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jcsum Loyal user Singapore 217 Posts 
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Hi all,
While I don't discuss a specific prop or effect, I thought this article might appeal to magicians in this forum. The holy grail for many performers, especially variety entertainers is to be able to perform a show that can pack small and play BIG. This show is often called a worker’s show as it is a show that can play in almost any venue, stage and performance conditions. In addition, the show is easily transportable, by car or air travel. For working performers or even weekend warriors (part-timers), packing a show “small” generally refers to shows that: - Can fit into a regular car - Can be transported by one (or two) person - Can be checked in as excess baggage for air travel Some art forms naturally play bigger than others. For example, dancers play big due to the number of performers usually in a dance crew, their dance movements, choreography and the area they cover on stage. Acrobats are similar as they usually consist of at least a duo and cover a lot of space on stage, both laterally and vertically. Jugglers, too, create height and scale by tossing objects high into the air and moving around the stage. Magicians (who do not perform illusions) tend to play smaller as they are usually confined to a specific area on stage. Stand-up comedians (who are not prop comedians) also have to rely on just their personality and showmanship to command the stage. The good flip side is that the smaller your show plays, the smaller you pack as well. While some performers feel that the scale of the show is not important as they feel that it is only the personality of the performer and entertainment value that matters, I personally think playing bigger can help a show. It adds production value and visual variety to a show. And, some clients (even if misguided), feel that they get more value if there is more to see on stage. In these cases, a bigger show may mean that you can justify charging a higher fee. I know for a fact that one factor that allows me to command a higher asking price is because of the scale I can bring to a show, even for my non-illusion show. As with all things in life, balance is the key to have a show that packs small and plays big. In this article, I share how I approach packing small and playing big. You can read more detailed thoughts and approaches to pack small, play big at: http://backstagebusinessacademy.com/2016......lay-big/ Hope you find value! J C
J C Sum
Project ONE: The Solo Illusionist http://www.SoloIllusions.com The World's Largest Free Online Illusion Resource http://www.IllusionBooks.com The World's Most Comprehensive Resource on Kabuki Drops http://www.MagicKabukiDrop.com Creating Highly Successful Entertainers http://www.BackstageBusinessAcademy.com |
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Yellowcustard Inner circle New Zealand 1334 Posts
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I saw David Merry do a lecture and a lot of his stuff is prop heay and great. One thing he said was there is a old saying 'pack small play crap'
I am a fan of Pack small but do think there are issues with how we think about it. I heard someone say they do a great coin routine that play big as long as there is a camera and screen. to me this stretch pack small play big. One thing that made my case smaller was to get rid of all the stuff I carry just in case or things for one of moments. I can easily show you a small case which my 45min act fits in and say there you go. Yet I then add a small speaker and mic, my costume (which I can wear every day to day) I also need to carry water and snacks phone and keys. I love the idea of pack small play big but we have to be realistic.
Enjoy your magic,
and let others enjoy it as well! |
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Dick Oslund Inner circle 8356 Posts
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I'VE SAID IT 88 MILLION TIMES!
ENTERTAINMENT does not "come" by the YARD, or by the POUND! ENTERTAINMENT "comes" by the "OOOH", "AHHH". SMILE, AND LAUGH! I don't know who DAVID MERRY is, but, IMHO, he has much to learn. Richard Pitchford (his stage name was CARDINI) ENTERTAINED with a pack of cards, a few billiard balls, and a pack of cigarettes, + TALENT, and s bit of SHOWMANSHIP! (I could easily name many others! NATE LEIPZIG would be one. He used a pack of cards in a Vaudeville theater.. Ehrich Weiss (his stage name was HOUDINI) stood, in one, with a pin spot, and did 30 minutes with a spool of thread, and a packet of needles! JAY MARSHALL used a pair of white gloves, talent, and showmanship. Jay played the ED SULLIVAN SHOW, FIFTEEN TIMES! (He holds the record!) A pair of those gloves is now displayed in the SMITHSONIAN INSTITUTION IN WASHINGTON, D.C. PROPS are important to a MAGICIAN, Props are the basic, visible "tools" which he uses to perform a trick. (The "magic" only "happens" in the mind(s) of the spectator(s) if and when he uses his pleasing PERSONALITY, and, PRESENTATION in the PERFORMANCE. "Those who think that magic consists of doing tricks, are strangers to magic. Tricks are only the crude residue from which the lifeblood of magic has been drained." --S. H. Sharpe The late JACK GWYNNE had a stage full of props. He CLOSED the act with a torn and restored piece of paper. Asked "why", he said, "I want "them" to remember ME, and not those PROPS!" HOWARD THURSTON trouped two railroad box cars full of plywood. It was "spectacle"! One of the biggest laughs in his full evening show, came from him, working in one, with a small boy, a hat, and a dozen eggs! HARRY BLACKSTONE, (pere) had a box car full of scenery and "big boxes". His "dancing handkerchief" (it was borrowed.) "stole" the show. His "next to closing", used a pack of cards, and a ten foot length of rope! "It aint WHAT ya do, it's HOW ya do it!"
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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MikeDes Inner circle Montreal 1174 Posts
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For me the problem is not with the props or magic equipment I carry. The problem is all the other stuff you need for the show. Things like a backdrop curtain, sound equiment, lighting, etc. If someone can figure out a way to make all that "pack small" it would be great!
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Dick Oslund Inner circle 8356 Posts
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I have a couple of Abbott's JET SETS, but I use them only for special dates (evenings, family dates, etc.)
I still use my "old faithful" "AMPLIVOX" that I bought 40+ years ago from Jay Marshall. I carry also, a catalog case of 150 watt Par Lamps. The par lamps have only a 15' "throw", but, when I've needed them, they've served well. This stuff was only used, occasionally in schools where it was needed. Otherwise, my 45 minute show carries in a 13" x 20" x 8" fibre case (like a "fat" attache case) It "sits" on a waiters tray stand. For elementaries, I carry the Mutilated Parasol in its own nylon "tube". The prop case, table, and parasol weighs just over 22 lbs.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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thomasR Inner circle 1263 Posts
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Props can make a big difference in "value" to certain clients. JC gets top dollar corporate gigs.
"Can make a difference" not "always makes a difference" The article gives a lot of good points and I think the "iframe" is brilliant! I hope it does well for him. |
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JNeal Inner circle I used to have 999 posts, now I have 1695 Posts
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Apropos of what Dick Oslund wrote, I am reminded of what famed Broadway choreographer and Director Tommy Tune said,
"I'm taking the Broadway show in a different direction, where my approach will be: 'show me less, but INVOLVE me more." |
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Bill Hegbli Eternal Order Fort Wayne, Indiana 22791 Posts
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I would never do a box trick for just doing a larger box or tube trick. I have to like performing it, and know the audience will like it as well.
I am a firm believer in doing prop tricks that sell, and can add to the overall show. I also believe that it does add to the value of the show from my stand point and the clients as well. Never think that a statement from a client or audience member, commenting that he expected to see a huge silk production out of a tube, or the production of a rabbit or bird. Just kindly say, not all magician do the same tricks, that is part of what makes us stand out from the rest. That also does not mean you have run out and buy such a prop trick. I like to add a prop segment to my shows, because I think the audiences would like to see magic they have never seen before. This also gives a feeling that I am giving more value for their investment in choosing me for their event. Just my opinion of large props add value. |
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Dick Oslund Inner circle 8356 Posts
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Bill and I sometimes have differences of opinion!!! However, in this "case", we agree, but, for different reasons!
About 40 years ago, a promoter needed a magician for a spring tour. I told him what I did for the school assembly tours. He knew that, a a professional, He could depend on me, but, he wanted more flash, and, a a 90 minute show. The money was "right", so I bought a Garden of Flowers, A Botania, an Abbott Tub Of Flowers, a Dove to Rabbit cage, a Temple of Benares, a Super X Levi, and an Abbott Stocks of Zanzibar. I already had four Jet Sets (for gym floor shows) an adequate sound system, and lighting. I needed to do 90 minutes. I hired a young magician whom I had been mentoring to help schlepp props, set the props, assist in the performance, AND, pitch the balloon package!!! The tour was successful. (The "inside money", a balloon animal "kit", moved the show, and, my share of the promotional money, went into the bank.) But, by the end of the tour, I decided, that I had had enough of schlepping the plywood! I sold the "heavy stuff", and returned to doing school shows, with my little case! For me, "client perceived value", and, a good share of the money, had made the season worthwhile. Bill has his own reasons for doing some tricks that require bigger props, as noted above. I had been doing school assemblies, and I returned to them after the promotion tour. I just LIKED doing schools, and to be successful in what that area of the business required, it was necessary to travel light. Bureau booked school tours, made it necessary to produce a show that could play for almost any age group, in almost any "situation". --and, also be able to do 13 programs per week. The assembly program field has been described as "K-Mart Show Business". The formula was successful, and, I was never at liberty! (The old timers said, "It's not how much money that you make, per show, it's how much money you have left at the end of the season!) IMO, that's a good philosophy! So, when people ask me, I freely tell them what worked for me! I wrote up the entire story, in my book (DICK OSLUND--ROAD SCHOLAR". "We" had a great initial sale of the book, and, the dvd, and it looks like there will be a good steady sale, in the foreseeable future.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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Dick Oslund Inner circle 8356 Posts
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Quote:
On Mar 29, 2016, JNeal wrote: Thanks Jonathan! I do/did my best to interact with, and involve those wonderful audiences! --It was a wonderfilled life!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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jcsum Loyal user Singapore 217 Posts
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All good points.
I do suggest that my article is read in full to understand what I'm trying to share. Pack small, play big is a ideal for many performers and if you share that ideal, I share approaches that I have developed and used to design a show with that goal in mind. My primary work is an illusionist so I do not pack small (nor try to) for the illusion show. But, as I shared, I have a separate show that was designed for clients that do not have the budget for elaborate technical requirements and shipping costs or for venues that cannot take a large illusion show. As most of my work is overseas, and I did not want this show to have cases to be shipped, the show had to be able to fit international air travel check-in baggage limits. One important variable that should be pointed out that different performers serve different primary markets and perform in different types of venues. Yes, I agree a "small" act with lots of personality can work in the right setting for the right crowd. But, it will also bomb in a show/ event that expects more, from the client's and audience's point of view. Technically, a good singer can captivate and entertain an audience with nothing more than their voice, performance and maybe piano accompaniment. However, if the gig is the MTV movie awards, the network will want something big, flashy, outrageous to appeal to their audience demographic and fit the brand and expectations of the show. The cost of your show is also a variable. If you charge $100 (just as an arbitrary example) for a show, it may not justify lugging a truckload of gear and a client paying that amount may not expect a big production. But, if you charge $10,000, then, more than likely, a client may have higher expectations in terms of what they "see" on stage. Modern expectations, competition from all types of (live & non-live) entertainment, current pop culture trends, the Internet attention span etc are also all variables to what is needed to capture the attention of a modern audience. So, everyone is right depending on the context, audience demographic and client one is appealing to or serving. There is also the notion of "no way is the way" and "different strokes for different people". See what works for you and adapt accordingly. I admire performers who bring their own show support gear as it shows how much they care and want their show to succeed. I empathize with the fact that the gear does not pack small (or light) and unfortunately, I have no solutions for that. Personally, I'm fortunate that my technical rider is fulfilled by the client/ agent/ event management company and I just have to turn up with my show gear.
J C Sum
Project ONE: The Solo Illusionist http://www.SoloIllusions.com The World's Largest Free Online Illusion Resource http://www.IllusionBooks.com The World's Most Comprehensive Resource on Kabuki Drops http://www.MagicKabukiDrop.com Creating Highly Successful Entertainers http://www.BackstageBusinessAcademy.com |
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Bill Hegbli Eternal Order Fort Wayne, Indiana 22791 Posts
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American Got Talent went in the bigger - bigger magic props, but it took the European Talent show to show bigger was not a requirement for magicians. Totally, unfair, a guy with a guitar or a singer with no props, and yet the judges kept saying bigger, bigger because the Las Vegas stage will be bigger, not because of any other statement.
I am sorry, bigger is okay if you want to be an illusionist, but if you want to entertain with magic that is not illusions, there should be no demands on the performer. Illusions are a whole different game, the magician only has to stand on stage and make hand and arm gestures and speak his patter. More of an actor, then a magician with any talent, except personality and showmanship. Then AGT went in totally the other direction, mainly close-up magic. Most shows there is no need to have your own sound systems, as they can be provided by the event place or client. Just let them know your needs. You only need a mono system in a large auditorium, anything else is personal choice. Increasing the your price because of more equipment only goes so far, you talent and reputation as a good performer is the key component to price increases. A set of 10" rice bowls would be just fine, as long as the presentation and magic is great as well. In any huge stage, the important element can get lost, that being the performer himself. There is not need to have props that can be seen, and no one can see the performer. The décor is not more important then the actor. |
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thomasR Inner circle 1263 Posts
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Quote:
On Mar 30, 2016, Bill Hegbli wrote: Could not disagree more. Maybe the only illusionists you have seen are theme park magicians that get hired for a season to look the part. But all the true illusionists I have seen, are MASTER magicians. No one gets into illusions because it is easy. Watch Rick Thomas perform the Wakeling Sawing in Branson... or see Darren Romeo perform the Floating Lightbulb in Pigeon Forge, and then tell me they are more of an actor. JC Sum made some excellent points about singers... my personal favorite artist performs many shows either solo, or with one piano player. (He plays guitar). He is a very gifted singer and storyteller and in my opinion, he performs best in these simple situations. But every year he does a big Christmas tour that sells out large theaters. If he showed up on stage with just himself and a piano player it would look too simple. Would it still be wonderful music? Yes. Would it be easier and cheaper? yes. But would it fit what the audience expects and what the promoter feels like he paid for? Maybe Maybe not. He brings out an entire band. Cello Player, Drummer, Percussionist, Bass, Piano, Guitar, and Electric Guitar, and a couple extra singers and makes it a really special night. And because of that, his Christmas tours sell out each year. |
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Bill Hegbli Eternal Order Fort Wayne, Indiana 22791 Posts
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Rick Thomas must be a real magician, putting himself in the box and escaping without any assistants.
The Floating Light Bulb is not considered a Grand Illusion, Grand Illusions use people as part of the props. The reason it is performed on stage are different then, the size of the box. I quoted Robert Houdin, the father of modern magic, he said, "A magician is an actor, playing the part of a Magician". You make my point, it does not take a large entourage to put on an excellent show, it is the performer they come and see, not all the other extras. Audiences are not buy tickets because of the larger group, most cases they don't even know there will be extras. |
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jakeg Inner circle 1741 Posts
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I feel that it's all a matter of perceived value by the client, and what you are selling. The best examples are the gambling resorts. If your playing the lounge, you may not need the glitch of the big props and stage settings, but, playing the main room is a different story entirely.
Comparing a singer, especially one with known name, and a magician is ludicrous, but most concerts that I've seen depends a large part on spectical. Your not going to play the half time show at the super bowl with an egg bag. |
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Dick Oslund Inner circle 8356 Posts
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Maybe if you used the "old original (BIG) egg bag, like Dante used? LOL!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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Ray Pierce Inner circle Los Angeles, CA 2628 Posts
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My preference is certainly for the PSPB mentality. The reality is that much of my work comes from trying to make up for the small production value of so many of these acts that try to carry the minimum possible requirements. I perform regularly in Milt Larson's "It's Magic" shows around the California area. The reason they consistently bring me (and other "Larger" acts) in is to provide more production value to flesh out the show to make up for the acts that have little to no large scale visual appeal. To be honest, my favorite type of magic is my parlor material which all fits in a small catalog case but the reason I end up getting booked on these larger shows is because of the proliferation of people that are not willing to go to the trouble of bringing larger equipment to create the expansiveness desired for larger venues. I truly see both sides of this discussion as my preference is obviously for material that is easier to deliver but the reality is that in larger venues, they need more to scale appropriately in these larger areas. It seems that so many people are attracted to the " packs small, plays a big" mentality as it just doesn't require the same financial investment. Keep in mind that some of my best friends are masters at creating a large visual act that packs in to a very small and practical case that can be carried on any plane. At the same time, for every four of those acts, many show producers require someone with illusions or larger effects to give the show some sense of scale and visual value. I can promise you that there are very few people trouping with large scale illusions that are making a good living due to be incredible expenses and financial requirements necessary to purchase and maintain these investments. On the other hand, if you were seeking to maximize profits, doing Illusions are not the best way to go. I love doing the smaller material as it is my passion to create the strongest and most elegant magic possible but the reality is that due to so many people that are unwilling to carry any larger scale visual effects, I keep getting called for the larger illusions for many of the large venues. For those of you doing small venues, it's really not an issue. If you expect to play in 2000 and larger seat arenas, you have to think of visually appropriate effects that can scale properly in the venue you're playing.
Ray Pierce
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Sealegs Inner circle The UK, Portsmouth 2593 Posts
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While I understand the appeal of 'Packs small plays big' I think caution has to be exercised in seeking this as a goal. 'Packs however it packs... plays to your strengths', is, in my opinion, a far better mentality to adopt in the first instance.
Part of the problem with having, 'packs small, plays big' as a goal is that it often ends up creating a very portable show that's not as good as the performer could otherwise deliver... and unfortunately it sometimes creates a show that's simply not good enough. Of course there are plenty of performers who have successfully used small props in their shows to great effect. I'm not suggesting packs small plays big can't incorporate, or be part of a winning formula. Paul Daniels' 'act as known' was very compact but he easily played the biggest venues with an act that in no way felt small. Likewise Wayne Dobson was hugely successful with an act that he worked entirely from his pockets. However, many don't have the stage persona or style of working that suits such a performance choice... and it is in these situations that, 'packs small plays big', can lead to performers to short change themselves and their audiences. On cruise ships, (which is where I work and have worked for 30 years) the acts are continually flying on and off and between the ships, so the need to travel within the bounds of the usual baggage restrictions imposed by airlines, or better still with just carry on, has obvious advantages. But ask a seasoned cruise director what they generally think about patter magic acts on ships (which are generally also comedy acts) and the comment you'll most often get back will be, "they don't do enough magic and they're not funny enough". I feel the, 'packs small plays big', mentality is a big contributing factor in bringing about these comments. Filling a 45 show with just 3 or 4 routines maybe great for the performer but it might well be less good for the audience. (and those who booked the act!) So by all means look for, 'packs small plays big', but make sure that doing so doesn't erode the task at hand, which is delivering the best show you can. Unfortunately many a magicians' biggest trick is fooling themselves into believing that they're delivering a show that's better than it is.
Neal Austin
"The golden rule is that there are no golden rules." G.B. Shaw |
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jakeg Inner circle 1741 Posts
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Sealegs, that about sums it all up. Great post.
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yin_howe Inner circle Malaysia 1078 Posts
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Quote:
On Apr 9, 2016, Sealegs wrote: Dear Neal/Sealegs. Can I print this and stick it to my wall? 
"Talent without passion is talent wasted.."
https://www.youtube.com/user/yinhowe80/ |
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Posted: Mar 28, 2016 08:54 am 
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