(appologies for the innuendo in the title)
Hi,
it's been about 8 months since I truly discovered magic and it has been a big part of almost every day since with discoveries (and purchases!!) and practice. So I've taken the big step and am off to join the local Magic Circle. After 3 monthly visits I will need to apply for associate status and this involves an interview and a performance. So I am thinking ahead and trying to get it together.

I do mostly coins and enjoy close up but I guess the routine will need to be suitable for a small audience (probably a similar routine as would be suitable for table hopping, but with a bit more space and a 10 minute guaranteed slot. Plus no need to reset).
I was thinking :-
Open with an introduction of the coins---
Jay Sankey's "No Jacket Required"
I was going to use David Stone's Dr Card and Miss Money Suprise to produce the coins but I'm not slick enough yet

Follow this with Curtis Kam's "Inverted Matrix" (how do I produce the cards other than saying "and here are 4 cards")

A coins across, probably with an audible appearance. I am not sure how it will work with using spectators so I thought either David Stone's coins to glass (can't remember the name off the top of my head but it's on vol 2 of his introductions videos). Alternatively I could just go for Buckley's coins to cup from Principles and Deceptions (and taught on the Roth videos).

I though I might then skip to a one coin flurry (either Roth or Scott F. Guinn's) ending with a Jumbo production.
So what do you think?
And patter? There is one school of thought (my wife is in this school) that says keep the patter to a minimum (be direct, less things to remember, and she hates patter with magic) and there is the opposing view (self explanatory).
Do you think I should include any non coin effects? I don't do cards at present, but could do a little IT ( was thinking of starting with a story of being nervous and having my instructions on a piece of paper. Then screwing up the paper and closing my eyes, mentally (and with my empty hands) walking through some coin trick- in the meantime the screwed up instructions levitate and my demonstrating hands go above below, around it etc. Then I open my eyes( apparently unaware of the levitation) unscrew the instructions, check them, bin them, nod and get on with it?
Thanks for the patience to read my ramblings
Your help will be most graciously received
Cheers
Shanester

I have some of the same questions as you have on putting an act together and trabsitioning between tricks.

I just ordered Jay Sankeys Beyond Secrets and I think it covers these type of questions. You might check it out.

Brian

You have been in magic for 8 months, but to me it seems you are rushing a bit going with David Stone Curtis Kam. These are all great magicians, but there is no need for rushing things. Start from the basic priniples and you won't regret it. IT is a great idea if it is not too complicated. Remember simple is better (more and more at this stage).

It would be even better to introduce some magic with cards or some other objects.

Some other thing I like to look for in other magicians is the flow from one thing to another. It is not always possible to do this, and would become anoying after a whole lot, anyway, but one can try. This means that if you ned four coins try to produce them. instead of putting them away at the end, vanishe them or change them into something else that you need to use next, etc...

And finally remember, patter or no patter, there is more than just the effects. That is why I told you to go slow. The presentation is the most important thing. The floating instructions is a great idea. Remember to put the neccessary drama in it.

I wish you good luck in your journey and for the audition. See you.

BG.
you've got me thinking that maybe I need a book on presentation (I've enough effects for now). After a search of the Café's review pages I'm going to get hold of a copy of Leading With Your Head.
Niva,
thanks for the comments. I feel that the effects I have chosen I can present well, but style is the thing that I know only comes with experience. I am glad about your comments about making things flow. I am planning to use the 4 coins that are in play from the coins to pocket for the matrix, and then the coins across. (maybe it would be better to do a simple 4 coin production, then the matrix, then coins to pocket?hmmm??)
Anyone have any good ideas for bringing the 4 cards into play for the matrix?
Thanks
Shanester

I have seen a very cool appearance of the 4 aces from seemingly empty hands one at a time. I believe the trick is by Gregory Wilson, I saw the trick on magicvideodepot.com. But if you are not a card guy then this trick will probobly be out of your reach.

I know a very easy way to bring in 4 playing cards into to your routine...

Start out with 4 playing cards in your pocket either **** or pants ... and when the time comes to do your matrix just reach in your pocket and pull them out.

Remember the KISS principle... Keep It Simple Stupid.

Honestly though ... you say you've been doing magic for only 8 months. You don't want to over do it. The more complex you make your routines to be the more chances of you messing up especially for someone that's been into magic for 8 months and little experience.

I really doubt your magic club is going to expect you to be doing very advanced effects.

Also heres a little advice. Mix it up a little. Through a couple card effects then coins, some IT work, maybe some rubberbands or sponge balls....etc.
After seeing so much coin magic it begins to look the same. Coins Across/Matrix...(and I love Matrix routines) broken down Matrix is basically Coins Across but on the table.
that's just my 2 cents

Hi Shanest,
I only live 40 miles or so from you, and may know the group you are writing about.
The main purpose of auditions is not to show that you are as good as the other members, or better.
Its to show that you are a nice guy who is commited to his magic, and has done the necessary work to show that he can be trusted with the groups name.

You should really do more than just coin magic, but don't go overboard. One or two card tricks is all you need. You are only doing three or four tricks anyway.

Its more important that you do your routines well and easily than to strugle with more advanced stuff.
Don't aim too high.

In my experience, they will want you to pass you, not fail.

Good luck, but I'm sure you don't need it.
Eddie

Shanester:

I'm not a member of that magic circle, but I belong to the one in London. Here are a couple of hints.

Don't run over. Time your routine so that it fills the spot, but doesn't run long.

Do some variety. It's better to do three or four simple tricks well than to do 5 very complex tricks badly.

The advice to keep your patter trimmed is very good. If you have a cassette recorder, tape your script and listen to it. See if it sounds good to you. Then fix the spots that bother you.

One of the best books on presentation is Henning Nelms' Magic and Showmanship, a Handbook for Conjurers. If you can find a copy, get it and devour it!

Break a leg! (that's theatre talk for "good luck!"

I agre with Bill about the book. I haven't read all of it yet, but it is great. Jay's must also be good though.