You touch on a theme mentored to me many decades ago (1959) - "You should always have several effects mastered, but waiting for the right combination of conditions and moment."

The concept of both "conditions" and "moment" have changed in recent decades along with general appreciation of magic as art, attention span, respect, etc. -
so, perhaps this is a motivation of little value to some who seem to place skill demonstration or "gotcha" above Awe&Wonder.

Yet, practicing some Sleights and Seqences may have value similar to finger scales on a piano. Learning a special musical piece for sole enjoyment si OK too.

My sister at age eleven announced that a particular classical piece of music what was what she hoped to hear in her final moments. My older brother (14) said nothing, and I never heard him play it.
But, 65 years later, when she lie abed in her final battle with cancer, he flew in from another State, sat in a nearby room and played that piece over and over ...

If he can do that kind of magic with music, so can I (and you) with a couple of silver coins.

Thanks, funsway, I’m moved by your personal experiences.

And I just hope I didn’t derail this thread too much. But I do wonder, what is the right “moment” or “condition” to bring out large antique coins and a close up mat, and then proceed to show a multi-phase routine? I guess I’m thinking about the kind of compelling “social magic” advocated by Andy in The Jerx website (which I follow avidly). In their own right, coins across routines can be beautiful pieces of magic, but they don’t seem to blend in a social setting. Or can they?

Here is an old-fart perspective that will not be popular, but founded on more than 40,000 presentations of "inexplicable phenomena." (and never charged for any of them)

I have always been guided by the Furst Principles: The audience must know you are a magician, know you are planning to to demonstrate something impossible, and know you are doing it NOW!.

But, time have changed and "know your audience" blowing in the wind. So, perhaps you must just insure a common interest, level of appreciation for live magic, and a commitment to a time frame of attention.

All of my new writings focus on using an OPS Approach - Overture, Prelude and Scaffolding in which your opening effects test the suitability for later ones.

For your example, you have either determined that that the audience of the moment has the requisite interest, appreciation and attention, or invite those who do to repair to another room for the special event.

The problem is when you are paid entertainer or have to impress the booking agent over being true to art and affect.

I am not familiar with the concept of "social magic" but am sure my hackles are going up for a reason Anything with the word "social" in it usually ain't!

I am not "an organ grinder's monkey" and am never compelled by the cry "just entertain me" for those incapable of entertaining themselves.

I am capable of providing "a real experience of magic" that will be remembered 30 years or more (and have done so).
Do I expect an audience to prove it is worth my time to do so? Perhaps. At least I will never waste my best efforts on those unwilling to give me a few minutes of focused attention.

There may be some hope in those performer doing salon work where a limited number of people pay for an evening of exclusive magic entertainment.
For the general masses there is always sponge bunnies and balloon trying.