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The Magic Cafe Forum Index » » Finger/stage manipulation » » A routine for all venues? (2 Likes) Printer Friendly Version

Head Case
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Ill try and make this short and to the point, in hopes to get the same type of answers. (Hopefully) And please excuse if this is in the wrong section, but I am talking about "stand-up" shows / parlor type magic, so I thought this might be a good spot.

I have always worked on routines that were geared towards my own pleasure instead of a lay audience. But more than that, I have always thought that I needed a separate routine for each type of venue. A close up act for small groups. (ie, shadow coins, matrix, triumph) all effects that are on the table, and the spectators need to be close to see. Then another routine for maybe a living room, where they wouldn't be able to see tabled effects, so I bring it into the hands and chest level. Then a larger stand up show for maybe a comedy club. Then never tackled an even larger show.

Anyway, That has been my way of thinking. So it's hard for me to understand when people say they have developed 1 routine that they do all the time, that can fit any occasion or VENUE SIZE, (with perhaps minor changes)...I am really trying to get a grasp around this so that I can try and duplicate it.

So if anyone may have some advice, tips, Ideas, routine examples, guidelines, anything. It would be a HUGE HUGE help.

Much appreciated.

-Derek
Anatole
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"The Professor's Nightmare"--because:
1) it can be carried in your side coat pocket
2) it can be done close-up
3) the white rope makes it also very visible from a stage
4) the version known as "The Spaghetti Factory" (as done by Bing Germelshausen and Horace Bennett) is very entertaining and if you want to you can start with a cut-and-restored rope and segue into "The Spaghetti Factory," thus making it a longer routine with patter and a raison d'etre

----- Amado "Sonny" Narvaez
----- Sonny Narvaez
ROBERT BLAKE
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Egg bag

misers dream

linking rings
Head Case
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Thank you, I was actually thinking about Williamsons ring and rope routine, I like that its not just the standard version of nightmare. And something about the ring makes it pop a little more. That was a great example. I just need another 30 min worth of effects. hahahaha.

Although that is a great answer, that also seems to be a standard "go to" routine for a lot of people. And I'm sure because of good reason. Along with Linking Rings, and a few other of the classics.

Any other examples of effects or theory to keep in mind when going though the selection process for tricks that work in any situation?

Maybe a guideline, or ideas on ways to tweak routines to play bigger or smaller? Like Bill to lemon is universal also, you can bring it down into close-up. I make it play big on stage (See: Pop Hayden's teleportation device)

Thanks!
Head Case
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Oh Misers Dream! Yess Yess! I forgot all about that! Great example!!! Not a fan of egg bag, But I do like silk to egg! I forgot I have that shoved away in one of my old boxes somewhere around here.

Keep them coming! Im just trying to get the ideas flowing again. I have been battling crohns disease for last few years and packed all my magic up. Stopped practicing because I never left the house. So I have to kind of figure out how to get back into the groove of things.
bkmeyer
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What about paper tears? I have used both Neil Foster's Center Tear and Mark Wilson's Sucker Torn and Restored Napkin in a variety of venues. There are so many other fine newspaper tears that would seem to work also. They always play big.
Julie
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Hi Derek

You can have a lot of fun with a Chinese Sticks routine under just about any circumstances.

Julie
jay leslie
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Derek

Come to the next IBM meeting and I'll show you a few things that work anywhere and everywhere.
This is a workshop meeting so we can really go into detail.

Remember, it's the last Tuesday at 7:00 pm

To answer the question in a general way,
When you strictly perform in one type of venue and develop your act for that venue then you are not in the frame of mind to create opportunities to branch out.
If you work as a family show performer, mentalist, escape artist, illusionist, close up guy, trade show worker and strolling perform for corporate and / or restaurants then you will discover routines you can use as a core, if only through luck and a lot of face-time.

If you only fix Hondas motorcycles and you only own metric tools and you only have 20 year old Honda motorcycle repair manuals then you won't easily cross over to other brands of cycles let alone diesel cars and trucks.

Be there or be (the magic) squares!
Head Case
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Loving all the examples. Any more ideas? Also (Besides cards across) what are some card effects that work well for stand up? Keep in mind, I am shooting to be able to go from comedy to serious, and also doing a mixture of mental magic, comedy routines, and pure "magic" magic.

Im looking into doing Bill in lemon, Ring and Rope, Silk to egg, PVP my mark spelmannm (like a bank night effect) maybe a needle swallowing effect, Tossed out deck, (I will make this list longer as I come across other effects)

So please, More examples! Remember, you don't have to limit the choices, keep the other effects in mind that I'm doing, but I'm open to mentalism, card effects, and anything else that can play for a variety of crowds of any size.

Thanks!
bkmeyer
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My personal favorite is half-dyed hank. Second, perhaps, is sucker silk to egg and may include 21century silks as per Bob Sanders. I can't recommend his silk products strongly enough.

Bruce
Anatole
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"Six Card Repeat" is another card effect that works well for all venues. It's one of those card tricks where it doesn't matter if the audience can't tell one card from the other since no card is chosen. I know it's been done to death at magic club meetings, but I don't think it's been overdone with lay audiences.

Bill Spooner's take on "Six Card Repeat" is the best and funniest I've ever seen:
http://spoonermagic.com/products/six_card_repeat.html

There were some nice "Ring Off/On Rope" or "Ring Off Shoestring" routines that worked pretty well for both close-up and stand-up, too.

----- Sonny
----- Sonny Narvaez
Dick Oslund
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In my upcoming book, I "spend" a considerable amount of time discussing preparing and producing an act (or show) that can play anywhere for anybody! I don't discuss specific tricks. (Skill level, personal tastes, etc. are too subjective.)

But, I do go into some detail regarding my personal criteria for the type of tricks to consider.

In general, the "classic" tricks--and variations on the classics--are usually well worth the time to learn and perform.

Jay Marshall and I shared the same thinking about how to add a new trick to one's act:

First, LEARN HOW IT IS DONE.

Second, LEARN HOW TO DO IT.

THIRD, LEARN HOW TO DO IT SO THAT IT ENTERTAINS AN AUDIENCE.

Some classic tricks are almost "automatic" in their appeal to most audiences. --that's why they've become classics! Examples might well include old standbys like the DIE BOX, "CHINESE" STICKS, SIX CARD REPEAT, CARDS ACROSS, etc. These tricks have a fundamental appeal and almost "sell" themselves to ALMOST ANY AUDIENCE. --And, they can be presented ANYWHERE!

Other classics require a performer who understands the showmanship that tricks like THUMB TIE, EGG BAG, NEEDLE SWALLOWING, etc. require.

I vividly recall the first time that I saw an egg bag "done". It was "done" by a character in a movie. He managed to achieve the basic effect without exposing the method, but no one (including me in the theatre audience)was ENTERTAINED!. Several years later, I saw an old pro. (Senor MARDO) PERFORM THE EGG BAG. I bought one the NEXT DAY. It did take awhile to learn how to "sell" it, But, it was worth the time and effort! I have a 3 minute bit that plays for just about anyone, anywhere! (If I can do it, you can too. --IF YOU ARE WILLING TO INVEST THE TIME AND EFFORT!

If you are planning on getting work in Las Vegas, you can develop an "8 minute act" for that venue. If you are thinking of being a "40 miler", you'll need a flexible act that you can do for family audiences, kid parties, Lodge "Ladies Nights" company picnics, ETC.

Note: the late Karrell Fox worked the auto shows every fall for $1,000 a day,plus "per diem". He also did local club dates (Detroit) for $500, and kid parties for $100! Karrell mainly used "classic" effects. His club act included a C&R rope (involved the breakaway wand and some comedy scissors) and the Invisible Deck, plus a ten minute comedy monolog. I remember him doing the auto show one season with a piece of rope! (He did a variation of G.W. Hunter's "Impossible Knot"!!) His birthday party was carried in a show box sized case and included the egg bag, the Chinese sticks, a silk and TT, the T&R napkin, and linking rings! Too many "magicians" today, try to do only the latest catalog effects. They describe thair act: "I open with XXXXX by so and so, then I do YYYYY by what's his name, I follow that with ZZZZZ by the great himself."

My first mentor, Stuart Ross, used the Thayer Super Vanish Extraordinary. It was his feature (Where do the birds go?) The rest of his show (except for the cards across,the Al Baker T&R newspaper, and the passe passe bottles) was from TARBELL! He did the Tarbell C&R rope, the vanishing wand, the card in orange, the misers dream, and card flourishes. A majority os his act could be done anywhere, for anybody.

I would suggest that you read Tarbell. You can find more than you will ever need in those books! --and much of the props, you can make. Oh! also read Ken Weber's "MAXIMUM ENTERTAINMENT".

Asking others to suggest SPECIFIC TRICKS is almost an exercise in futility.

The guys will try to be helpful with specific suggestions. But, you are asking them to "build your act" for you! --an almost impossible task.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
wally
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Well said Dick. mind full of information. I wished I lived in your area. pick up some great ideas.
Bill Hegbli
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I remember when I was invited to a house party, expecting to do my show at the kitchen table for a few people at time. It was a great night, and after performing for everyone, I was in the main room. One of the guest ask that I show the "Silver Extraction" coin effect to the group. Now as we all know, Silver Extraction is considered a close-up trick.

So I stood up and mentally set a stage type presence, and began to speak to the group. Invited a lady guest to stand beside me, and preceded to display the coin at my finger tips. It went over very well, and that is how it is possible to take a close-up trick and give it a standup presentation for a larger audience.

Look at the way Paul Daniels presents his Chop Cup routine for audiences of over a thousand. It is the presentation and taking on stage techniques that makes it work.
Dick Oslund
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Thank you, Wally, for your very kind words! I definitely am not any sort of genius! I just had good mentors, and the opportunity to meet and become friends with some excellent magicians, PLUS, close to fifty years on the road doing thousands of performances.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Dick Oslund
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Absolutely right, Bill! PRESENTATION!!!!! I never saw him, but, I understand that NATE LEIPZIG presented, essentially, close up card tricks on stage VERY SUCCESSFULLY. As you did with SILVER EXTRACTION, Nate invited several people to be a "committee". INVOLVEMENT, INTERACTION!!!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
magic4545
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luiswong718
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I suggest one, but I forgot name of the routine, let me try to explain the routine
1, you show a silk with a blank area in the middle
2, then you fold and roll it to a small size of silk
3, bring a deck of card out and let another spectator to select one card
4, finally the card is show in the middle of the silk which the spectator holding whole time
I remember it had appear on the book "five point in magic" by Juan Tamariz
hope it help
Ekuth
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Quote:
On Jul 24, 2014, luiswong718 wrote:
I suggest one, but I forgot name of the routine, let me try to explain the routine
1, you show a silk with a blank area in the middle
2, then you fold and roll it to a small size of silk
3, bring a deck of card out and let another spectator to select one card
4, finally the card is show in the middle of the silk which the spectator holding whole time
I remember it had appear on the book "five point in magic" by Juan Tamariz
hope it help


"The Card Printed on the Handkerchief"
The Five Points In Magic - Juan Tamariz; page 25
"All you need is in Fitzkee."
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