this is easier said than done. And besides, even those that are visual usually require some sort of talking, especially as this is close-up, not mime/stage acts we're talking about.

Anyway, I'd just like to see if anyone has any advice, tips or experiences with this. Thanks.

Sam

It is not as hard as you think. I have done it for years. here is one was on fool us
http://twistedsifter.com/videos/shim-lin......-teller/

Ball Manipulation. You can do 4 or 5 minutes without speaking, in low light and with bad angles.

Sorry but not really. He's doing magic sat at a table in a rigged environment doing a stage performance to his own music. I'm talking more about the real world.

Tommy Wonder has an essay about this in "The Books of Wonder Volume II" If you have them you should look it up.

There are a number of ways to approach this issue. Even then, sometimes it's just out of control.

The best way I know from experience is, of course, to be prepared. When I'm hired for a venue I always check to see what other entertainment is going to be there. If a band is going to be playing, I talk about it to the manager. I find out when they are going to play and for how long. What genre of music will it be? Will I be expected to perform at the same time? Will the band have an issue with my performing while they do? (some have been real snots about it)

What a lot of magicians don't seem to fully understand is that WE are paid entertainers! WE are professionals at what we do. WE have a say in what will happen at the venue. We are not there to just "maybe do something if nobody minds" We are part of the night's entertainment and have equal say in what goes on.

Many times I get hired to work a club with a live band. I set expectations to the manager as to what I need to do may show. I have never had a manager say something like, "hey, it's a loud band. Deal with it" (although I'm sure it's happened somewhere) Most of the time the manager will work with me and the band to coordinate the effort. Also, I ALWAYS meet with the band while they setup or before their first set. I let them know what I'm doing And they get to know me. That has helped a great deal in the past.

Now, you are working the tables and the band starts their set. Once they start, you work the tables on the outskirts of the venue furthest from the music. Once the band takes their break, you work the tables near the stage. When the band starts back up, YOU take a break. While this is not the perfect solution, it works best for me.

The hardest environment is a club with a live DJ. Typically it's loud, pounding music without pause all night. I've had mixed results working those. Mostly I stick to pantomime and leaning in close to be heard. Hard to do, but not impossible.

Next, develop as many GOOD routines you can do silent or pantomime. Slydini silks, coins across, MacDonalds Aces and chop cup to name a few. If you develop some great magic you can do silently, you can perform anywhere under any conditions. Even better, when I'm doing this, I'll time the moves and actions to the music the band is playing! Suddenly, they are MY background music. I love when that works!

I do have one advantage. I was theatrically trained since high school. So I received a LOT of voice training. I can't stress enough the importance of voice training for what we do. We may not be singers, but our voice is a great part of our art. I have a very strong voice and can talk clearly over most noisy environments without shouting or straining. I urge you to look into it and do whatever you can to strengthen your voice.

On a side note about silent close-up magic. One of the greatest bits of advice I've ever heard is, "if you can develop a 15 to 30 minute silent act and perfect it, there is no place in the entire world you can't work" I don't remember where I heard that but it's great advice!

I remember one performance where there was a table of Japanese businessmen and only one spoke a little English. No problem, I did my show for them with pantomime and gestures. They were REALLY happy I didn't ignore them because of the language barrier. The one guy told me after that they had been snubbed a lot in their travels because they don't speak English that they especially enjoyed my show and would I do another. I went back a little later and did an encore mostly silent but with some translation from the guy. I have rarely had a more appreciative audience and it was the only $200 tip I ever got.

I hope this helps some.

Thanks for the response KendallScot, yes that does help. It is with DJs really that is the problem, with no breaks in the music.

I suppose now the question is, [anyone out there], what silent magic routines would you suggest, if you absolutely had to suggest one (you do)?

Remember, we're talking about walk-around close up. NOT at a table, with your own music and let's be realistic here.

This thread is making me think on some of my favorite routines. It would seem that the it's not so clear cut exactly when you have to talk. The wild coin plot, for instance. Would it be better to justify putting the coin away? Yes. (Especially if you're doing it with the cup.) But with fairly emotive pantomime, it may be unnecessary, or even taken care of. Even a basic pick-a-card trick. If they are familiar with such things, would they maybe know to take a card if you spread the cards, smile, and gesture invitingly?

Sure your jokes are gone, but you don't necessarily lose all of your patter or your audience interaction. Look at Teller!

I guess it depends on how closely they're paying attention. All the silent acting in the world is worthless if they don't see it. The excited friend mentioned above strikes me as big an impediment as, if not bigger than the music.