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The Magic Cafe Forum Index » » Table hoppers & party strollers » » Workers, what percentage of show types do you generally get? (4 Likes) Printer Friendly Version

Head Case
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As a strolling magician. There are times that you get other types of gigs that are not strolling. I am curious to hear from the workers here. What percentage would you say you get for each show setting?

Edit: The short version - Aside from doing strolling, if I wanted to start doing stand up shows, what is probably my best bet to focus my attention on creating? Size, type of effects, length, etc. So I could offer strolling and a stand up show eventually?

I'm just trying to get a better understanding here.

For example. Aside from strolling gigs alone. Let's say you book an hour of strolling and then a stand up show. How often do you really do a magic castle style close-up show doing shadow coins, triumph, and other "on the table effect?"

Same for parlor, are you generally in settings where you can get away doing stand up card tricks and have people in the back row be able to see what you are doing?

Lastly stage or crowds so big that you need stage specific effects. Effects that are probably large enough for everyone to see but would be too big to try and do in like a living room, where a close up or small stand up show would be more appropriate?

I'm trying to focus my energy on what is more important for now so I would like to get a better idea. Is a castle style close-up show really something I am going to be gigging a lot? Maybe I should focus on more of a parlor show that could play anywhere from a living room to a small comedy club. (But then I couldn't do that routine for a large audience in something like a banquet hall)

I'm trying to avoid having to do a close up table show, close up standing show, small parlor, larger parlor, stage, and strolling acts. lol and for some reason I have a hard time coming up with an act, that could play anywhere and everywhere while still being small enough for more intimate settings and visible enough for larger spaces without the use of projectors and all that. So if I could get away and do a lot of work just having a strolling set and parlor show for example. That would make things a lot easier on me. For the time being anyway.

Hope that made sense.

Thanks for any input you have to offer!
BrianMillerMagic
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In your situation, develop your strolling act and build a 40 min "parlor show" that can play up to 50-75 without a stage. Then you'll start being more versatile for bookings at small private events.

You will almost never be in a situation to do a Castle style close up formal show.

Go get 'em!
Head Case
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Thanks a ton for that information I really appreciate it!

It's been tough on me to get things going without much direction.


If anyone else has any advice. I'd love to hear it all!

Thanks again Smile
Michael Baker
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Ditto what Brian said regarding the Castle type show, unless you are doing so for a hobby (convention contests, etc.). You'll rarely book venues where that will work. Bad investment of time for a business.

Consider these four types of shows:

Close-up Strolling - You are usually limited to what you can easily carry on your person. Zero reset is a huge advantage. Angle-proof is a plus.

Stand-up Close-up Show: I did many of these at intimate dinner parties. There are many venues where this type of show is perfect, from private dining rooms in restaurants, to events at the office, in conference rooms, to home parties. Most of your close-up strolling material can be done here, too, but forget anything that lays flat on the table. Things like Matrix and Shadow Coins are too hard to see, especially if the audience is seated. But things like Cups & Balls (or Chop Cup) can easily be seen on your table. Reset is not a concern because these are usually booked as a one-shot show. You have an advantage of having a bag or case with you to hold items that would otherwise be impractical for strolling. Very often, I would try to sell this over strolling magic, citing more, bigger and better magic. Most clients appreciated that. I preferred the dynamics of a larger group watching all at one time, and it was actually less work (time) and usually for more $$. But, it really depended on the event.

Parlor: Very similar to the previous category, but usually assumes a slightly larger audience. These can range from people's homes, to small banquet rooms. Some of your strolling material can still be used here, provided these are things that play broad enough to be seen from across a medium size room. Rope tricks would be a good example. You can afford to use larger props if it fits your style. Just pay attention to visibility for anyone seated in the back. If they can see and hear, everyone else can, too.

Stage: I'm assuming you are not talking full-size theater stage and performing illusions for 2000 people, but referring to a platform show, usually on an elevated stage for a couple hundred people. Most of your strolling stuff is useless by now. But, many things you can use in a parlor show can be done here, too. Just pay attention to visibility, as always. Sometimes this only amounts to a modification of props. Rope tricks will still work but the same rope that works for a parlor show will look like a string on a bigger stage. Fatter rope would be the way to go.

If you noticed the basic plan, look for effects that cross the boundaries between these different types of shows, and you'll have less material to develop... at least initially... you can add more over time, if you wish. You will have much more versatility of venue without having to build four shows with different material in each of them.
~michael baker
The Magic Company
Dick Oslund
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Both Brian and Michael have said it VERY WELL!

I was booked for a college "all nighter", a "few" years ago, to do close up performing. On similar gigs over the years, I had spent the evening (and, morning!) strolling. When I arrived, the client had a big round table with chairs, set up in the middle of a very large room. He had planned on my doing two 20 minute performances every hour. It was apparent that he thought this was the best way to "use" my services.

I sat down, and, the table's eight chairs were immediately occupied! I did a trick, and, the kids applauded enthusiastically I did my #2 bit, and, the applause was louder. I looked up, and there were about 15 people, standing in a circle around those seated. Another routine, and the response was bigger. There were kids standing on chairs, in a second circle!

I was afraid that someone would fall off a chair! I finished the set, and spoke with the student who had booked me, and, had watched the crowd "grow".

I suggested that it would be "safer" to stroll! He agreed, and, we had a fine evening (and, morning!)

The only magician I know/knew who often worked a "Castle style" close up gig, in a separate room from the main party, was Karrell Fox. The client would distribute tickets, with show times imprinted. Karrell's agent had arranged for Karrell to do a series of 15 minute performances. Every one had a front row seat, and, the "system" worked well.

Of course, if it was an affair with a large attendance, Karrell would stroll. He often wore a RED top hat. The MC would announce that "our magician, this evening, will be strolling the room, wearing a RED top hat.

Now, if I may, I'll add just a few additional thoughts to Brian and Michael's posts.

People tend to think that magicians are for the kids! So, it's wise to develop material that can play to kids, too, whether it's a strolling job, or a large parlor, or platform show.

I've never done a "kiddie" show. Many times in working schools, especially in the rural prairie states, I had a Kindergarten through Senior High School audience. My routines were planned to entertain that "mixed" group. If working a family event, I would often have a Kindergarten through Senior Citizen group!

I didn't carry "kiddie props". I used mostly GENERIC props. I did tricks whose effect could entertain almost any age span. My criteria for selecting tricks/routines made this possible. I listed my criteria in my book.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Head Case
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Quote:
On Apr 30, 2016, Dick Oslund wrote:
Both Brian and Michael have said it VERY WELL!

I was booked for a college "all nighter", a "few" years ago, to do close up performing. On similar gigs over the years, I had spent the evening (and, morning!) strolling. When I arrived, the client had a big round table with chairs, set up in the middle of a very large room. He had planned on my doing two 20 minute performances every hour. It was apparent that he thought this was the best way to "use" my services.

I sat down, and, the table's eight chairs were immediately occupied! I did a trick, and, the kids applauded enthusiastically I did my #2 bit, and, the applause was louder. I looked up, and there were about 15 people, standing in a circle around those seated. Another routine, and the response was bigger. There were kids standing on chairs, in a second circle!

I was afraid that someone would fall off a chair! I finished the set, and spoke with the student who had booked me, and, had watched the crowd "grow".

I suggested that it would be "safer" to stroll! He agreed, and, we had a fine evening (and, morning!)

The only magician I know/knew who often worked a "Castle style" close up gig, in a separate room from the main party, was Karrell Fox. The client would distribute tickets, with show times imprinted. Karrell's agent had arranged for Karrell to do a series of 15 minute performances. Every one had a front row seat, and, the "system" worked well.

Of course, if it was an affair with a large attendance, Karrell would stroll. He often wore a RED top hat. The MC would announce that "our magician, this evening, will be strolling the room, wearing a RED top hat.

Now, if I may, I'll add just a few additional thoughts to Brian and Michael's posts.

People tend to think that magicians are for the kids! So, it's wise to develop material that can play to kids, too, whether it's a strolling job, or a large parlor, or platform show.

I've never done a "kiddie" show. Many times in working schools, especially in the rural prairie states, I had a Kindergarten through Senior High School audience. My routines were planned to entertain that "mixed" group. If working a family event, I would often have a Kindergarten through Senior Citizen group!

I didn't carry "kiddie props". I used mostly GENERIC props. I did tricks whose effect could entertain almost any age span. My criteria for selecting tricks/routines made this possible. I listed my criteria in my book.


This! This is what I needed to read. Awesome. Thank you so much for taking the time to write that out. I haven't done much stand up (at least in a theater or platform setting) more just "standing" shows. So visibility is always a hard thing for me. I'll be thinking how amazing a trick is, and then be stuck thinking how its a little too "big" for close-up and won't work for strolling, but maybe just a tad too small for like, a banquet. For example, A single needle by wayne houchin. I think, it plays pretty big. Sure, and he says people can see it from the back of the room on a small stage. BUT, having never worked it in a setting like that. I still feel its too impractical to do, strolling, would play weird in a small intimate close-up setting, and be too small for a platform. So, I don't know.. But then again, people get away with things as small as linking finger rings in a large room. So, yea.
Head Case
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Quote:
On Apr 30, 2016, Dick Oslund wrote:
Both Brian and Michael have said it VERY WELL!

I was booked for a college "all nighter", a "few" years ago, to do close up performing. On similar gigs over the years, I had spent the evening (and, morning!) strolling. When I arrived, the client had a big round table with chairs, set up in the middle of a very large room. He had planned on my doing two 20 minute performances every hour. It was apparent that he thought this was the best way to "use" my services.

I sat down, and, the table's eight chairs were immediately occupied! I did a trick, and, the kids applauded enthusiastically I did my #2 bit, and, the applause was louder. I looked up, and there were about 15 people, standing in a circle around those seated. Another routine, and the response was bigger. There were kids standing on chairs, in a second circle!

I was afraid that someone would fall off a chair! I finished the set, and spoke with the student who had booked me, and, had watched the crowd "grow".

I suggested that it would be "safer" to stroll! He agreed, and, we had a fine evening (and, morning!)

The only magician I know/knew who often worked a "Castle style" close up gig, in a separate room from the main party, was Karrell Fox. The client would distribute tickets, with show times imprinted. Karrell's agent had arranged for Karrell to do a series of 15 minute performances. Every one had a front row seat, and, the "system" worked well.

Of course, if it was an affair with a large attendance, Karrell would stroll. He often wore a RED top hat. The MC would announce that "our magician, this evening, will be strolling the room, wearing a RED top hat.

Now, if I may, I'll add just a few additional thoughts to Brian and Michael's posts.

People tend to think that magicians are for the kids! So, it's wise to develop material that can play to kids, too, whether it's a strolling job, or a large parlor, or platform show.

I've never done a "kiddie" show. Many times in working schools, especially in the rural prairie states, I had a Kindergarten through Senior High School audience. My routines were planned to entertain that "mixed" group. If working a family event, I would often have a Kindergarten through Senior Citizen group!

I didn't carry "kiddie props". I used mostly GENERIC props. I did tricks whose effect could entertain almost any age span. My criteria for selecting tricks/routines made this possible. I listed my criteria in my book.


Thank you to you too for taking the time to provide all your info.

You guys have helped me focus a little more on what is important to work on. (And what NOT to work on)

Appreciate it!
Dick Oslund
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Happy to be of some help!

My working act is carried in a 13" x 20" x 8" case. (A "fat" attache case:!) I use a waiter tray stand. The case sits on top! I can work almost ANYWHERE, for almost ANYONE! The basic standard act runs 45 minutes.

YEARS AGO, I adopted STRICT CRITERIA for the material I would learn to perform. I had no illusions about working Las Vegas! I studied books like Tarbell!. I learned magic PRINCIPLES. I read Fitzkee, Maskelynne :& Devant, et al.

The act can be set in about 4 minutes, and, packed in 2 minutes. The props are mostly GENERIC. (rope, silks, coins, etc.) and, a few "classic" props like egg bag, linking rings (3), brakawa fan, etc. The prop case and table weigh about 23 lbs.

Although I specialized in school assemblies, I accepted almost whatever "came along", if I felt that I could handle it.

I've worked the boondocks, and metropolitan areas. WGN TV's "BOZO", the MAGIC CASTLE, high schools with 2,000 kids, and an elementary school in GALATA MONTANA with seven kids. Because of my "flexibility", (and a little bit of talent!) I was never "at liberty". I always had contracts or options, a year ahead.

Most of my material, requires a bit of skill, (no "boxes, tubes, cans, and pans or red velvet bags on a stick")but, I don't consider myself a sleight of hand "master".

So! Read the "basic" books! Learn the "basic" tricks! You may not get on "America's Got Talent", but, you'll find work!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
magicfish
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Pure gold from Mr. Oslund.
Dick Oslund
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Thank you "poisson de magique"...OOPs, I forgot! You're from Ontario, not Quebec, eh!

I'm from ESCANABA, MI--about 125 miles from Sault Ste Marie. I can drive south about 500 miles, and enter Canada at Windsor, Ont.!

We're all praying for those folks in Alberta.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
renricker7
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I would like to put another view into the pott ...

do what you do best, like the most and feel the most comfortable with and go from there.

not everyone is a close-up, a stage or a illusion guy/girl.

i think it is your marketing and your enthusiasm which sells the product. it doesn´t matter which product/show you choose, if you know how and where to sell it. there are niches for all types of shows you can make a living in...

just my thoughts - enjoy the ride!

rene
obrienmagic
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Mostly strolling events. If they are formal close-up/stand-up shoes they are almost always kids parties.
Visit my online store at http://www.obrienmagic.com/magic-shop Smile
Dick Oslund
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Hello o'brien,,,

THAT may be YOUR experience!, but, not necessarily what Brian, Michael, and I have experienced.

Most of MY work was stand up, in an auditorium, or a gymnasium, with or without a platform, and, with the audience seated on the floor, on chairs, or on "bleachers". I worked high schools of a thousand, OUTDOORS. I've worked groups of a half dozen, in a classroom. Yes, I did some strolling, sometimes with the audience seated, sometimes standing, BUT, in order to work "almost anywhere" for "almost anybody", I had to produce a show with material that would meet my CRITERIA (the "NINE IMPORTANT THINGS").

Over the years, I worked WITH (NOT FOR)a number of agents, and managers. The more versatile I was, the more work I would get! I always had contracts, or options a year or more ahead.

As the late Paul Harvey would often say, "Now you know the rest of the story!" If YOU are interested in the "rest" of the story, read my book!"

I never did a "kiddie" show. Jay Marshall never did a "kiddie" show. Neither did Karrell Fox. I never did a "Silly Billy" or a "David Ginn"!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Kyoki_Sanitys_Eclipse
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Which book is that Mr. Oslund. I would be interested to read your story. Also to the op. There is a great gem here. The working pro does not need the most technically demanding trick to be great. Mr. Oslund has a great quote on this but I'll let him post that. Skill alone does not make the magician
Dick Oslund
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Hello "18 Wheeler"~!

Thanks for the "good thoughts'!

You are quite right. As s working pro, I had a motto: KIS MIF! (Keep It simple Make It fun)

Anything I did, had to be SIMPLE enough that almost anyone could enjoy it, PLUS! SIMPLE enough that I could enjoy performing it.

An act needs to "evolve" to stay topical, and, fresh. Over the years, I presented basically the same show. Some tricks that I started with (50 years ago) evolved "out". Others were slowly modified (e.g., different colored silks--to develop a better continuity). The rope tricks were routined differently to get greater unity. "Patter" lines changed to stay topical. But!!! methods were always ultra SIMPLE!

IMO, "magic" is 5% sleight of hand skills, 5% sensory illusions, 5% esoteric science principles, and EIGHTY-FIVE PERCENT P S Y C H O L O G Y !!!

The EFFECT (what the spectator sees, or thinks that he sees) is always more important than the METHOD! Magic is not INHERENTLY entertaining. The magician's "task" is to make magic ENTERTAINING by his PRESENTATION!

Last year, I completed a five year project, (my book). As a teenager in the '40s, I NEVER dreamed that I would someday write a book that would be sold worldwide! It's now in Europe, Australia, Canada, and, even in the United States.

A magician who has achieved notoriety with his presentation of MATRIX, has accused me of promoting the book. (I didn't spend five years writing it, to print only one copy!) Internationally known cardician, and author, Jon Racherbaumer, insisted that I write it. He said, "No one else is qualified to write a "history" of the Lyceum entertainment field. You are the last of the school assembly bureau" magicians! So, start writing!"

I wrote an "auto-biography, to establish my credentials, AND, to recognize the magicians who mentored me. I wrote a "gezillion" anecdotes of "things that happened" in the half century that I toured the U.S., coast to coast, and, border to border. "Sprinkled" throughout, are bits of advice, and, performance tips.

Finally, I wrote up most of the tricks/routines that I developed and used successfully for 50 years. Almost all of the tricks/routines, "use" basic, generic props (rope, silks, cards (one card routine, and my presentation for the fancy shuffles, plus "my" "solar powered electric deck", My Senor MARDO "inspired" egg bag routine, my DISECTO routine, my "illusion routine" which uses the TENYO "What's Next" (Gene Anderson said that it's the best routine for that prop!, MY own routine for Frank Ducrot's 20th Century Silks--it's different! my version of old pal, Don Lawton's Mutilated Parasol, my "Comedy Balloon Pump routine (spring snakes) my Pom Pom Stick routine, my handling for the Serpentine Silk, and,

MY MISERS DREAM ROUTINE! (One well known professional paid me a SUBSTANTIAL amount of $$$ for it, and regularly sends a check, that he calls a "residual" fee! Plus lots more!!!

No one has asked for their money back! It's being stocked by some of the best known magic dealers, and, they continue to re-order!

Lest that "MATRIX guy complains, I'll PM you with the necessary information.

>>>>>BTW!!! What the hekk is the "great quote"???<<<<<<<!!!

Dick (and, to quell the rumor! I DID NOT INVENT THE "TT"! I'm only 84 (and, a "half")!!!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
Kyoki_Sanitys_Eclipse
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Alright I don't know how to do the quote function here but this is it.

S. H. SHARPE, many years ago, had this to say:

"Those who think that magic consists of doing tricks, are strangers to magic.

Tricks are only the crude residue form which the lifeblood of magic has been drained."

No less a magician than DARIEL FITZKEE said it this way:

"I must insist that tricks are but tools. This eagerness to add new tools to the workshop,
at the expense of learning how to use the tools we already possess, definitely results in
crowded workshops, but unskilled artisans."

I can't wait to get that pm. Do you still do school assemblies?
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