The Sorcerer's Stone

With the best-selling success of the Harry Potter books - kids and adults alike will be familiar with them -- the following makes a logical tie-in to a popular phenomenon.

One of the series of books is entitled Harry Potter and the Sorcerer's Stone.

And, not surprisingly, this routine is titled:

The Sorcerer's Stone

Effect: The magician relates a tale of ancient alchemists trying to find the Sorcerer's Stone, which would turn base metals into gold. Showing three stones, he puts two in his hand and one in his pocket; when he opens his hand, the three stones have appeared there.He repeats this. The third time, he puts one stone in his hand and the other two in his pocket; when he opens his hand, the stone has turned to gold. Both hands are empty.

Working: This is a dressed-up version of the old two in the hand, one in the pocket routine.

You'll need four stones - any pebbles will do, as long as they look approximately the same - and a gold nugget. Don't worry, you don't need an actual gold nugget (although I do use a bar of gold from a pendant!); a fifth stone, spray-painted gold will do, or a fake gold nugget from a piece of costume jewellery. The gold is in your right pocket, three of the stones are on the table, and the fourth is concealed in your right hand. Pick up one stone with your right hand and toss it into your obviously empty left hand; pick up the second stone and toss it into your left hand, too, secretly adding the stone concealed in your right hand. Pick up the third stone from the table with your right hand and pretend to put it into your right pocket, secretly palming it. Open your left hand and show the three stones have magically come together. Repeat, but this time, when you put the last stone in your pocket, leave it there and palm the gold. The third time, pick up one stone and pretend to toss it into your left hand, actually switching it for the gold (the Bobo switch). Pick up the other two and put them in your pocket. When you bring your hand out, casually show that it is empty. Open your left hand and show that the stone there has magically turned into gold.

Presentation: "For centuries, ancient alchemists sought something called the Sorcerer's Stone, which was believed to be able to turn base material into gold.

"But, in our scientific world today, we know that there is no such thing - or maybe there is.

"These three stones on the table may look normal but - is it possible? - they may actually have ancient, mystical powers.

"Watch carefully as I put two into my hand and one in my pocket.

"And yet, the stones - even though they were separated - magically come together again. (Open left hand)

"Let me show you that again. (Repeat, this time palming the gold from your pocket.)

"But, while this may appear magical, it is still not what the ancient alchemists were looking for.

"They wanted a single stone (pick up stone and, as you toss it into the left hand, switch it for the gold) that would create a precious metal, like gold. (Put the other two stones in your pocket, casually showing your right hand now empty.)

"That magical stone would be the Sorcerer's Stone - and would have the power of creating untold wealth, in the form of gold." (Open your left hand and drop the gold on the table.)

Second thoughts: This could be done with any stones, although I use rough core slicings of iron pyrites (fool's gold).

If you want to produce something else - a diamond, for example - you could use a fake diamond for the final load and pieces of quartz as the other four stones (You can probably get quartz chunks at hobby shops, that sell rock samples.)

Vampire Bat

A question was raised a while back as to whether bizarre magic could include comedy.

Well, I don't see why not - provided it's done properly. After all, the great Ted Annemann, in his full evening show of mentalism, did a cut and restored rope trick right in the middle of the act. And, by all accounts, it worked. So the following offering combines (or attempts to combine) bizarre magic with comedy.

Effect: The magus relates a story of vampires:

"High in the mountains of Pennsylvania - or was it 'Transylvania?' - no matter; high in the mountains, there was a castle that towered over the local village.

"By day, the castle was inhabited by the infamous Count Dracula. (The magus takes out a nine-inch silk with a picture of Count Dracula drawn on it.) The villagers lived in fear of Dracula for, while they could prove nothing, it was rumoured that the count possessed supernatural powers, the kind of powers that mere mortals did not even dare to think about.

"For much of the time, at night, Count Dracula appeared to be normal - or as normal as a count could be in far-off Pennsylvania - or was it Transylvania?

"During the daylight hours, the count would live in a cave underneath the castle. (The magus tucks the vampire silk into this closed left fist.)

"But, once a month, the moon would be full.

"And, when the moon would rise, the count would leave his cave and be transformed into - (pause here and let the audience add the words "a bat". If they don't, carry on, adding the words yourself.) - a bat!"
The magus then opens his closed left fist, showing that the vampire silk has vanished, to be replaced by a bat - a tiny baseball bat!

Working: This is fairly straightforward and I assume most of you are ahead of me already. When you reach into your pocket for the silk, the left hand palms the small bat and a thumb tip. The silk is pushed into the left fist (the thumb tip) and the tip is then stolen out.

The left hand is then opened and the baseball bat is allowed to drop to the table.

Second thoughts: To make the silk, get a picture of a vampire (I got one from clip art on the internet) and tape a nine-inch while silk to the picture.

With a black Sharpie marker, use light, brush-like strokes to trace the picture; the brush-like strokes will keep the ink from bleeding into the silk.

With a red marker, add touches of blood to the lips and fangs.

Let dry for at least 24 hours.

For the bat, I found a baseball bat and ball key chain at a flea market; however, larger craft stores also carry tiny, wooden bats (along with a whole range of other cool stuff that can be adapted to magic).

This is one of those routines that is 90% presentation and 10% mechanics.

The entire routine - until the punch line - should be done semi-seriously and pompously (even the Pennsylvania-Transylvania gags). You are leading the audience in the wrong direction here, so pause and freeze at the end, when the baseball bat appears, to give them a chance to understand what has happened and to get the gag.

Don't be in a hurry to rush into the next routine; remember a cardinal rule of entertaining (or comedy): Never step on applause (or a laugh).

Don't Let Them See You Sweat! The Art Of Performing Magic!

The Art of Performing Magic Tricks

We've all been there. Our hands are sweaty, your heart is racing and your hands are shaking like a leaf. Yes, I am talking about trying to pull off your first magic trick that you just learned. You are excited to show your friends and family your amazing trick but then when the time comes, boom! its like you are standing on stage in your underwear and everyone is laughing at you! Even though you have practiced the trick hundred times or more and in front of the mirror, it's never the same when you are about to do it to real people.

Well, have no fear, as this you'll be glad to hear it can be conquered and you will pull of your trick like the pros! You see, it is natural for our body to tense up when the spotlight is on you, now not everybody is the same, some people are just naturally gifted to have that knack of performing for people, they love the spotlight, then there are the other 90 percent that have to work at it to get comfortable of the beading eyes watching there every move.

So, what do we do about this nervousness? Here are some quick tips for you:

When performing any kind of magic, be it card magic or a certain illusion...the best way to get your audiences attention so they are not focusing on what you are sometimes trying to cover up, is to use your hands as they will always follow your hands when you talk. The other thing is to always look into their eyes, this makes them focus on you also. Last but not least, in your routine, ask your audience questions, this gets them even more distracted and not so focused on trying to find the secret to your magic trick!

If you do all the above magic trick tips above, you will also notice that you will loosen up in the process knowing that your audience is in your control! No more sweaty hands, shakiness, or standing in your underwear feeling:)

You just have to learn some "patter", as in small talk, learn some jokes, some one liners, this will take your magic performance to the next level.

Practice these tips and you will have no problem with your future performances.

Las Vegas: The Best Magic Shows

Las Vegas is the premiere destination for those wanting to sit back and be entertained. If magic is what you want to see, then Las Vegas is the right place because it offers the very best magic shows in the world.

The essence of magic is illusion. Things that are there one minute, but disappear the next. This is the magic that kids love best, so if you are visiting Las Vegas with the family, reserve a place for yourself and your family where Lance Burton the 'Master Magician' will suspend your disbelief.

If you like your magic with a dash of comedy then Penn and Teller are the guys for you. They are the supreme crowd pleasers. They'll befuddle you with their tricks, let you in on some of their secrets and then confound you once more.

Rick Thomas invites you into his world of magic, which he calls, "The Art of Dreaming". He performs the most evocative magical illusions with his team of dances, birds and even, a Bengal tiger.

The Showgirls of Magic show is the prime Las Vegas experience. Gorgeous showgirls performing virtuoso illusions. The show is a cabaret of magic, dance, and comedy.

For more comedy and devious sleight-of-hand action try the Mac King Comedy Magic Show. King is a magical whiz and loves to include the audience in the fun. So it's the perfect magical show for all the family to enjoy.

Magic Trick For Free

There is a number of fun and easy-to-do magic tricks which a budding magician can learn to perform.

The key to showing off a magic trick is to practice until you have it perfected.

Here is one free magic trick for budding magicians. By trying out the basic magic tricks first, you can later move on to more complicated tricks and stunts to make you a joy to watch.

'The Magic Bottle Trick'

This is how the trick would look to a spectator:

First, the performer would ask for a volunteer from the audience. The volunteer would look inside the bottle that the magician is holding and show it off to the rest of the audience as a typical, empty bottle.

Then, the volunteer would return the bottle to the magician and also examine the magic wand.

The magician will drop the wand into the bottle, then turn the bottle over and let go of the wand.

The trick is for the wand to remain suspended inside the bottle.

Here are the supplies needed to pull off this magic bottle trick:

1. An eraser.
2. A bottle with a large opening where the wand would fit into. The bottle should be opaque.
3. A 'magical' wand which is taller than the bottle. Once you drop the wand into the bottle, part of it should stick up through the opening.

Cut off a piece of the eraser and make it be just big enough for you to wedge the wand into the bottle opening.

The eraser is the key to make the trick work.

This is where the trick comes in:

The magician would pass the bottle to a volunteer in the audience to make sure that the container is empty.

Then, the magician will take the bottle back and give the wand to a participant in the audience.

He would then slip the eraser into the bottle in such a way that it is hidden from everyone in the audience. The wand is taken back and later dropped into the bottle.

Afterwards, the wand and the bottle are picked up very slowly, upside down.

Then, the wand is slightly pulled while the bottle is being turned over. The eraser then gets wedged into the opening, then the magician lets go of the magic wand and voila!

The wand does not fall out. Slowly turn the bottle upright again, let go of everything and the wand remains suspended in the bottle and more importantly, it does not fall back down.

The wand is slightly pushed to release the rubber, and it is slowly taken out and finally removed.

What Kind Of Magician Can I Hire?

Are you thinking of hiring a magician?

There are various types of magic and magicians. Most magicians now specialise in a few areas of magic although some perform only one type.

Here is a general guide of what types of magician are available for a predominately adult audience although a good magician will take you back to being a child.

Close-up magic/strolling/mix and mingle/table magic can often be seen at cocktail parties, corporate events, banquets, wedding receptions and generally any party event where the magician mingles amongst the guests performing tricks and inter acting with guests. This is ideal for a reception and then when guests are seated at their tables and enjoying the meal.

Cabaret magic is a great way for a large or small audience to see some bigger or more involved magic tricks. Cabaret magic is suitable for most events but is most popular as an after dinner entertainment. Sometimes the close up magician will double up and also perform the cabaret. If you are looking for larger, flashy magic then it is ideal to hire an illusionist. Cabaret magic acts last between 20 and 40 minutes and normally perform for audiences of 20 to 600 however their are two rules that should be noted. The magician should be able to be seen and heard by everyone. Bear this in mind if booking after dinner entertainment in a hotel conference room. If you have lots of non English speaking guests you may prefer to have a silent magic act either manipulation or illusion however a comedy magician always plays well for an English speaking audience.

Corporations and companies are hiring magicians more and more to perform at Trade Shows and exhibitions. Magic is a great form of interactive entertainment where a message can also be presented in an interesting manner. The magician draws people to the exhibition space where the benefits and features of the product or service can be show cased. The magician can also present and provide suitable magic give aways that are branded for the company exhibiting.

A Bit Of The History Of Magic

One could enjoy watching magicians perform their amazing tricks. Whether they are in a circus, in a school program, a friend's birthday celebration, or in a favorite television show, magicians are among today's top entertainers.

Here are a few of the top magicians in their times:

The history of using magic as a form of entertainment may have begun with magician Chevalier Joseph Pinetti. More than three centuries ago, Chevalier Joseph Pinetti, wowed his audiences worldwide with his bag of magic tricks. And that was in 1782!

Among his tricks was the ability to produce an orange tree blossoming on stage that bore fruit. Pinetti's wife even acted as an assistant, helping the magician to do his mentalist and escape tricks. Known as the "Professor of Natural Magic," he was known for his great magic tricks, tricks that belonged clearly to the modern era of magic.

Come the nineteenth century. The said century welcomed the use of technical-assisted magic, with some of the magicians developing various devices that would aid or help in their illusions. Using optical aids or devices, electromagnets, as well as various stage lighting forms, these magicians were able to amaze audiences from time to time with their very elaborate and dazzling tricks.

One known magician in the nineteenth century was the magician Hermann the Great. Alexander Herrmann was his real name, and this German magician did his tricks with all of the kinds of stage magic he had known, even from super close-up productions to fill-stage events. An American rival, Harry Kellar, took over Herrmann's popularity for some time and became the most prominent magician for more than 10 years.

Other magicians in the nineteenth century included T. Nelson Downs and Howard Thurston. Downs is originally a vaudevillian by trade, but had become great and famous in his magic tricks that he became known as "King of Koins."

Thurston, on the other hand, invested much of his money in building an extravaganza, which is a show on magic. It reigned over the American entertainment magic scene for over twenty-five years.

Probably one of the more known magicians in recent times was Harry Houdini. Known as one of the best American magicians, he was known for his great escape acts, including his own famous creation, the "Chinese Water Torture Cell."

Another famous American magician is David Copperfield, who until recently performed numerous magic acts in shows and TV programs.

Bell, Book, And Candle

A while back, in a One-Man Parade in the Linking Ring magazine, Max Maven offered a wonderful routine involving those tools of exorcism - bell, book, and candle. He called it Toll, Tome, and Tallow (which is stretching alliteration a bit far, even for the Maven!).

I loved the routine, the props, the handling, the works. But it was a bit long for table work and so I came up with the following. It is completely different from the Maven's routine; the only similarity is the props - and they are crucial; the more charismatic the better, because the routine is 99% presentation and 1% working.

Effect: The wizard gives an ancient scroll to a spectator and then puts three items on the table: a tiny bell, a tiny book, and a tiny candle in a candlestick. The spectator has an absolutely free choice of any of the items and yet, after the choice is made, when she unrolls the scroll, it confirms her choice.

Working and Presentation: As I said, the props here are critical so you'll need a miniature bell, book, and candle. I got a tiny brass bell in a curio shop, the book and candlestick at a shop that sells doll-house miniatures. The scroll is about an inch or two wide and three or four inches long, parchment paper, burned on all edges to give the appearance of age. On it is written, in calligraphic-type script, the words: "Ye shall choose the candle."

Giving the scroll to the spectator, you say: "In the 16th century, a wave of witch hysteria swept Europe. In England, seeing a golden opportunity, one Matthew Hopkins set him self up as a self-styled Witchfinder-General. He would go from town to town, village to village, seeking alleged witches and proving them to be just that - or blameless. There were very few who were found to be blameless.

Hopkins used the traditional tools of exorcism in his rituals - a bell, a book - usually the Bible - and a candle. (Put the three items on the table.)

"To our modern minds, such simple things would seem unlikely to have any power. But, to show you the inherent magic in these three items, I would like you to pick up one and give it to me. (If the spectator chooses the candle, ask her to unroll the scroll and read it aloud. The routine is over at this point. If, however, she chooses one of the others, continue:)

"Now I would like you to pick up one of the remaining two items . . . (she does so - if it is the candle, continue as follows) . . . and hold it yourself. I will now eliminate the book. So what has happened here? You chose the bell (if that was the first choice) for me, you chose the candle for yourself, and you eliminated the book. Now please unroll the scroll and read it. (She does and it names her choice.)

(If the spectator chooses, from the two remaining, the piece that is not the candle, continue as follows:)

". . . and give it to me as well. You may now pick up the candlestick, since you have eliminated the other two items. Now, unroll the scroll and read it aloud."

At this point, all the ensemble fall down and worship you, as you so well deserve.

Second Thoughts: This is, of course, just the Magician's Choice dressed up to go out and go dancing. I said earlier that this is 99% presentation; the props should be as authentic as you can make them - calligraphic, aged scroll; brass or gold bell, miniature Bible, brass candlestick with tiny candle. Please do not use a Christmas bell, a paperback book and a birthday candle. You want to take the heat off the method and put it on the innocent props. Also, the wording is important. It must sound to the spectator that she is making all the decisions.

Have fun with this - and scare the knickers off your audience!

The Unforgiven

I thought I could use this blog as a way to showcase a few effects I've been working on. Feel free to take whatever you can from these "brainstroms" of mine...and if you could leave some comments on what you like or what needs improvement that would be wonderful.

Effect:
The word 'shrive' means to absolve of sin. It's from that word that we get the day before Ash Wednesday - Shrove Tuesday - meaning the day Christians are forgiven of their sins.

"Years ago, the worst possible thing that could happen to a person was to die unshriven - or to die with sins still unforgiven."

The magus takes out a small packet of cards.

"Here are some notables of the past who very likely died unshriven."

The magus shows each card and comments on the name:

"Jack the Ripper. Identity and date of death, unknown. In the fall of 1888, this serial killer held the metropolis of London in the grip of fear as he murdered at least five women, seemingly at will. He was never caught and his identity is still unknown.

"Attila the Hun, died 453 A.D. Known as the "Scourge of God", he conquered half the world, leaving the fragments of the Roman Empire cowering before him. The blood of countless people is on his hands. And yet he died in bed, on his wedding night.

"Macbeth, died 1040 A.D. He became king of Scotland for a brief period after murdering the rightful king, Duncan. His actions plunged the country into war. Some argue that he murdered the king to satisfy the demands of his wife, Lady Macbeth.

"Blackbeard the Pirate, died 1718. His real name was Edward Teach and he was the most feared man of his day. A mass murderer, his wanton cruelty knew no bounds. He ended his life on an American gallows.

"Lizzie Borden, died 1927. She was accused of murdering her father and her mother with an axe, a crime that shocks the world even to this day. A jury acquitted her but the public did not and she spent the rest of her life in seclusion out West.

"Ivan the Terrible, died 1584. Ruler of Russia, he was the classic feudal despot, bringing misery, destruction, and death to his people.

"Nero, died 68 A.D. Emperor of Rome, he was accused of starting the great fire that destroyed the city; and was also accused of doing it to provide inspiration for a song he was writing. The populace eventually rose up against him and he died by his own hand.

"Guy Fawkes, died 1606. A member of the famed 'Gunpowder Plot', he attempted to blow up Parliament and the politicians in attendance, during the conflict between Catholics and Protestants. He was executed by the very government he tried to destroy.

"Stalin, died 1953. Absolute ruler of the Soviet Union, he held the world in the grip of fear. He led his country through World War II but at a terrible cost; he also killed millions of his own people by forced famine, banishment to Siberia, and his notorious secret police."

The magus asks that the packet of names be cut several times to mix them up.

"These people, I believe we can safely assume, all died unshriven - or unforgiven. But you (to a spectator) look like a very good person and, perhaps, you can save just one of these horrid people. Give them a 'second chance' as it were, in eternity."

Have the spectator cut the cards, completing the cut, and remove the new, top card. The magus picks up the remainder of the cards, so they won't be a distraction.

"You could have selected any one of these fiends, whose crimes put them outside the bounds of human decency.

"And yet, being a basically decent person, you have decided to give a chance at redemption to - (here you pause dramatically and then reveal the name, along with some further details of the person's life, if you wish).

The selected name is shows to match your announcement.

The magus retrieves the card and continues with whatever he is doing.

Method:
This is an old principle, dressed up in a new and bizarre set of clothes.

Note the first initial of each of the names; the letters spell the nonsense word JAMBLINGS.

That is all you have to remember. (That, and to keep the cards in the right order!)

The cards can be cut, and the cut completed, as often as you like; it will not change the cyclical order of the word JAMBLINGS.

When the spectator cuts the cards and removes a card at the cut, you pick up the top cards of the packet and then put the bottom cards on top. The bottom card of your packet is now the card immediately before the one that was chosen.

Casually glance at the bottom card of your packet and you know the next card.

For example, if the bottom card is Lizzie Borden (and her first name starts with the letter "L"), you know the next letter must be "I" for "Ivan the Terrible".

Everything else is presentation.

You may want to embellish the profiles of each one by adding more historical details. That's fine; just don't overdo it. Remember, you are doing a wonder of magic, not giving a lecture or a history lesson!

Performing Magic For Kids

You have just discovered the wonderful world of magic. Trip after trip to the magic shop has added to your ever growing arsenal of magic tricks. Thirty-three days later the credit card bills arrive to remind your wife that this IS an expensive hobby.

No problem! You will make back all of the money you've spent and more by becoming a part-time professional magician. Looking around for places to hone your craft, you suddenly remember that you niece has a seventh birthday coming up. You call you sister and offer your services in lieu of a gift.

Two weeks later the performance time arrives. You pack all of your "A" material into two large cardboard boxes. You start the show for sixteen first graders and all of your relatives. The show goes well. Everybody is laughing and having a good time. You take some theatrical pauses to build suspense as you search your boxes for the next great trick. Finally, your fifteen minute show concludes after fifty-three minutes. You never realized you had that much great magic. The kids cheer and applaud for your debut magic show. Even your sister, wiping the tears from her eyes, says, "I have never had more fun than I did watching your magic show. It was great. John got it all on tape."

This is how many part-time professional magicians attempt to begin their career. They look around and decided that doing kid shows is the best way to start. Performing magic for kids is one of the most difficult areas of magic to do well. This article explores some of the challenges of performing children's magic.

YOU ARE TRAINING CHILDREN

Children don't understand many of the common cues in a live performance. Most children are raised in the age of television. Not a bad thing, except the laugh tracks prompt the children when to laugh. No laugh tracks and the children are left out in the cold. They are quick and will get up to speed in no time. But they need your help.

The same issue is even more problematic with applause. Children are not used to clapping. They don't understand applause cues. Those wonderfully timed applause cues will leave you and your audience with a lot of uncomfortable silence.

What can be done? Everything. One of your most important tasks as a children's magician is your opening. The beginning of your show must do four things:

• Establish audience control
• Teach the children to react to applause cues
• Set the tone for the show
• Introduce your performing personality

The audience needs to be warmed up prior to your magic show. It seems hokey and a waste of time, but it can make the difference between a great magic show and a horrible one.

Children love to have fun. Even in school children are taught to obey those in authority. For some reason, many magicians forget to establish authority early in the show. The result resembles a saloon brawl in the wild west.

When you step out for the start of your show, you have the perfect opportunity to establish the ground rules for the show. I don't mean that you should bring out a list of house rules for the show. Instead come out with confidence and warm up your audience.

After you welcome everyone to the show, look out over the audience and say, "This looks like a really great crowd. Let's see how loud you can clap. On the count of three ONE. . . TWO . . THREE . .Not bad! Let's try it again. On three . . ." After some byplay conclude by saying, "What do we do when we like the magic? (pause) What do we do when we LOVE the magic?" (pause and react strongly to the crowd)

Four things are being done by that warm up. You have taught the children to clap when they like the magic. It also trains them to react to the applause cues in the rest of the show. The warm up establishes that you are in control for this show. Finally, it sets a fun tone for the show. This is the first time your audience gets a sense of your performing personality.

YOU ARE NOT PERFORMING FOR THE KIDS

You will learn quickly that the most difficult task facing the children's performer is to design the show to appeal to children and adults at the same time and at different levels. No I don't mean filling your performance with phrases that have sexual double meanings. Nothing is more pathetic and unprofessional than the performer that gets a child on stage and slyly eyes the adults in the crowd and says "Do I have a big magic wand or what?"

Children's cartoons provide the best examples of the point I am trying to make. Take Loony Toons or Spongebob Squarepants for example. These cartoons work for children and adults on different levels at the same time. This is what you must achieve to be a successful children's magician

This is very difficult thing to pull off. This is one of the main reasons that doing children's magic is so difficult. You must DESIGN your show for both audiences. One key to the show design is your performing personality.

YOU ARE NOT YOURSELF TODAY

When you perform magic for children, you must have a distinctive and appealing performing personality. Long gone are the days when the children's magician can come out on stage in a second hand tux and wow his audience with a formal magic show. Look at Silly Billy, one of the most successful children's magicians. His performing personality is fun and engaging. His show tone is fast paced and humorous.

Even beyond children's magic, examine the performing personalities of children's television. Captain Kangaroo, Mr. Rodgers, and Peewee Herman are examples of compelling performing personalities. Each one was successful, yet, had very different performing personalities. The common factor was that each performer engaged children through fun.

Your performing personality must engage you audience, children and adults, with fun and wonderment. You must draw your audience into the show by your performing personality, but you must wow them with a well designed show that delivers great magic. This is why doing children's magic is so tough.

If you want to start your career in magic as a children's magician, think again. Kids are brutally honest. There is nothing tougher or more satisfying than have a great children's magic show. Being a children's magician is not the best way to become a part-time professional magician.

What is Close-up Magic?

Close-up magic is magical entertainment that happens right in front of you, magic you can not only see but feel and touch. This intimacy is what makes it so different from other types of magic. An expert close-up magician will involve and interact with the audience far more than a stage magician (or any other form of entertainer for that matter).

Most close-up magicians use common props such as playing cards, coins, sponge balls and rope. And all magicians perform the same basic magical effects with these props, making them appear, disappear, change, levitate, break and restore, and penetrate other objects. What is amazing about close-up magic is that it happens so close to you, sometimes while you are holding the props!

There are many standard close-up magic effects and standard routines used to present them. For example, the 'Ambitious Card' where a chosen card repeatedly rises to the top position in a deck of cards without any shuffling or cutting, or the 'Sponge Balls' where the balls move invisibly between the magician's hands and those of the spectator's. In fact, these routines are freely available if you care to look. Anyone can search the internet and buy books and DVDs on close-up magic, or even the props and standard routines.

What really sets one close-up magician apart from another is how they present their magic. In fact, presentation is the key - it is what makes close-up magic entertaining. A really good, professional magician will be creative and present their magic in an original and entertaining way. Sometimes humorous, sometimes mysterious, sometimes just plain weird and freaky. The magic becomes a vehicle for the personality and ideas of the performer.

This is what makes close-up magic great entertainment. An interesting, strange and funny person demonstrates the impossible, weird and wonderful, right under your nose!

Why Do Magicians Wear Tuxes?

This wonderful question has rarely bothered magicians for decades. It should. Some possible answers might include:

• He is getting married today.
• He just got off work as a waiter.
• He is going to the prom.

Wait! The man is about to do magic. Surely anyone doing great magic wears a tux. It logically follows that a person dressed in attire not worn generally by the public in nearly sixty years must be a well trained and entertaining artist.

I encounter responses such as:

"People won't know we're magicians if don't wear our uniform," bemoan penguin-like prestidigitators.

"Real magicians must wear tuxes," cries the part-time professional in his ill fitted and second hand attire.

The question of what magicians should wear has been around for more than a century. The correct answer has been around just as long. Unfortunately, many magicians don't get it.

Jean Robert-Houdin, the father of modern magic, looked around at how his fellow magicians dressed. The common uniform for a "real magician" was to dress up like a wizard complete with a conical hat. Robert-Houdin chose to view magic as an art. He devised many wonderful effects. He would go out on a bare stage to present his magic dressed in formal evening attire. The attire was appropriate and commonly worn for evening theatrical productions. Instead of dressing in way completely different from his audience, Robert-Houdin dressed just like his audience.

The point being made is simple. If you want magic to be viewed as a fine art, take your performance and dress seriously. Let the quality of your magic performance speak to the level of your magic artistry. If you want to be a magic clown, then dress like a penguin.

What about Lance Burton? Great question, thanks for asking. Lance's performing personality makes wearing a tuxedo appropriate for his performance. Mr. Burton consciously links back to magic's historical roots. Figuratively speaking, he wears the mantel of magic passed down through the ages. He portrays the great magician out of our past. Lance performs classical magic effects while donning the classical magical attire.

This is completely different from the approach of 99.998% of the other magicians wearing tuxes. Most part-time professional magicians wear a tux without regard to their performing personality. The key to what to wear is your performing personality. Begin with the assumption that a tux is not an option. Examine the key elements of your performing personality that you want to communicate to your audience. Tailor your dress to consciously communicate those key elements.

Another factor to consider is whether you want to stand out or blend with your audience. Let's say you want to blend with your audience. This is common approach for the restaurant or corporate magician. What will your audience be wearing? Try to dress a little above your audience. Let's say you want to stand out. Find ways to contrast with your audience that communicates positively to your performing personality. For example, assume your performing personality is that odd middle aged uncle that all the kids love but make parent roll their eyes. You know the type, every family has one. His style sense will be decades out of style but he will be clueless that he isn't the hippest guy around. If that is your chosen performing personality, then the performer's style will match the outfit. The point again is that the outfit chosen by the magician must relate to performing personality.

Let's get back to the original question. Why do magicians wear tuxes? Nobody knows including the magicians. Know your performing personality. Select your dress to complement your venue and performing personality. Treat your magic performance like the artistic performance you want it to be.