Forewords by Paul Daniels and David Berglas

PERFORMING

A handbook on performance for magicians

TONY MIDDLETON
'I highly recommend that all those who perform magic be
strapped down and force-fed the information in these pages.'
PAUL DANIELS
PERFORMING

.:\handbook on performance for magicians

by Tony Middleton
B.A. Hons., M.F.A.
PERFORMING MAGIC: AHandbook on Performance for Magicians
ByTony Middleton

First Edition, 2011

Published by Zebra Magic

.Zebr·
a
Magic

Copyright 2011 Anthony Middleton. All rights reserved No pan of this publication may be
·reproduced, stored ortransmitted in any form or byany means-electronic, mechanical,
photocopying, recording, or otherwise-without the written permission ofAnrhony Middleton.
 Dedications

To my family- Mum, Dad, Rachael and Grandma

And mygrandparents who have passed away.

To Chris Dugdale, for his support, advice and friendship.

To Phil Jay for his ld.ndness and wisdom.

To Martyn & Sue Dias for their help with photography,

and overwhelming generosity to others.

To all my friends, teachers and fellow magicians,

whose knowledge and wisdom is a part ofme.

God bless you all.

1
1highly recommend that all those who perform magic be strapped down
and force-fed the information in these pages'

-Paul Daniels

'Ifyou are serious about performingmagic, you cannot afford notto have
this on your shelf

- DavidBerglas

ThiS book is a thorough, step-by-step guide that will help you create original
1

magic, and discover who you are as a performer.

Whetheryou are a close-up magician, stage magician or cabaret magician,

ifyou apply the techniques and information in these pages, your performance
ofmagic will improve.'

- JeffMcBride

'Mr. Middleton offers priceless tips and info about real world magic.
This is a must read for any magician.'

- David Stone
'The things that matter in magic aren't what magicians think of:first. Success
isn't about being smart, looking cool or fooling other people. It's about._ well
Tony Middleton lmows and he's written a great book about it. Everyonewho
wants to work and keep working should read it three times in the first week
and then once a month after that.'

- Geoffrey Du1·ham

'This kind ofbook was not around when I started out, so let me tell you this;
whenever I worked with Ka.rrell Fox, Charlie Miller, Billy McComb and Jay
Marshall, I watched them over and over. They all have it. Very few performers
are born with it. Ittakes years to perfect. This book tells you and shows you
howtodoft.

- Michael Finney

This is one ofthe best books I have ever read. This is bound to become a
modem classic. I can't wait to meet you in person someday to thank you for
writing it. Every serious magic student shouldhave this as required reading.

-KevinJames
 Thea'uthor

Tony Middleton, lmown as 'Sonic' is a freelance magician and theatre director.

He specialises in directing productions involving magic.

He holds a 1st class honours degree in Drama & Theatre Studies from Royal
Holloway College, University ofLondon, and a Master ofFine Arts in Theatre
Directing from Birkbeck College, University ofLondon.

His credits as a magician include performances at The Royal National Theatre,

Blenheim Palace, The National Portrait Gallery, London Zoo, The Landmark
Hotel, Birmingham NEC, Old Billingsgate, Claridges, The Natural History
Musewn, The Royal Hospital (Chelsea), and performances for or alongside
Sir Roger Moore, Jools Holland, Will Carling, Keith Floyd, James Martin, Ray
Quinn, Max Clifford, Shaun Williamson, Prunella Scales, Bradley Walsh and
Blazing Squad. In 2010, he was engaged to perform on Sugar LoafMountain in
Rio de Janeiro alongside the appearance ofthe 1970's world cup football team
in the presence ofthe world cup.

In 2011 he appeared on the series Penn & Teller: Fool Us on ITV. His credits
as director, assistant director and magic consultant include productions
at Nottingham Playhouse, Theatre bythe Lake, Riverside Studios, London
Academy ofMusic and Dramatic Art, research at The Barbican for Theatre
Rites, magic consultancy for Theatre Rites at the Ruhrtriennale Festival in
Germany and live footage fon:he Britain's Got Talent Stage Magician kit.

He is the director ofChris Dugdale's live shows and produced his west end
debut; 2 Faced Deception, at The Leicester Square Theatre, as well as several
productions ofAn Evening ofMagic& Mindreadingat Riverside Studios.

6 The author
The author 7
 Co11tents

14 Forewm·d by Paul Daniels

15 Forewo1·d by DavidBerglas
16 Preface
18 Thisbook
19 Introduction

25 Close up magicandstagemagic
28 Technical competence
30 Theatrical language

PART 1: FOUI\TDATION

33 A basis to buz1d upon

34 Be specific

37 Circumstance
38 WHERE am i?
38 You mustdress appropriately
41 You must behave appropriately
43 What can I not do?
43 'What can I make the most oft
45 WHERE have I just come from?
47 WHAT ami doing?.
47 WHY am I doing it?
so WHAT has just happened?
52 Abriefround up...

8 Contents
53 Character
53 WHOam l?
53 Great performers open themselves up for the audience
54 Great performers have the ability to play
54 Great performers communicate themselves emotionally
51 'The magician is an actor playing the part ofa magician'
59 Truthful acting is an extension ofyourself
6o Soul searching
61 The magician within you
62 'Me' and 'the magician'

67 Objective
67 WHAT do I WANT? WHAT is IN THE WAY ofwhat I want?
69 Strengthening and testing the objective
~ 'Want' 01" 'Need'
70 I1zorde1"towhat?
71 The stakes
72 The obstacle
72 What do I need to change?
75 Multiple objectives
76 Concluding Part 1

PART 2 : STRUCTURE & DETAIL

79 Introducingpa1-t2

82 Strongmagic
82. It's not what you do; it's how you do it...
83 Economyinroutining
84 Awareness ofmoves and economy in movement
89 Working towards achieving specific visual experiences and visual moments
90 Significance
92 Understated
93 Stepping out ofthe 'daily'
95 Structwingyour act

96 Waysin
96 Theme
96 Associated material
97 Subsections
99 Transferable material
102 Cross-fem1ising
103 Find the effectfrom the object and developyour aesthetic
104 Thewall
105 Worldngconditions
105 Finding a hinge
106 Working backwards
114 Focus on the story, rather than the trick
120 Settling
120 Bouncing ideas offothers
121 'Hold on tightly, let go lightly'
121 Magic effects
121 Type ofeffect
123 Quality ofeffect

124 Structural tools

125 Theopener
126 Thejourney
127 Structural shapes
128 Threads
129 Continuation ofthe object
130 Aproposition
131 Thehook
131 Through line
132 Bullets
132 Thekeymoment
133 The big finish
134 Joining sections
135 Signposting
135 Focus
136 Applause cues
137 Variation

10 ContellfS
 137 Material
138 Speed
138 Duration
139 Tempo
140 Swprise
142 Billing one thing as another
144 Book end the show
1.44 Breaking the rules

146 The Changing ofthe Guard

146 The effect
147 Preparation
147 Step by step
147 Kicking off
157 Concluding Part 2

PART3: PERFORMANCE

159 Introducingpart3

161 The shell

·163 Colour
1li4 Emotional involvement
166 Attitude
169 Effort
J72 Whatisthepricepaid?
173 Scripting
175 Words
1']6 Quality ofspeech
TJ9 Scripting action
186 The emphasis
l88 The space between
190 Actioning
194 Rehearsal
196 · The rehearsal process
196 Process overview
197 1. Sourdngprops
197 2. Mastering specific sieights
197 3· Recreating the performancespace
198 4· Work through individual routines a minimum af3 times
201 5· Create a pocketplan and orpre-show checklist
203 6. Audience test individual routines
203 ?.Staggered run
204 B.Re-rehearseanysectionsorjoinsasnecessary
204 9. Full runs (at least2)
205 10. Speed run
205 11. Top&tailrunandothercheckingtechniques
206 12. Technical rthearsals
206 13- Dress rehearsal

208 Presence
211 Control
211 Present
212 Focus & comminnent to each movement in rum
215 Energy
216 The ball oflight
218 Marinade
219 Move your mind 10{1othsbUt your bodY7/10ths
219 'Acting is reacting'
220 Relaxation
221 Ci1·cles ofattention
222 Freeingphysical & vocal warm up
225 In your body
225 Attention, awareness, dynamic
225 Attention
226 Awa1·eness
227 Dynamic
227 Laban
228 Planesofspace
230 Motion factors
232 The eight effortactions
233 Usingtheefforts
234 Freeflow and boundflow
235 Action and intention

12 Contents
236 Carriage
337 Thepieceofstring
2J8 Light head and strong roots
2J8 Beingonstage
240 The seven rules ofpresence
240 Less is more

242 Key skills

242. Terminology
us Basic stage practice
245 Perform to the back ofthe room
246 Don)t turnyour back
247 Sight lines
248 Workingwith volunteers
251 Audience attention
253 Vocal clarity
354 The approach
255 Audience management
256 CoHditioningresponse
356 Buildingresponse
257 Maintaining attention
258 Dealing with volunteers
360 Maintaining relationships

262 A pictorial study ofreactions

272 PeJfonnance pitfalls

ZJ2 The performance pitfall checklist

275 Continuingwork
ZJ5 Performance notes
ZJ5 Notingyourself
Zj6 Keep listening
zj6 Watch yourselfback
:zn Ongoingpruning

278 Conclusion

282 Bibliography

- ---···········........................................................................................................--..·- ----
13
 FoTewoTd by Pavtl Daniels

For far too many years now I have lecrured to magicians and almost always
included the advice that they should ny to join drama groups to learn stage
craft, and to take their acts to a professional theatrical director to get their
opinions and advice.

Here we have a book created by such a person, someone who has studied so
much more than just how a magical nick works, someone who has studied the
THEATRE ofmagic, whether that thearre is a table-top or a large stage.

We live in an age where srudents ofthis great art watch a DVD and then become
ofclone ofthe performer they have watched and I do know that the 'young' of
today think I am crazy when I tell them to learn from books and that way they
will simply 'see' themselves performing. I also tell them that ifthey get one
good idea from a book then they should be well satisfied with their investment.

In this book you will get not one, not two, but dozens of presentational
thoughts, ideas, and tips that WILL improve your performances.

I highly recommend that all those who perform magic be strapped down and
force-fed the information in these pages.

Paul Daniels, 2011

14 Foreword by Paul Daniels

 Foreword by David Berglas
___
--··-..........................................-....................................................................................................

Tony Middleton has written an extraordinarybook on performance skills for

magicians. Rarely does a magician have such insight into the performance of
magic. He shows that it is not just tricks that people remember; it is the
magician. This book offers a practical step-by-step guide to becoming a better
performer. Anyone who takes the time io study their character and develop
their dramatic skills will benefit hugely. Magicians concentrate far too much on
aicks and not enough on developing their presentation. A serious study of this
subject is long overdue.

All the great names in magic have developed a unique style and placed the
audience's focus on who they are. The magician themselves should be
remembered above all else.

I would recommend this book as an excellent companion to my.own; The

Berglas Effects, as it offers excellent advice on managing audiences and building
up routines dramatically. Ifyou are serious about performing magic, you can't
afford not to have this on your shelf

David Be1-glas, 2011

---··-····································..........................................................................----·-----
RJrrwanl byDavid Berglas 15
 PTeface

'Magic and tricks'

In this book, I use the terms 'magic', 'effect' and 'trick'. However, before I begin,
I must be clear about the difference between these terms. Magic really means
something amazing and unexplainable, the effect is what happens and a trick is
a dangerous label which can mean a variety ofthings.

Magicians use the word trick to refer to an objeCt, effeCt, or even a whole
routine. For example; the Three Card Monte, vanishing a silk, or dice bomb can
all be referred to as a trick. It is a blanket term that does not account for the fact
that the Three Card Monte comprises several dramatic phases. It is a routine of
which the subjeCt is 'chase the lady'. Adice bomb is just a device you buy from
a magic dealer- it's not a routine. It's a piece ofapparatus.

The problem with the word trick is that it reduces the magic for the audience.
Ifsomething is a trick, it is tricking them. This changes how they feel towards it.
Do they want to be tricked? Probably not. When someone knocks on the door
on Halloween and says 'trick or treat?' they really mean 'give me something nice
or I will do something horrible to you'. Atrick is an unpleasant experience. To
trick someone is tO upset them in some way.

The word trick also implies that the effect is achieved via some device. In the
case ofthe dice bomb, the object is referred to as a trick. Therefore, to the
audience, the object is to blame. It does the work somehow. So suddenly, a
'magic trick' is some son ofpuzzle to be worked out. The audience wins ifthey
can work out the puzzle and outwit the magician. Is that the kind ofexchange
you want? Didn't think so.

The word trick immediately implies a negative experience which is also a

puzzle. Not a good start. Ifan effect is presented in this context, the audience
will most likely feel apprehensive, and will adopt the mindset that ifthey can't

16 Prefaa
work it out, they are stupid. The trick undermines them because it is a
challenge. They will immediately raise their defences. What's more, the word
trick trivialises the magical experience. It turns it from something incredible
and amazing into something cheap which has a simple explanation. The
method may be simple, but the experience it delivers must be magical.
Inexperienced magicians often make the mistake ofnor making their magic
magical enough. The magician is not there to trick the audience or show them
something clever or insubstantial. The magician is there to entertain and
deliver an amazing experience.

The words 'magic', 'effect' and 'trick' refer to different things at different times
when used by magicians. I certainly avoid using the words 'trick' or 'magic trick'
when speaking to lay people, unless I am demonstrating a seam. Magic is magic,
and a trick is a trick- don't get them confused.
 This book

We all know that magic has a theatrical history and that like any other
performance art, it is inherently abo.utshowmanshzp and performance.
It is a form oftheatre.

Bucdb::Weii~aJ.lyunderstand the implications ofthat?

:.:_ ·i ·:·:t~}~ :. -~\ '
M~yJnfagi~ians utter a version ofRobert Houdin's words;
· ·1[lhei11agidan is] an actorplayingthepart ofa magidan 11 •

...butwhat does that really mean?

...and how can we use it?

I have heard magicians say things like

'the rest is all acting'

What does that mean? What is 1acting'?

Is it relevant to magicians? And ifso-how?

From a directors·perspective, I would say that few magicians understand

or use theatrical tools effectively.

However... there is a goldmine to be discovered... ifyou know where to look,

and what to do with it.

My intention is for this book to open out magic in a way that helps magicians
understand, analyse and improve their performance.

I want it to be a tool kit that magicians can revisit again and again to develop
themselves and their act.

' Houdin, p.;6

18 This book
 Introduction

(Standing on the shoulders ofgiants'

I used to pass a poster at school of Einstein that said cWhateveryourdifficulties

in mathematics, I can assureyou mine arefargreater'. As I particulariy struggled
with maths, I wasn't so sure about that. So it is with some apprehension that I
start this book with a quote by Isaac Newton. (I was no good at physics either).
However, it is important forme to acknowledge that nearly all ofwhat I know
comes from much greater thinkers and practitioners than I will ever be.
Without their genius, I would have little to say.

I see a trend that has developed overthe last century, albeit a small one, ofmagical
thinkingfocussed on performance. To identify this trend as something necessary
to the future ofthe art ofmagic, I will call it cThe Sho~anship Movement'.

While performance and magic are inseparably linked, just a handful of

magicians have considered the performance ofmagic important enough to
write something about it. I believe the movement starts with Our Magic written
by Maskelyne and Devant in 1911, in which a significant number ofchapters
focus on presentation and act construction. The baton is then taken up by
Dariel Fitzkee in 1943 with his controversial book Showmanshipfor Magicians.
In 1969 Henning Nelms published Magic and Showmanship, and in 1982 Juan
Tamarizproduced The Five Points in Magic, followed by The Magic Way in 1988.
Darwin Ortiz published Strong Magic in 1994 In 1995 came Magic & Meaning by
Burger and Neale- although not strictly about performance, I include this book
because it marks a shift in magical thinking towards the perception ofthe
magician. Finally, Ken Weber published Maximum Entertainment in 2003,
one ofthe most modem and relevant books on magical performance I have
discovered. Although these books span a significant amount oftime, and come
from authors all over the world, they have one thing in common: an interest in
the importance ofmagic as performance. Compared to the hundreds ofbooks

Introduction
and DVDs about nicks, this is a small number indeed. Interestingly, none
ofthese books have been written by an industry trained theatre director and
magician. Although these past writings discuss magical performance in terms
ofact construction, showmanship and technique, I don't think any ofthem
provides a really comprehensive step-by-step guide to creating and performing
an act from scratch. There are many dramatic principles, methods and
techniques common in the theatre industry, which are practically unknown
in the world ofmagic. These should be common knowledge, because they are
tools that can help us develop creatively and shift our focus towards the
performance ofmagic.

Coming from a professional background in magic and theatre, I can see a big
cross overbetween the two industries which, I don't believe has been fully
realised. Magicians know about magic primarily in terms oftechnicalities. They
are fascinated by the inner workings ofnicks. However, only a few magicians
are really interested in what makes magic magical for an audience. But isn't that
what it's really all about? Isn't the experience of magic what got you into it in
the first place?

Many magicians·are not natural performers. In fact, performance skills are

not easily acquired by a great deal ofpeople, which is partly why actors train for
three years at drama school. On the other side ofthe coin, theatre practitioners
know very little about the world ofmagic and its potential for performance.
Nor should they. Secrets are what set magicians apart from any other breed
ofenthusiast. Both industries have a wealth ofknowledge and practical
experience to offer each other, and I am sure that ifdirectors, actors, magicians
and inventors all sat in the same room together, the general perception of
magic would be in a completely different league to what it currently is today.
There are some performers, and some shows, that have brought the two arenas
together and risen to great heights as a result. However, the majority ofmagical
performance is mediocre, small scale and sideline. One fact remains: there are
more commonly known secrets about performance technique which
magicians would benefit from ten times more than any nick. It is my intention
to present those methods here, and help magicians to raise the profile ofmagic
as a performance art.

20 Introduction
Forthe most part, what I am trying to achieve with this book is make the tried
and tested techniques ofthe theatre director available and relevant to magicians.
This book is intended to aid any magician, amateur or professional, in the
difficult process ofcreating, shaping and pezforming their act.

Unlike other entertainment, there is a lack offocus on performance in the

magic world. Equally magicians, as solo artistes, suffer from a lack ofphysical
support needed to raise them to a certain level in pezformance. It is almost
impossible to take on several roles simultaneously and produce great work.
You cannot be the director, playwright, stage manager, technical operator,
designer, marketeer and give a great performance. Doing everything means you
will spend less time practicing, rehearsing and pezforming-and will not reach
the level you know you could, and should. I saythis from experience. I have
made these mistakes and learnt the hard way. In a professional theatre, each
ofthese roles is a separate full time job with a very specific training. Because
ofthis, the workload is split between several specialists, making it much more
achievable. What is more, several heads are always better than one. With
several professionals working on a project, an idea can be bounced around
and improved rapidlyin a short space oftime. So ifyou don't have any
specialist performance training, and you haven't got a team ofpeople
supporting you, how on earth do you go about creating or improving your act,
and reaching a high professional standard? The simple answer is: don't do
everything on your own. Develop a creative, magical and technical team around
you whom you can trust, and focus yourselfon the performance ofmagic.

This book provides you with a series oftools that canbe used to help analyse
your act and focus your efforts towards achieving more as a performer.

I have split the book into three distinct parts to help you considerwhat needs
to be done to arrive at a successful performance. Ofcourse, performance is a
highly changeable medium, and many things can affect it, but 90% ofthe time
the quality ofmaterial, the content and the way you pezform can be controlled.
Ifyou are confident with the standard ofthe show, then you will be building on
a high base level, which means better performances in the furure.

lntrodUctiOII 21
By asking the right questions ofyour act and using the tools in this book
effectively, you can significantly raise the standard ofyour performance.

This book is split into three parts: Foundation, Structure & Detail and
Performance. The first part starts by highlighting the importance ofbeing
specific at any given moment. It's only a briefsection, but it lies at the heart
ofthe director's work on performance. Ifyou know what you are really doing-
you can question it orbuild on it Ifyou don't, you can't move anywhere. Then
we look at the first tool for shapingyour act: the 'circumstance'. The reality of
your performance and the circumstances ofyour engagement should heavily
influence the choice and delivery ofyour material !twill help you decide
straight away what is usable, and what isn't. We then address the other major
influence on your act: you. Your personality and persona should drive your act
-not the 'tricks'. The effects you perform should only exist to help you express
yourself. The focus should be on you first, rather than hiding behind your
magic. Following that, we look at a tool that actors use all the time to focus their
efforts on stage-something called the 'objective'. Using this will further inform
the creation and performance ofyour act. These foundation tools form the
basis for the next part ofthe book on structure.

In Part 2, we consider the impact ofcircumstance, objective and character on

your choice ofmaterial and artistic process. We investigate the importance of
the 'opener', the journey' ofyour show, and how you maintain interest and
momentum throughout the act We investigate how you add detail and
finishing touches, and we look at linking tricks together dramatically. Anumber
ofuseful tips are included here ifyou get stuck moving from one effect to the
next. On the whole, Part 2 builds on the core work from Part 1 and offers
methods and tools that can help you create a meaningful, layered performance.

The final part ofthe book is about the moment ofperformance itself; being
onstage, or in front ofan audience. We consider the importance ofrehearsal
and forming good habits that allow you to reach a higher level in performance.
We will consider how you maintain freshness, vitality, energy and immediacy
during your act, how to generate stage presence, and the key skills you need to
be a successful performer. Finally, we look at how previous tools can help you
·once your act is up and running. Re-evaluatingyour act by listening to the

22. Introduction
responses and changing as required is incredibly important in the long term.
Your work certainly doesn't stop after the first performance.

The tools in the earlier part ofthe book; specificity, circumstance, character
and objective, which fonn the foundation for your act, may seem to be quite
basic and obvious concepts. They are. But it is important to ask yourself
whether they have really been fundamental to the creation ofyour act. Have
you really been specific- and at every moment? Have you really structured your
act to the demands ofthe circumstance? Do you really know what you want to
achieve with your act? (Is the actyours- or have youjust copied someone
else?) If, by the end ofthis book, you haven't answered these questions
adequately-ask yourselfwhy not. Actors continually return to basic concepts
like the objective to help guide them in rehearsal. These tools are useful
preciselybecause they are simple; they stop you overcomplicating things.
They establish £inn foundations, and continually offer something new.

There are a number ofmore advanced performance techniques in this book-

some ofwhich go above and beyond what is required by magicians. They are
gems ofadvice from theatre practitioners, which can lift you to excellence in
perfonnance- so I offer them with this intention.

I must admit, I never thought I would write a book about how to perform
magic, because there is little substitute for practical experience. Apart ofme
has always thought-'what's the point in writing about it? You can't understand
it unless you do it!' So what I have written is reallyjust the bare bones-and it is
something that you must put into action, and physically experience, otherwise it
will simply not make a difference to yourperfonnance. Theoretical knowledge
will onlyget you so far.

Ofcourse, the other side ofthe coin is; I have been there as a director and
perfonner. I have made many mistakes and learnt many hard lessons. From my
experience-good and bad- I can advise you on how best to tread the rocky
road to performance. Ofcourse you will make your own mistakes, but it helps
to be able to refer back to something, to have a guide, and to know that the
author has been in your position, and knows what it feels like.

Introduction 23
This book is a toolbox to help you analyse your act and develop yourselfas a
performer. Any experienced professional knows that performing magic is a
continual process ofchange and re-evaluation. You must keep asking yourself-
have I got it right? How could I make it better? Clearer? More exciting? More
entertaining? ·

You need to start thinking critically about performance.

You need to question why something works or doesn't.
You need to start thinking like a director.

Are you ready to begin work?

Close-Up MagicandStagtMagic
 Close-up magic and stage magic

I have petformed as a magician at high profile functions and on stage. I have

also directed magic shows in established London theatres and regional
theatres. From this experience, I know that petforming close-up magic and
stage magic is vastly different.

The first major difference is that when an audience watches you in a theatre,
they have chosen to come and see you. In a close-up situation, most ofthe time,
the audience knows nothing about you. Quite often, they have no idea that they
are going to receive a magic petformance in between the courses oftheir dinner
or during their reception.

In the theatre the audience come to you, and in close-up you go to them.
The second major difference, as a result ofthe first, is the environment in
which you perform. Atheatre space is highly controllable. The space can be
set up exactly as you want it (in terms oflighting, sound, set, costume, stage
configuration etc.), and the technical conditions dictate audience behaviour.
For example; when the house lights go down, everyone falls silent as they know
the show is about to stan. They sit in their seats, and (to startwith at least) you
have their full attention. The light tells them where to look, and the atmosphere
generated (a combination oflight, sound and other elements) tells them how
to feel. In a theatre you can manipulate your audience however you want
through a variety ofmedia

In a close-up situation (e.g. corporate event or private party), the environment

is highly changeable. Usually, you are not the primary attraction, and there are
all sorts ofthings that distract your audience. You have to fight to maintain your
position; it's noisy, people greet others they know, food arrives or is offered at
inappropriate moments, waiters get in the way, people spill drinks, people are
drunk, the disco starts early and so on. In these situations, it is necessary to
have very good crowd control skills. You must make yourselfknown in that
space and take a firm hold ofthe situation. You don't need to do this in a
theatre, because the audience is already waiting expectantly-having paid to

Close-Up Magic and StageMagic 25

come and see you. To use bold crowd control skills in this setting would appear
unsuotle and crass. In addition, most ofthe time when you are on stage, the
lights are shining in your eyes and you can't see your audience properly.
Therefore, you can't engage with them in the same way as you can as a close-up
magician. In a theatre, having set up the atmosphere, you need to simply
present your act as you have rehearsed it, and listen for feedback from your
team and those you trust afterwards.

In a theatre environment, what you are actually doing at any given moment is
ofparamount importance-because it is your physical action and the visibility
ofyour intention that engages your audience. Emphasis must be placed on the
story ofyour act and a sound dramatic structure that draws the audience in and
holds their interest. Your act must build up the expectation and impact ofyour
magic, and take the audience on a journey.

These dramatic rules also apply to the performance ofclose-up magic.

However, the difference is that as a close-up entertainer, you have to establish
yourselfwithin a foreign space. It is necessaryto createyour own theatre
environment, and educateyour audience as to how to behave within it

You have to let people know you are going to perform for them.
It's amazing how manyclose-up magicians perform without the audience's
full attention...

You must define your performance space.

You have to teach your audience to react during your act and applaud at the
right moments.

You have to tell them what to think and how to feel.

Ifyou do all these things effectively you will engage your audience fully and give
them an experience-rather than just demonstrating a few effects.

Cabaret magic is interesting becauseit falls almost halfway berween close-up

magic and theatre. The environment is more akin to close-up- i.e. you have to
pull the audience's attention towards you (rather than let it wander to whatever

26 ~UpMagicandStageMagic
else is going on arotmd them)-but the set up is more like stage. Because you
don't have the proximity to your entire audience, you must also rely heavily
on dramatic tools to maintain their interest.

Proximity is the third major difference between close-up and stage work.
When performing to a group ofpeople, you can make continual connections
with them through eye contact, reassuring body contact, vocal participation
(response) and physical participation (e.g. holding the card to be revealed).
Establishing and maintaining personal contact is, in a close-up situation,
paramotmt to the success ofyour act.

On stage, you can't possibly maintain personal contact with all your audience.
However, you can pinpoint cenain people or groups in the audience as pan of
the format ofyour act. You must perform material that will read to an audience
ofthat scale-whether they be at the front, in the middle, or right at the back.
Everyone must feel involved or connected with what you are doing. The danger
with theatre, and more so with cabaret, is losing the audience furthest away
from you, becauseyou playto those nearest you who are responding.

Whether you are performing close-up, cabaret, or on stage, you must make
all the audience feel involved, whether they are passive spectators, or active
participants.

As a close-up magician, you should communicate through direct contact with

your audience. In theatre, you have to hold contact through your expressions,
movement, presence and the physical event taking place on stage. Your
attention is a key tool for directing audience focus. You don't need to be
looking at the audience, or even talking, for them to be absolutely gripped- but
you need to be clear about what you want them to look at or listen to- and
make it matter.

I have deliberately opened up the differences and similarities between stage

and close-up magic before we begin so that you can stan to think about how
the techniques in this book apply to your chosen field.

Remember though, that drama is inherent to any kind ofperformance, and all
three ofthese fields require mastery oftheatrical skills.

Close-up magicand stage magic 27

 Technical competence

Before you begin any serious work on creating an act, it is essential that
you have the ability to execute a range ofmagic skills correctly and fluently.

Ifyour technical ability isn't ofa good standard, you won't be able to create a
good act. To the experienced professional this is obvious, but when you are just
starting out in magic it is easy to get excited by new tricks, rather than focus on
mastering basic techniques.

Ifat this stage you know that the technical side ofyou magic needs work, and
your understanding and awareness ofmagical principles needs broadening;
go away and practice.

When you can perfonn a number of core sleights and moves competently and
deceptively, come back and read this book. Perfect the most commonly used
techniques such as the double lift, the top change, the false transfer, and use the
oldest most established magic books as your guide. You can't beat the Tarbell
books, Greater Magic, Bobo's book on coin magic, The 13 Steps to Mentalism, and
The Royal Road to Card Magic. Little is new in magic and almost all ideas come
from earlier ones. Reading the tried and tested classics is a worthwhile
investment. Itwill help you broaden your overall understanding ofthe art and
practice ofmagic.

You should have a stronggrounding in magic technique and theory, and the
ability to execute moves without thinking about them. You shouldn't need to
concentrate on the mechanics ofmagic when you perform. You should just do
it Rather like driving a car, after learning there comes a point when you don't
need to think about how to go from third to fourth gear. It's automatic. Only
when you have reached this stage with your magic technique can you think
effectively about everything else.

Technical Competence
There is no point trying to create an act with bad skills, because you will fall
flat at a basic level. Your performance won't have fluency. Your sleight ofhand
must become completely second nature.

Magician's moves are readable to an audience when their handling and

familiarity aren't up to scratch and he/she has to think about what they are
doing. Tell-tale signs ofthis are:

- theyfumble
- theytenseup
- they stop talking (because they are concentrating on a move)
- they concentrate too much on the props (and not the spectator)
- their hands shake
- they look uncomfortable
- their flow is interrupted

In addition to this, some magicians cause themselves further problems by:

-executing sleight ofhand at the wrong time

-executing sleight ofhand at the wrong angle

Quite often the magician who has these problems isn't aware that they
are detectable by the public. People won't always tell you ifthey have seen
something they shouldn't, but they will think less ofmagicians and magic as
a result. Make sure you can work to a high standard by only including things in
your act when you have truly mastered their mechanics. To ignore this is to do
full-time professionals a disservice. Once an audience has seen a bad magician,
they will immediately think ofthat performance whenever they encounter
another magician in the future, or hear the word 'magic'.

'Il1chnical competence 29
 Theatrical language

This book is about applying theatrical techniques to the performance ofmagic.

As you begin reading this, you might be thinking: 'theatrical techniques only
apply to stage performance don't they?' No. Any kind ofperformance, whether
it's to one person or an audience ofa thousand, is a form oftheatre. It doesn't
have to be on a stage. When someone chooses to perform, they must become
a performer. In the moment ofswitching from a member ofthe public into the
role of'performer', a theatrical space is opened up.

When we think ofthe word 'theatrical', many things spring to mind- such
as overly dramatic performances offamous Shakespeare speeches 'To be or
not to be...' etc. This is not what I mean bytheatrical language. Remove any
such cliches from your mind. In becoming a performer, you must learn how
to move and speak in a way that is instantly engaging. You must find out how
to create and inhabit the space around you. You must discover what it takes
to make your performance interesting and watchable.

The theatre director Peter Brook famously opened his book The Empty Space
by stating:

'I can take any empty space and call it a barestage. Aperson walks across it
whilst someone is watching, and that is all that is necessaryfor an ad oftheatre
to be engaged'2

Whilst Brook's quote is now something ofa cliche, he reveals a necessary truth:
discovering a theatrical language starts when you are being watched.

What happens to you, and your audience, when you perform?

How do you feel? How do they feel? What is effective? What is engaging? What
maintains interest? What gets a reaction?

• Brook,ptz

30 Theatrical Language
To a lesser or greater degree, when you perfonn, you create a world for your
audience to enter into. You create a theatrical space.

Many people who read this book will not have trained in theatre. Ifyou are one
ofthem, theatrical language is something that you will have to discover and
nurture, ifyou wish to develop and improve as a magician. Awareness ofspace
and your own presence are skills to be acquired and worked on. Don't worry ifit
doesn't all make sense immediately. It will take time and you will understand
more about theatricality the more you perform. Don't think, however, that I am
asking you to learn a peculiar manner which you put on to showthe audience 'I
am performing!' No. Being theatrical is not about being false or embarrassing.
It's about beingwatchable. There's a big difference. This comes from
communicating yourselfin a way that engages dynamically with the space and
people ar01,md you.

!believe there are three elements inherent in theatrical language:

- attention (to what you are doing, to others on stage, or to your audience)
- awareness (ofyour body, rhythm, expression and performance space)
- dynamic (ofwhat you are doirig- i.e. its impact)

Explortngthese factors when you perform will lead to the discovery

ofa tangible theatrical language.

I want to put this in your mind now, but don't worry ifyou don't get it at this
stage. Let it filter through. It is something we will investigate fully in Part 3·
For the moment, just keep these ideas smouldering on the back burner...

Tl!eatricallanguage 31
 Part1:

FOUNDATION

..................................................................... .........................................................................................................
32 Part 1: FOUNDATION
 A basis to build upon

Part 1 is about building a strong foundation.

The way you begin thinking about creating an act and the questions you ask
will set you on a certain path.

Make sure that you are askingyourselfthe right questions; questions that will
help you create a good act for the audience and environment you want to work
in. It is easy to get sidetracked, forget the reality ofwhat you are doing, and
whether your magic is really interesting enough to watch. Ask questions that
will help you to achieve a higher standard and level ofdetail with your magic,
and ask questions that concern the audience's perceptions or viewpoint.

Each ofthe following sections, I would argue, are cornerstones to a good act.
Although they may not have been used consciously as tools by magicians in the
past-you will find these elements at the heart ofany good magic act. They are
tools that are consciously used by actors and directors in theatre on a daily
basis, and I believe they should also be in the vocabulary ofmagicians.

Each ofthese sections will challenge you in a different way, and each will help
you to build a stronger foundation for your act. Ifyou get the foundation right
by thinking clearly and conscientiously enough at the start, the stages that
follow and the detail you put on top will flow much more naturally. But, ifyou
dash in without enough concern for logistical reality and without a clear idea,
you may have to start all over again. (How many tricks have you bought at great
expense and never used because it seemed like a good idea at the time?). It pays
to ask 'why?' So as you make choices, keep questioning whether or not you have
made the right decisions, and whether you are heading in the right direction.

Remember the parable ofthe foolish man who built his house on sand...

Abasis to build upon 33

 Be specific

Specificity is one ofthe keys to successful performance.

Ifyou can be clear about what you want, and why you want it, you can start
creating your act because you have something tangible to hang on to.

Most ofthe time, we magicians have fragments ofgood ideas swimming around
in our heads, but there is nothing to pull those pieces together, no one to make
sense ofit, or to effectively interrogate it. We can get very attached to our
material and ideas, thinking that what we have decided ourselves is the right
answer. There is no one to sift the wheat from the chaffand say- 'this is good'
or 'no that doesn't work'.

We lack a director.

But more importandy, we lack direction.

This is somethingwe can change.

Ifwe conunit to something specific and say 'I'm going to create a piece ofmagic
about ...',then the work can begin, because this idea can be pulled and tested.
Ofcourse, the result may be that it is completely discarded- but you don't
lmow that unless you identify it and investigate it as thoroughly as you can.
It may be that the original idea is left behind, but it initiates a much better one.
Many people are scared offailing and think that by questioning their ideas, they
mayjust fall apart. Theywould rather keep the ghost ofit floating around in
their imagination than lose it all together.

It can be painful to open up something and find that it has no substance.

But ifwe don't jump over this initial hurdle, nail what we are dealing with and
be prepared to shred it apart, then we can't go anywhere. We will achieve
nothing. Ifwe discover that an idea does come to nothing, we can start afresh

34 Part 1: FoUNDATION
and commit to a new idea. So although it may seem like a step backward, it is
actually a step forward at the same time. More often than not, the process of
thorough investigation results in the strengthening ofan idea. The tools in this
book are weapons designed to help you interrogate your act effectively, and
step forwards.

In creating your act, be prepared at each stage to ask yourself: what's this about?
What am I reallydealing with here? Ifyou can answer that, then more often
than not, you will stop going round in circles and will be able to see much
clearer through the mist. Once you can encapsulate what you are doing, many
other elements fall into place.

Beware when things start to get a bit 'woolly'. By 'woolly' I mean undefined.
This is a common word used by actors and directors. It can happen at any stage
in the process; the initial concept, during rehearsal and in performance.

Woolliness develops from not truly knowing what you are doing from one
moment to the next. It comes from not being specific. It's all too easy to think
'I know roughly where I'm going with this, I'll just wing it'. But what separates
an amateur performance from a professional performance is knowing an act
inside out right down to the smallest details, so that every movement ofa prop
is meticulously choreographed. This level ofattention and detail is the only
way to achieve a totally seamless performance. It is onlywhen you really know
these details that you are free to concentrate fully on performing. Othetwise
your mind is preoccupied by keeping track ofthe nuts and bolts ofthe show.
Consequently you are not truly communicatingwith your audience in the
present moment Magic shows are complex because you have the props,
gimmicks the audience shouldn't see, sleight ofhand the audience shouldn't
see, set ups and so on. You can't afford not to know your act thoroughly, or not
to be specific with what you are doing.

The best performers are specific, clear, slick, economic and in control of
themselves and their audience.

.If a performance is woolly, and the audience doesn't quite know what's going
on, then ninety-five per cent ofthe time this means the performer has not
decided what they are doing, and doesn't really know where it is going either.

Be specific 35
Don't let this happen to you. Ifit's not clear to you, then it certainly won't be
cleat to the audience watching. It is essential that the audience understand
what you are doing and where you are going because otherwise theywilllose
interest. Ifyou give your volunteer some money to hold and say 'At the end,
I am going to steal this out ofyour hand while you are holding on to it', then
your audience has a clear understanding ofwhat is going to happen. What's
more, theywill try to make damn sure it doesn't happen! When it does, their
reaction will be strong. It is often a good idea to put a clear 'signpost' in your
act-foryour benefit, and for the audience. We will consider this and other
dramatic tools further in Pan 2.

Decision is a tool that leads to specificity and you must make decisions about
your act. Decision making can be a painful process, as you may have to leave
things behind, but it is a very good idea to whittle things down to a simple
strong idea It's okto shelve some things for another occasion. What you don't
want is an act like a tutti-fruiti ice cream that has 'a bit ofthis' and 'a bit ofthat',
but doesn't really go anywhere. The audience needs to be taken on a clear
journey. To create this often means you have to get rid ofa lot ofsurrounding
stuff. Alot ofthe time it is best to simplify, in order to make something stronger.

Success in performance lies in being specific, defined and consistent.

.Airt1: FOUNDATION
 Circumstance

When an actor begins work on a play, they ask themselves a series ofquestions:

WHO ami?
WHERE ami?
WHERE have I just come from?
WHAT am I doing?
WHY am I doing it?
WHAT has just happened?

WHATdoiWANT?
WHAT is IN THE WAY ofwhat I want?

This fonnswhat is known as 'the given circumstances'.

Each ofthese questions forces the actor to be specific about what is going
on, and to search out the active ingredients ofa scene, so that they can make
informed decisions about how to act within it. They are like a series ofkeys that
allow the actor to engage in a rational process ofanalysis and find their way in
:o a character's situation. In short; the 'circumstance' tells the actorhow to act.

There is an old cliche- 'acting is re-acting'. But like many cliches, this phrase
holds a lot oftruth. The best acting happens when a performer engages with
the given circumstances as though they were a reality. Stanislavski calls this the
magic i,P. Ifthe audience can sense the concrete edges ofwhat is happening to
a character, it feels real. It is not woolly or melodramatic, but true to life. The
circumstance gives the audience something specific to hold on to, and it gives
the actor something specific to play within.

I think these eight questions are useful, not onlyfor actors, but also for
magicians. However, I need to change their focus so that they address the
reality ofperforming magic.
: Stanislavski,AnActor Prepares, Chapter 4: The Imagination

Cirrumstance 37
The actor's work is predominately about the communication ofemotion.
There are some elements ofthis which can be useful to magicians-but I shan't
discus·s those until later on.

In order to show the importance ofthe given circumstances for magicians,

I want to investigate each ofthe questions in detail.

The first question 'who am I?' is extremely important- so important, in fact,

that we are going to look at that in a separate section titled 'Character'.
Similarly, the last two questions demand a separate section, following on from
Character, which I have titled 'Objective'.

For magicians-I think it is best to start with the questions regarding

the situation, and then think about character etc. Ifyou were to consider
character first, you might do a lot ofwork and then realise that it doesn't fit
the circumstance in which you are going to perform. There is so much magic
which is unperformable because it has not been created with a particular
circumstance and audience in mind. How many good tricks do you own that
you can never find the right situation for? Even on stage in a professional
theatre, where you have maximum control ofthe environment, there are
several effects which are totally impractical because they cause all sorts of
problems for the rest ofthe show. You need an act containing material you can
really perform, and which is suited to the circumstance. This may sound basic,
but it is amazing how many magicians get that wrong.

WHERE ami?

Before you even start considering character, you need to think about what is
dictated by the place in whichyou intend to perform.

You must dress appropriately

Look at how people already dress in the environment you intend to perform in,
and ask yourselfthe following:

What are they used to?

How do they dress?
How do their superiors dress?

Part1: FOUNDATION
How should my character choices relate to that?
The visual status you present tells people what to think about you and hovl
to treat you. Depending on the style ofyour act and the circumstance, consider
whether you should mirror the people you perform for in the way you dress, so
that you appear 'on their level'. This is cenainlyimponant ifyou are a corporate
performer. However, ifyou are a stage performer, you have much more freedom
to dictate your look, based on the style you have chosen for your production.
And of course, whether you perform close-up, cabaret, or on stage, you may
choose to presentyourselfin a completely opposite way to your audience.

How do you .setyourselfapartfrom them?

In a corporate setting, what about the way you dress sets yourselfapart from
the event, but still fits within their norm? How can you look 'on their level',
distinguish yourselfas 'the performer' and communicate something about
yourselfand your character?

What aboutyou communicates 'magician'?

For an audience, there are obvious magic signals-playing cards, a magic
vJ3Ild, white gloves and so on. As soon as they see one ofthese, the audience
immediately understand that you are a magician. However there is a big danger
here, as anything 'magiciany' can very quickly become cliche: wearing a tie with
playing cards on, for example, looks naffand cheap. So ask yourself- what
about me communicates magic, and what am I telling people to think about
the quality ofmagic I perform through my appearance? People will make
judgments even before you have approached them. In some cases it may
be better to remain ambiguous. By not revealingtoo much, you can avoid
pre-judgment, increase your status and cause people to talk about you. 'Who
7.ras that?', 'what was he doing over there?', 'what is he doing that makes them
react like that?'

:\nygood close-up magician will know the value oflettingthe audience's

reactions inform other people about the quality oftheir act.

W1tat do you want to communicate?

Make sure you are aware ofwhat your dress communicates to others and the
conclusions they mightjump to. It would be a mistake to dress in a dinnerjacket

Cfr..ll11Stanct 39
and bow tie at most corporate events. 'Why? Because you will either look like one
ofthe guests, orworse, people may think you are a waiter, and treat you as such.

Ifyou are at a high profile corporate event, surely you want to communicate
the high class ofyour act. Wearing an expensive designer suit, for example,
communicates that you are not just scraping a living as an entertainer, but that
your performances make you good money. For high flying businessmen, the
phone you hold, the shirt you wear, the car you drive, the numberplate you
have, all communicates 'success' and 'wealth'. It is a performance. I am not
suggesting that you should necessarily buy into that mentality, but it is
important to recognise that corporate companies don't want to book someone
who is barely making ends meet, with worn out props. Theywant to book
someone who is a top class entertainer, good for their company image, who
they can show offto their guests. In many cases, magicians are booked to
provide the icing on the cake at an event. Atop class magician adds something
special, personal and memorable. The company in question is splashing out to
communicate 'wealth' to their clients and make them feel valued. Whilst you
shouldn't necessarily endear yourself to the audience, and you should keep
yourselfat the heart ofyour performances, it is important to understand the
context inwhich you perform, and how that might impact on your physical
presentation.

The exception to the rule is theatre. 'When perfonning on stage, you can
present yourselfin anyway... provided it is in keeping with the style ofshow you
have advertised. Ifyou are presenting Victorian style magic- then the classic
'top & tails' would be appropriate because it is part ofthe atmosphere and era
you are trying to evoke. Ifyou are doing a magic showwith a rock & roll theme,
where you perform big illusions to well known songs with disco lighting, then a
leatherjacket and wacky hairstyle might fit the production. In theatre, the
creative team make choices based on the product they are selling to the public.

Something to bear in mind is that any article ofclothing communicates:

a) era
b) status
c) location

The material, and the way it is cut and decorated, indicates a specific period.
Therefore, a leatherjacket may be more reminiscent ofthe 8o's or 9o's. Ifyou
are presenting a modem illusion show, would a leatherjacket be outdated?
40 Part I : FOUNDATION
VJhat are the current fashion trends? What particular fashion might you
include in the show and why? What does it communicate to the audience?
.-mythingyou put on stage or in your act should be a considered decision.
L11 a theatre production, everything is there for a reason and it communicates
something specific to the audience.

Before a director and designer work on the set, light and costume for a play,
~hey start with a blank space- the auditorium. Everything that is put into there
is a decision about what they want to present to the audience. From the seating
configuration to the colour ofthe lighting gels, every element builds towards a
specific experience.

You should think about the significance ofeverythingyou put in your act, and
justify every element you choose to include. Whythat brand ofplaying card?
Why those cufflinks? Why that prop? And so on. We will consider this further
inPan2.

You must behave appropriately

The way you move and interact communicates a massive amount to those you
are in direct contact with and those who observe you at a distance. You should
analyse higher status individuals for tips on gaining presence. What details in
t..l-teir habitual movement communicate status? Their physical tempo? The
posture oftheir body? Their contact orlack ofcontact with others? Actors are
people watchers. Pan ofan actor's training may include going out to observe
people and then recreating them in a rehearsal room. From the physical clues
and experience ofembodying movements and mannerisms, the actor can
begin to get inside the mind ofanother person.

Ifyou are a magician perfonning at a corporate event, you should watch how
people behave and ask:

a) How can I move so that I emit the same presence as a high status
individual? How can I command the space around me?

b) What does my movement communicate or reveal about myself?

(And do I want to communicate that or not?)

Cimcmstance
The quality ofyour movement; economic, grounded, generous, outrageous,
cheeky, shifty, uncontrolled etc., whether conscious or unconscious,
communicates something about you, your personality and the style ofyour
act. Make sure you are aware and in control ofwhat you are communicating
to the audience.

Consider two other questions:

a) What is acceptable (in terms ofbehaviour) in this setting?

b) How far can I push the boundaries, safely?

What is acceptable should be your guide orbenchmark. Think about how

people would expect to be addressed in your performance environment, and
consider how this might influence your approach. Ifyou perform for a group
ofalpha-male cityboys, then cocky or cheekybehaviour might appeal to them
and help win them over. However, ifyou pelform in a private room for
corporate executives, this approach would not be suitable.

'How far can I go?' is an interesting question. How far can you push your
audience within their existing setting and comfort zone? Depending on the
situation, an informal or energetic performance Style could break down the
boundaries ofnormality and allow the audience to enjoy themselves. Can you
open up your audience's responses by being larger than life? How can you free
them up? You do have some license as a pelformer, and you are there to
entertain after all, so how far can you go?

It might be advantageous to go much further with your behaviour, using it as

a tool to either take hold ofthe situation, indicate the importance ofa certain
moment in your routine, or tell the audience how to react. Whether on stage in
a theatre, performing at a reception, or working the tables ofa restaurant, the
audience needs to be educated. As the performer, you need to direct their
attention, tell them what to think and how to behave. Conditioning and
controlling audience response is vitally important, and will be considered
funherin Part 3.

We have begun looking at your physical behaviour as a performer, but ofequal

importance is how you use your voice.

Partl: FOUNJ>ATION
Do you consider, plan and script the language you use? Do you consider
your choice ofparticular words and phrases? This communicates an enormous
amount to your audience in a short space oftime. In just a few words you can
reveal information about your background, class, experience and status. This
should be as carefullyconsidered as non-verbal communication. Think
carefully about what you want the audience to think about you, and how you
reveal information in your speech. We will consider scripting in Part 3·

What can I not do?

You can push and tease the audience, but there are certain boundaries that
you cannot cross. Ifyou are not careful, you may never be invited back, and
you may not even know why. Sometimes it is only the smallest ofthings, such
as not being contactable before the event, arriving five minutes late, not saying
goodbye to the booker, or one word or moment in your act that causes
someone offence, or devalues your act. Consider what is expected ofyou and
make sure you over-deliver, not under-deliver. \~then looking in detail at your
act, ask the question 'what material do I currently perform that is 12otsuitable
for this audience?' Ifyou are working in a corporate setting, for example, you
should avoid anything that is too rude or suggestive-no matterhowfunny it
might be-unless you have been booked specifically to deliver a blue act.
However, ifyou are performing on stage in a comedy club, risque material
would be fine. The circumstance dictates what is oris not acceptable. Be aware
ofexpectations, the lines you cannot cross, and protect your reputation.

What can I make the most of?

Whether you are a close-up act, stage act, or cabaret performer, there are always
elements ofyour circumstance that you can make the most of. As a magician,
you need to think about how your environment can be used tactically, and how
you can stay ahead ofthe audience. Each circumstance has its own rules. Think
outside the box and figure out how a confinement or convention can become
an advantage. For example, ifyou do a stage show, the audience will assume the
production starts when they are in their seats and the lights go down. However,
ifyou do pre-showwork, you can be at least one step ahead ofthe audience
before you even begin.

Circumstance 43
Ifyou are a close-up worker, have you thought about the advantages ofpeople
being seated around a table? You are able to focus attention into the middle of
the table, and use the cover ofpeople's backs to conceal steals, loads and hold
outs. You can even load things into people's pockets ifthey have placed their
jacket on the back oftheir chair, because it is away from their body.

Ifyou are working in a restaurant, and you perform there regularly, think about
the possibility ofinvolving the staffinyour effects. You could have a signed
card taken by a waiter and broughtback under a plate or inside a bottle ofwater.
Using the circumstance to your advantage suddenly throws up a whole host of
methods and ideas that can take your magic to the next level. The audience
often only considers what is in immediate proximity to them, so consider
employing methods that are outside oftheir circle ofattention.

As magicians, we should make the most ofour gift, the gift ofbeing able to give
someone a magical experience. We are blessed to be able to show people
something that can release them from their normal, day-to-daylife.
Ifa piece ofmagic is truly successful, the audience forgets the circumstance
altogether, and you get incredible reactions.

Ask yourselfthe following:

- How can I burst the bubble ofthe circumstance and cause

genuine amazement?
- Whatwould be really surprising or unexpected?
- What material do I currently perform that stuns people?
(We are not just talking about magic that is 'ok' or 'good' here,
but that which is truly astonishing in the minds ofthe audience).

Ken Weber discusses the nature ofreal entertainment in his excellent book
Maximum Entertainment'4. He defines it as something which makes the
audience forget everything else other than the magic they are experiencing.
How much ofthe magic you currently perform does that?

When I lecture for a group ofmagicians, I ask them to write down a) their
favourite effect in their repertoire, and then b) what the audience think their
best effect is, or the effect which has earned them their best ever reaction. It's
4 See blbllography

44 Part 1: FOUNDATION
rare that these are the same because magicians are fascinated by moves and
sleight ofhand. This holds little interest for the audience though, because they
should never be aware ofit. As performers we should be thinking about the
impact ofour act on the audience first, and our own personal interests second.

WHERE have I just come.from?

To actors this question means - what is already affecting me?

-~magicians I think this can be very useful to consider for two reasons; firstly it
allows us to think about what our audience picks up from us, and secondly, it
allows us to take control ofwhat we present to others.

It could be that you have had the most terrible time getting to a private party, or
you have just received some distressing news. Whatever might have happened
is irrelevant when you walk in to perform. You cannot communicate any ofthat
to the audience. The audience doesn't care about your personal circumstance.
You have beenbooked to deliver a professional quality act, and that's it. You
need to focus on the job in hand and put everything else out ofyour mind.

Once, I did a close-up gig at The National Motorcycle Museum in Binningham.

I parked up in a hotel car park a short drive from the venue well in advance, and
opened my car boot to set my props. Ileant forward to pick up a case, and as
I did so, I caught my hand on a small nail sticking out from it. It cut right along
the edge ofmy palm. After having put pressure on it for several minutes, when
I closed my hand, the cut opened up again. I tried putting a plaster on, but it just
fell offbecause ofthe awkward positioning. I looked around for another
solution. There was a chemist down the road, and I managed to buy a product
called 'spray plaster'. It stung like hell, but it managed to hold the cut. So, I went
to the venue as though nothing had happened. I met the booker in my usual
professional manner. She explained there would be a speech before dinner,
so I should hold back before entertaining the tables. As she shook my hand, she
squeezed it really hard. I managed to maintain a smile. When she went out I
took a glance at my hand-it was still just about ok, so I went confidently on
mixingwith the guests at the reception. All was going quite well, but near the
end ofthe halfhour, a spectator congratulated me, said how amazing he

c:mmzstarrce 45
thought the magic was, and shook my hand vigorously. The bell then went for
people to take their seats for dinner. I swiftly moved out ofthe reception room
and looked down at my hand. There was blood trickling down and dripping off
myfingers. Luckily I had a short break, so I found the nearest toilet, cleaned it
up and a re-sprayed with the spray plaster- double the amount this time. It
held just about ok. After a few deep breaths, I went out and did the rest ofthe
gig as normal, and I don't think anyone had any idea what had happened.
The audience doesn't care how you feel or what has happened to you. Theyjust
want to be entertained.

My advice is: do the job with full commitment, or don't do it at all.

Incidentally, I now carry spray plaster around with me to everygig, just in case.

Spending time thinking about how you present yourselfis very important. I am
not just referring to how you come across in performance. It extends much
further than that. How do you sound on the phone? How do you relate to staff
and guests before the gig starts? In a theatre venue, everyone talks to each other.
Ifyou are condescending to the box office staffor cleaners, and only put on a
nice face for the people who are givingyou a job, it will come back to haunt you.
Plus, I think it is our duty as entertainers to instill excitement in others from the
moment we arrive, not just in our act. We need to be entertainers in everyday
life so that people will say 'that person is fun to be with and has something
special'. People should book you because they want you rather than anyone
else. Your character and the way you relate to people socially and
professionally are ofparamount importance.

A good question to consider is:

What do I wantpeople to think orfeel about me?

This will help you in making decisions about how to present yourselfto others
professionally. Remember also that thewayyou behave and interact with
people prepares them for your act It is in fact a way ofchanging their state into
one that makes them more receptive towards receiving and enjoying your magic.

Part 1: FOUNDATION
WHAT am I doing?

As with all ofthe questions, 'what am I doing?' once again forces us to be

specific. Clarity is absolutely key. Here is a powerful rule worth observing and
applying to your act:

- an audience is only interested when you are doing something specific.

There is no point beingwoolly or hazy. You need to be prepared to shake things

up and ask-what's the point ofthis effect? What am I actually doing with it? Is
k really any good? Does it suit me? Axe you just copying something because it is
~~-y? Don't just settle for mediocre. Make your magic different, clear, dynamic,
and consistently interesting.

Here is another closely related rule ofperformance:

- something that is DIRECT and ECONOMIC is usually much more

interesting than something that is UNFOCUSSED and DIFFUSED.

~1akeyouractionscount

In Part 2, we will go into all the various techniques ofhooking and maintaining
attention; using rhythm, tempo, propositions, signposts, objectives, actions,
a.;."titudes and so on. These are what we call 'tactics'. For the moment though,
mink about whether what you do, at any given moment, holds the audience's
interest This will reveal what you can take out ofyour act It will help you to see
~"<'hat is urmecessary, weak, orjust filler. For example, prolonged card shuffling
maydetract from the impact ofan effect by taking focus away from the 'magical
moment'. Cut to the chase. Ifsomething doesn't strengthen a routine, get rid ofit.

WHY am I doing it?

Phil Jay, one ofthe most experienced close-up magicians in the UK, provided
me with a fantastic question that can be used to improve anyone's
professionalism and performance ofmagic:
What would the audience think ofme now?'

Cin::unstance 47
Ifyou apply this question to everything you say and do, it will make a
dramatic difference to the impact ofyour magic, and the way you are perceived.
Keeping this in mind has certainly altered the magic I perform. It forces you to
consider the significance ofeverything. It applies to the words you choose, the
movements you make, the timing ofyour misdirection and so on. It encourages
you to find a justification for each moment in your act. Remember that you
always have choice. Don't just settle for what you are comfortable with, or what
routine comes with the effect you have bought. Be original and construct
something with the audience's perception at the forefront ofyour mind.

The audience will judge you, jump to conclusions and make assumptions.
However, you can control most ofwhat they think about your act becauseyou
make choices about the style and content. For example: ifyou create a balloon
dog inyour act, the audience will probably think- 'he's a kids' entertainer'.
That's fine ifyou are and you want to promote that. Ifnot, then you have just
communicated the wrong message. Similarly, you could take away from the
impact ofa card trick by performing too many flourishes. Ifthe audience sees
you perform a one handed fan, a Charlier cut and a one handed riffle shuffle
before you find their card, they will probably think- 'he's quick with cards',
and the impaCt: ofthe magic moment will be devalued. Worse still, they could
think- 'he's a bit ofa smart arse', and without realising it, you could have
damaged your reputation.

Think about what you are going to say at each stage ofyour act, and think about
what the audience might think when you say any ofthose things. Avoid phrases
like 'most people clap there' or 'show me your hand... no the clean one'. They
are not clever, they are not new, and they will put the audience's back-up, rather
than make them think: 'isn't he funny and witty'.

It's amazing how many things can devalue you in the eyes ofthe audience.
Imagine, when you start your routine or show, that the audience is holding
imaginary scorecards starting at ten. As you progress, they knock points offas
you fall down in their estimation. This will help you to think about structuring
routines that maintain and build up status. You can so easily fall down your
own trap doors, so be aware ofthe snares you create for yourself.

Ptu1 I; FOUNDATION
?b.ilJay once told me ofa technique he developed for entertaining difficult
audiences as a close-up magician. On occasion, Phil would pretend to have an
object palmed in one hand when he approached a table. He would arrive and
mform his audience that he was the magician-keeping his hand in position
just long enough for someone to become suspicious that he was concealing an
object Then, he would show his hands empty. The reason behind this was to
make the audience think- 'There's something in his hand. I've caught him!',
but then seeing his hands empty; 'oh... I'm glad I didn't say anythingjust then
or I would have looked like an idiot.' Thereby, Phil conditions a potentially
rlHficult audience to keep quiet as he approaches the table- before he even
£'"..arts his performance.

Phil Jay talks in Climbing the Ladder to Successful Close-Up MagiCS about building
yourselfup in the audience's eyes from the moment you engage with them. He
calls this 'climbing the ladder'. In his methodology, you are always seeking to
i.mprove the audience's opinion ofyou with each stage ofyour act.

"ta u should focus on continually raising the bar with the magic you do. Does
your magic go on ajourney that takes the audience beyond their existing
expectations or pre-judgments? Ifnot, why not? Ifyou walk away having
finished your performance and the audience thinks 'that was quite good', you
are less likely to be booked than ifthey think 'that was absolutely amazing and
fur betterthan anything I've seen before'.

It is within your power to make every moment count-and asking 'why?' is a

:5imple way ofdoing that.

Apply the question 'What would the audience think ofme now?' to everything.
Vlhat would someone think about each moment in your performance, the way
you approach the table, the way you arrive at the venue, how you sound on the
phone and so on. Even before they have met you, the audience builds up an
image ofwho you are.

49
WHAT hasjust happened?

This question is useful to close-up magicians in two ways. Firstly, regarding

the atmosphere ofyour environment, and secondly, regarding what your
performance communicates to others.

Let's consider the atmosphere first.

Close-up magicians are called to work in a number ofsettings, often at events

where people don't know each other, and don't know that they are going to be
entertained. We need to be ready for the different ways in which we might be
received. Sensitivity to the current atmosphere is essential in dictating our
initial approach to the audience. Gauging our audience is vitally important.
I know of a magicianwho approached a table once and a lady there burst into
tears. It just so happened that she had come from a funeral. This was
unfortunate, but it goes to show that we may need to be ready for anything.

What has just happened to individual members ofthe audience, or the

audience as a whole affects how we, as magicians, begin ouiact.

As performers, we need to:

a) be sensitive to the atmosphere we walk in to

b) interpret how this atmosphere might affect us
c) take control ofthe situation
d) assert ourselves as 'the performer'

To clarify on the last point here; selfassenion does not mean arrogance. Ifyou
are paid to perform as a magician, that's what you have to do to the best ofyour
ability and in the most professional manner possible.

Ask:
'What kind ofatmosphere is there in the room- and how does this affect
my approach?'

Then ask:
What kind ofatmospheredo I need to generate in orderfor my act
to besuccessful?'

so Part l: FOUNDATION
'\Vhatever the situation, you have the ability to take the atmosphere and
change it to create one that facilitates the audience's enjoyment ofycur ao_

Have you everwatched a magician who gets really good reactions and thctz:d!t .:·
'why is it so easy for him? I don't get reactions like that'. I am willing to bet it is
because they prepared their audience in the right way first

Break the ice and relax the audience- then you will be able to take them with
you. Ifyou train the audience to respond the way you want them to, their
reactions will grow like a snowball. However, ifthey are not with you, it will feel
like an uphill struggle from stan to finish.

To make this principle work, there is one simple rule you need to follow:

- start on the audience's level, but know where you want to take them.

Ifyou begin on their level, you can engage them, build them up and turn them
mto a reactive audience. This is a technique used by teachers and businessmen
who wish to establish rapport. By forming an initial bond, you can facilitate
change.

Let's consider further what your perfonnance communicates to others.

Ifyou are a close-up worker, the response you get tells everybody in the room
that something has happened. It is a signpost The quality ofthat audience
reaction tells the rest ofthe room what to think. Fast judgments will be made.
Your first approach to a table and the length oftime between that and your first
applause tells everyone:

a) youareamagician
b) whether you are any good

This is absolutely crucial in determining how you will be received byyour

second, third and fourth audiences. Ifat the first table you are met with a
fantastic reception, you can bet the other tables will want to see your act and
:;..111 be ready to react in much the samewey. Ifnot, you will have to start again,
but from a lower status than before you entertained your first table. This
may seem brutal, but think about how other people would perceive the
following situation:

Cin:umstance
Event:
Rapturous applause and elated reactions.

'What has just happ.ened?'

~magician entertained that table and got afantastic response.'

Conclusion:
'He must begood..: when is he coming to our table?'

A briefround ·u p...

Beforewe investigated the given circumstances, maybe you didn't consider

just how much you communicate to your audience. There is an awful lot to
prepare, think about:and focus on to deliver a successful performance. But just
think: manymagicianshaven'tgot the first idea about this. Now that you have,
use it to cbangewbaryou do for the better. By quickly looking over these key
questions everyso often, or one or two ofthem in detail,you can stop your act
from drifting offcowse.. You can refer to the list at the beginning ofthe section,
or find the questions easilybylooking for the bold titles. Other key points have
been highlighted in italics. orby their separation from the bulk ofthe text.

The questions are there to belpyoumake decisions based on the reality of

your performance. Ifyoucan question your act, see things objectively, and not
become too personallyarrached to your material, you will be in a position to
putdllngsrightandchangeforthebener.

52 Part J: FOUNDATION
 Character

'M:lOam.I?

First and foremost, what you do and how you do it should be aboutyou.

Don't hide behind your magic.

All great performers, at their height, communicate themselves through their

performances. They accept themselves for who they are-and the result is
ultimately freeing. They connect truthfully with their audiences, and their
performances brim with their own personal creativity.

Think of some ofthe top performers ofour time...

Michael Jackson communicated, totally, through his voice and body,

what it was like to be him- emotionally and creatively. The quality ofthat
communication was pure and unashamedly direct. His music and movement
said 'this is who I am'. When he was performing he was at his most expressive.
Indeed, he is reported to have said that he only really felt himselfon stage.

Tommy Cooper conununicated his manic zaniness through his performance-

and there was no shyness about that. He enjoyed and celebrated the things that
made him unique. As a result he produced totally individual performances. He
was who he was and no one else will ever come close to it.

Greatperfonners open themselves up for the audience

Where others might feel vulnerable or embarrassed- great performers

celebrate and share their personalities. They open themselves up for the
audience. You carmot be a great performer without expressing yourselffreely
and unashamedly. Performance is about creativity and conununication, but -

53
exposing yourselfin front ofan audience can be a daunting prospect.
Regardless, you can't remain too reserved or guarded ifyou are supposed to be
an entertainer. You have to be willing eo put yourselfon the line at some point
and communicate yourselffully. You won't improve as a performer ifyou hold
back. Not everyone will like you- that is a fact. You can never please everyone.
But, great performers are respected and admired for the unique way in which
they communicate themselves. They are great because they are individual.
Exposing ourselves can be a daunting prospect, but through it-we can feel
a real sense Ofself

Greatpetformers have the ability to play

The ability to play comes from the ability to be yourself.

You can onlyplaywhen you are open, relaxed and receptive. Play is about
allowing yourselfto be spontaneous.

Spontaneity and free expression is, sadly, something we lose as we grow older.
Children play, but as adults we learn to cap our energy and creativity, and not to
share it openly with others. Society tells us that we can't just say what we think
and do what we want. We learn to follow the rules, think before we speak and
conform to the norm. The world ofperformance allows us to take away all of
that and to be ourselves again. Performing allows us to channel our creative
feelings and step into a world where we can be free. We can shed conventions,
be who we want t9 be and share our eXperience oflife with other people.

We are blessed as magicians and performers. So many people are slaves to the
lives they lead and the jobs they have. We are able to strip away those things
which stop us from being who we really are. We have the gift ofbeing able to
play when we work.

Greatpetformers cmnmunicate themselves emotionally

There is something about great performance that connects immediately and

unmistakably in an emotional way. One might even say that all great
performances are, fundamentally, about the communication ofemotion.

54 Parll: FOUNPATlON
Think of a great moment in a song that has moved yotL

Wasn't it about the performer sharing or expressing an emotion- in way that

feels like it connects personally with you?

Think ofsome ofthe great speeches that have been presented:

We shallfight on the beaches, we shallfight on the landinggrounds, we shallfight

in thefields and in the streets, we shallfight in the hills; we shall neversurrender'

'I have a dream...

1have a dream today'

'Friends, Romans, countrymen, lend meyour ears...'

They all communicate something emotional with a sense ofimmediacy.

As human beings, we have a need to experience emotion. We have a need to
share and be part ofsomething with each other. We need to laugh, to cry, to feel
pain, to feel euphoric- together. We need to experience fully and emotionally
in order to release ourselves.

As a performer, it is important to engage emotionally and invest emotion

in your work, somehow, so that you communicate something that will affect
your audience.

Don't hide behind your magic. Instead, communicate yourselfand your

emotions through your effects- and they will have real impact.

Finding a way ofcommunicating through your magic is an individual path.

I can't tell you how to do it. What I can do, however, is facilitate that discovery
by offering you the right questions.

Let's think about some ofthe top magicians and what makes them successful
performers.

Lance Burton performed in his own show in Las Vegas for fourteen years, and
has appeared, amongst other television specials, on 'The Worlds Greatest
Magic'. What makes him a cur above the rest? Well one thing stands out about

Character 55
him- his character. His performance style and delivery is laid back, easy going
and relaxed. Audiences love the natural way he speaks to them, and the
freedom with which he performs. He communicates himselfthrough
everything he does.

Derren Brown has appeared countless times on television in the United

Kingdom and has several west end productions to his name. What makes him
individual? He was the first magician to present mentalism in a way that really
appealed to the intelligence of a modem audience. His brand has emerged
from presenting magic in a new way, and not copying anyone else. The result of
his originality is that he is in a league ofhis own. He is recognised not as a
magician, mentalist or hypnotist, but as Derren Brown.

People should remember you, and how they felt about you, more than the
actual tricks you performed.

David Blaine has also had a lot oftelevision success and caused international
debate with his stunts. What's different about him? Well, he was one ofthe first
magicians to really focus on the audience. His early specials were about the
audience's reaction, and how magic actually affects people. David Blaine
presented his magic not on a stage, or in an expensive suit, but to people
outdoors in the street This was magic stripped bare. There were no fancy props
and there was no fancy talk- just him and the audience. He presented his tricks
in a slow, mysterious fashion and he got real reactions.

What do these three magicians have in common?

They perform magic in their own unique style, and they all have a clearly
identifiable character. When we think ofLance Bunon we think 'laid back',
when we think ofDerren Brown we think 'intelligent', when we think ofDavid
Blaine we think 'mysterious'. Each ofthem has an individual attitude to the
material theypetform. Each ofthem chooses material that helps them
express themselves, and each ofthem puts focus on sharing something with
their audience.

Rut J: FOUNDATION
cThe magician is an actot· playing the par't ofa nzagi.cian16

The first step in defining your character is to start understanding more about
yourselfand what you wish to communicate. The second step is to combine
that with the image of'the magician'. 'The part ofa magician' is a role that has
to be played- and you need to discover how 'you' and 'it' come together. What
kind ofmagician are you going to be? What image do you want to present?

Let us splitthis fragment ofHoudin's statement into several definable chunks;

'the magician is an actor', 'playing', and 'the part ofa magician'.

I have already mentioned the importance ofplay in terms ofperformance-

so it is suffice to say that the ability to play allows you to be yourself. Playing is
something that the magician should always do in their work After all, we are
nor surgeons-we are entertainers. We should enjoy ourselves and play with
our audience. Playing also allows us to discover more about ourselves. Playing
helps us to be free and spontaneous.

'The part of a magician' implies something iconic. I suppose that's because,

in essence, 'the magician' is a label that potentiallyholds a lot ofpower and
mystique. The audience has an image of'the magician' in their head-whether
that is a man in a tuxedo with a bunny rabbit being pulled from ahat, orDavid
Blaine. There is a strong sense or pre-association with a lot ofpeople ofwhat a
magician is or should be. It can be a powerful image, orit can be a weak one.
When creating your character and your act, it is up to you to take that label and
shape it. You can decide what kind ofmagician you are, and what you want the
audience to think. You can play with theirpre-associations and expectations,
whether it be 'I saw this magician once and he was really good' or 'magic is silly
and just for kids'. You have the powerto tell the audience who you are and what
you do by the way you present, behave and perform. You can fu1fi1l those
pre-associations and expectations orbreak them. You can break them byfalling
beiow the bar ofthe audience's previous experience, or, fly over it and shatter
!hose preconceptions.
' E:'..audin'sfull statement is: 'A conjuror is not ajuggler; he Is an actor playing the pan ofa magician; an artiSt whose
~dshave more need to move with deftness than speed.' (Houdin, !'46). For the purposes ofthis section, I am only
:..,''ng with the part ofthe phrase commonly unered by magicians.The full statement refers to the Importance of
='juggling' with magic.! cover this ln Part 2 when I talk about economy in routlnlng. When magicians take
E:'..:rudin's statement outof context, they use lt as words ofwisdom regarding character, which is what I am
=:-.~ting in this section.

cr.ara.cter 57
Magic has an enormous powerbecause people can't understand it and they are
amazed by it. Remember the impact ofwhat you can do and play that for what it
is really worth. It is a vast weapon you can use to shape the audience's opinion
ofyou. 'The part ofa magician' can have the effect of'wow you're a magician!'
or it can be met with 'oh... magic tricks'. It's up to you to shape the opinions of
your audience through your character and the magic you present.

'The part ofa magician' suggests that you should play up to being a magician.
I think this is very important. Becoming a magician allows you to create a
bigger, better, more exciting version ofyourself- the selfthat you want to
present to others. Ken Weber talks about magicians being like superman;
normal by daytime, superhero by night7 -I think this is a very useful image-
the sense that you can become a more exciting version ofyourselfwhen you
put on 'the magician'. It is a part that you adopt. It allows you to transform.
However, it should not just be an arrogant fac;ade. Your own energy and
personality gives this shell life. You should strive to communicate yourself
through 'the magician', as well as yourselfas 'the magician'.

'The magician is an actor' is a definite, yet obscure statement. Magic and acting
have a great deal in common, otherwise I would not be writing this book, but no
one has really asked 'how is the magician an actor?' The actual day-to-day jobs
ofbeing a magician and being an actor are pretty separate. They don't really
cross over, and neither party really knows much about the other. However,
there are acting tools and methodologies that magicians can use to create,
develop and give focus to their work It is my intention to impart some ofthose
in this book.

I would say that a magician is only an actor ifthey start to approach the role
ofa magician as an actor would.

Imagine that an actor is told 'in this production you will play a magician'. They
would begin work similarly to researching any other character. They would
investigate the scenes, look at 'the given circumstances', find out what the
character says about themselves and what otherpeople say about them. They
would analyse the character from head to toe, and consider how their life
experiences compare with the role. What could they draw from themselves to

'Weber,ps6

ss Part 1: FoUNDATION
feed into the character and bring it to life? Ifwe too consider 'the magician' as
a character we can work on- something we can take off, look at, question and
put back on, then our performances will be better for it. It is important to
separate yourselffrom the role and view it objectively.

Truthful acting is an e:>..'tension ofyour·self

We have discussed the need to communicate yourselfthrough your

performance. What I want you to consider now is how the role ofthe magician
is in some way an extension ofyourself

The question is: what part ofyourselfdo you want to accentuate?

What part ofyourself do you want to show the audience more of?

Answering this will help you to improve your performance in some way,
whatever level you are at.

Your answer may be one ofthe following:

'I want to show people I have a good sense ofhumour'

'I want to show people more ofmy happy side'
'I want to show people that I am fun to be with'

Whatever it is, make it into something you can actively work onwhen you're
performing. Provide opportunities to improve that particularaspect of
yourself.

As a result ofdoing this, your confidence and self beliefwill increase. By saying
'I want to be more ...' and doing it, you will be actively achieving your goal. Also,
it will be infectious. Ifyou establish that what you really need to do is enjoy
yourselfmore and be less serious, and you do it, it will spread. Others will enjoy
your performance more, and enjoy being with you. So; find out what part of
yourselfyou want to accentuate, find a way ofdoing it, and watch your act and
performance style change for the better.

Chamcter 59
Soul sea1~ching

I'm going to ask you some questions to help you consider funher how 'you'
and 'the magician' fit together. The ability to step outside and analyse yourself
is an important skill. Being able to identify what makes you individual, and
how others perceive you, can be helpful in discovering your unique differences
as a performer.

This is a process ofsoul searching.

Ask yourself the following question:

'How do I see myselftoday?'

I am not referring to your performance persona, but how your regard yourself

Write down 10 words that describe your natural personality in some way.
Do this now.

Look back over the list and consider each ofthe words in rum.

What is the current relationship you have with yourself?

Underline all the positive traits you have listed. How many are there compared
to negative ones? Have you been honest with yourself? Ifnot, start again. When
I say 'natural personality', I mean you as you really are- not you when you
present yourself to otherpeople. We all have things we don't like about
ourselves- and its important to acknowledge them so we can do something
about it.

Next, circle what you think is your strongest positive. Ifyou had trouble
deciding which part ofyourselfyou would like to accentuate- perhaps this
word is a good starring place...

Next write 10 words to describe how you think other people see you.

Now compare this to the first list and observe the differences. Are there some
quite large differences, or are they quite small? Do you think you are
communicating yourselfin the way you would wish to other people?

6o PartJ: FoUNDAnoN
Now check whetheryou are right about how you come across to others
by asking someone you know to write 10 words to describe you.

Compare your lists to theirs. Do you see yourselfas they do? Do people view
you the vlayyou thought? Is that word you have circled in their list? Ifnot- are
you right about this being your strongest positive? Or-is this something you
need to work on so that people see it more? It is often a good idea to get more
than one opinion, so ask several people to write a list of10 words describing
you. When you have collected them, notice what the most repeated word is.
Is this the one you have circled? Is it in your lists at all?

Ask yourselfagain, 'what is my strongest positive?'

Finding out what drives you, in terms ofnatural personality, and how that can
inform your performance style, should be one ofthe first steps in generating
your act- not the magic. Choosing magic effects should come from an
understanding ofwho you are, and what kind ofact you want to present. I
would strongly suggest that the final 'product' comes from something inside
ofyou. Acting a character that isn't you in any way is very difficult, but finding a
part ofyou that relates to what you want to be establishes a point ofconnection
and allows you to work towards creating something truthful. Otherwise, you
nm the risk of delivering a performance that is false and awkward.

The m.agician within you

In finding out where your natural character lies, and establishing how that
informs the kind ofmagician you want to be, ask yourselfwhat part ofyou, deep
down, identifies with the role of'the magician'. What really excites you and
drives your passion for magic?

Imagine that the magician is already part ofyou- and your quest is to seek out
that side ofyour personality, encourage it and release it. Think ofit almost as
the genie in the bottle that lies dormant until rubbed.

Identify the source ofthe magician within you, then let it grow and inform the
magic you do. Let it feed your creativity.

61
'Me' and 'the magidan'

The process so far has been about separating you from the persona of'the
magician' and then considering the points of connection.

For those reading this who have never done any acting, amateur or
professional, this is probably a new way ofworking. Actors who have been
trained will automatically start an inner dialogue between themselves and
the character they are going to play. However the idea that our normal selfis
different from the one we choose to show when we perform maybe new to
people who don't come from a performance background. Similarly, the idea
that we can control and choose who we are when we perform is, for some, a
revelation. We have complete control over how different or similar our
performance persona is too~ normal selves. The trap you mustn't fall into is
saying-'I'm just doing some magic as me- I don't have a performance persona'.
You doing magic for an audience is different to you at home. An actor has to
distinguish clearlybetween themselves and the role- otherwise theywowd go
mad. You can'tbe a mixture ofyourselfand Hamlet all the time. So similarly,
you should have an awareness ofwhere you and 'the magician' begin and end.

Spend some time considering how different you want your performance
persona to be from your everyday sel£

Make a list ofcharacter qualities that you would like to have.

When you have done this, go through the list and highlight the qualities that
you would like which are similar to those you have listed about yourselfearlier.
You will be able to see from this that some elements ofyour character will be
more easily achievable that others.

Next, highlight the qualities you would like that are furthest from your usual
self. Consider these fully. Although it may make sense to focus on qualities
which are closer to you, there is great liberation as a performer in being able to
playwhat you can't be in everyday reality. You can be freed by jumping into a
quality of a different tempo and register. It can be useful to think in terms of
opposites, for example; 'I am naturally laid back-what ifI perfonn in a swifter,
more upbeat style?', or 'I am naturally introvert-what would happen if I

62 Part J: FOUNDATION
presented my magic in a more confident style?' Start to think about the range
ofcharacteristics you could explore as a perfonner. How far do you want to go?
How far do you dare? Remember you have the choice to explore almost
anything you want. It's up to you to play and find out what fits best. Be open to
surprise and willing to push yomselfto places that are less familiar in order to
find out what will work for you.

I have emphasised the importance of communicating yourselfthrough your

magic, and the benefits ofinvestigating the relationship between you and your
role from different perspectives. What I would now like you to consider is: what
stops you from showing people who you really are?

I suggested earlier that the increase ofour consciousness as we grow older

stops us from being spontaneous. As performers, we need to be aware that it is
really only omselves that stops us being free. Our morals, ourfears, sensitivity
to others, conforming to the norm, obeying rules and so on, 'cap' our true
feelings. We need to be aware that these are conscious stops that we put in
place. In order to create a truthful performance persona we need to learn how
to take some of these stops away.

The British theatre director Declan Donnellan focuses a lot ofhis rehearsal
technique on taking away what he calls 'blocks'8 in orderto create truthful
acting. By 'blocks', he means the things that the actor puts between themselves
and the experience ofthe character in a scene. A 'block' usually occurs when
the actor thinks too consciouslywhile they are performing. Theystop
themselves being free and lin the moment>. As magicians we can easily do this if
we are not fully confident about the technicalities and logistics ofour act. This
is something I will reconsider in Part 3 ofthis book, but for now I think there is
one question that we can usefully ask omselves:
'What is blocking mefrom myself?'

In terms ofDonnellan's thinking, and mine, the way we block ourselves can be
broken down into the following causes:

- monitoring oneself
- not accepting oneself
- worryingwhatotherpeoplethink
• Donnellan, PS
- showing a false face to please the world
- uying too hard

The first one is specific to the moment ofperformance itself, so I'll consider
that in Part 3·

Accepting who you are, as we have discussed, is the bedrock for working out
who you want to be. It is a mistake to try to resist your natural personality in
favour ofanother magician's style. Apart for anything else, you will be copying,
and therefore not true to yourselfanyway. And, ifthat style doesn't find its root
in you, it will never feel real to the audience.

Worrying what other people think is something that we all do and exert far too
much energy on. The best thing you can do is make clear choices about what
you are going to do. Sticking to those choices will reveal ifyou have done the
right thing or not, and you can always change them. Remember that you can
never please everyone. No matterwhat you do, there will always be someone
who doesn't like it. Just make sure that a majority do like it by listening to the
response you get and adapting accordingly. Don't be afraid to be firm, clear and
self-assured- this will help you to gain respect.

Showing a false face to the world in an attempt to please everyone doesn't

work. Be yourself, but be adaptable. An experienced close-up performer should
be able to change their persona at each table ifneed be, to suit the audience in
front ofthem at any given time. This is why it is important to communicate
something ofyour true self, not a fa~ade. Remember that you can be
professional in your manner, but communicate truthfully. Ifyou try to shield
too much from the audience, you won't be spontaneous and free. What's more
they will sense that you are not really connecting with them.

Trying too hard is something we all do. 'Trying' implies lots ofeffort-and while
it may take a lot to control an audience, gain that next gig and so on, it doesn't
necessarily help to push too hard. Ifa performer tries too much to impress, this
will be felt by the audience and it may have the opposite effect to the one
intended. Ifyou are natural, and your energy comes from within, you are far
more likely to communicate effectively and get those reactions.

Part 1: FOUNDATION
AI the end ofthis section on character, I would like you to collate your thoughts
on who you are, who other people think you are, how you see other magicians
and what kind ofmagician you want to be. It can be very helpful to collect this
information somewhere, revisit it, or add to it over a period oftime. You can
look back on your thoughts and choices, how you have progressed and your
aspirations for the future. Other professions recognise the importance of
professional development- so many magicians don't.

ln order to give focus to the work you have started, ask yourselfthis question
right now:
'How do I see my act today?'

Be brutally honest. How good is it? Where is there room for improvement? How
does it currently relate to you- both as yourself, and 'the magician'?

Then, start to think about how you can drawrhe two togerher. Start to think
about how 'the act' and 'you' can become one entity. How can you consolidate
and solidify your work for the future?

To finish, I just want to add a few definite 'don'ts' regarding the development of
your character:

- don't irritate or patronise people

- don't be arrogant
- don't cheapen your material
- don't look down on people
- don't try and 'trick' your audience- try to amaze and entertain them

It is very easy as a magician to feel that you are superior to your audience. This
is a very dangerous mistake. Ofcourse the performer is in a different league to
the audience, and has skills that they don't possess. And yes, it is certainly
essential to have confidence. However, there is a big difference between
differentiating yourselfas the performer, and belittling the audience. Everyone
you entertain should be respected for who they are, and you should be thankful
for the status you receive as a magician. Don't get uppity and arrogant. Most
people aren't stupid and they will be put offifthat is the attitude you choose to
present them with. Arrogance is a mask for people to buoy themselves up and

a:m-acter
think they are better than they really are. Ifyou do this, you are asking for a
fall. Remember also that you never know who you are performing for. Ifyou
turn them off, you may have just lost a valuable contact or bookingwithout
even realising.

Lastly- don't trivialise your material. Don't cheapen it with bad jokes, or
playit down. Remember that you have an extraordinary gift that can move
and entertain anybody. Be respectful ofthe poweryou have and use it properly.
Ifyou pepperyour magic with cheap gags, you will undo all the good work.

There are many pitfalls that magicians can fall into. However, as I have already
said, ninety percent ofthe time you can control the quality ofwhat you do. Be
clear, specific, attend to the given circumstances and be true to yourself Create
a vision for your act that works for you and your environment. The elements
discussed so far are core factors that you can revisit again and again to help
you improve.

There is, however, one more tool that can give commitment and focus to the
work you generate which we haven't discussed. It is called the 'objective'.

66 Part l: FOUNDATION
 Objective

WHA.TdoiWANT?
WHAT is IN THE WAY ofwhat I want?

The 'objective' is perhaps the simplest and most powerful tool in all acting
methodolog11. Outside ofthe tbearre world, a similarprinciple exists known
as 'goal-setting'. The principle ofan 'objective' or 'goal' is to give focus to what
you are doing by knowing what you want to achieve. By asking the simple
question 'what do I want?' you are able to establish a future end point that
you are working towards. Focussing on something tangible in the future drives
your behaviour in the present. ·

Ifyour goal is to lose weight, then focussing on that will help you stop eating
foods that do not assist you in achieving your desired outcome. Ifyour goal
is to become a doctor, then this will shape the decisions you make abouryour
education, such as your choice ofA-levels and how hard you will work. Ifyou
wish to become a senior manager within a company, focussing on that goal will
drive you to success.

For actors, the objective is a tool that helps them to pinpointwhat drives a
characterpsychologically in a scene. It is a tool they can use to make sense of
what a character says and does in the script. Because the characterhas chosen
to speak rather than remain silent, no speech exists without some degree of
intention behind it. Speaking is the last step in communicating something that
you want. Wanting something comes from a wish to achieve an overall aim-
the overall aim is the 'objective'. So when an actor asks 'what is my motivation?'
-what they are searching for is an objective that makes sense oftheir action,
behaviour and speech. Objectives can be small or large. An objective could be
as trivial as finishing the washing up before going out, or as irnponant as asking
someone to marry you. In working on a play, the actor will look for objectives in
each scene. They will also look for a through line objective that makes sense of
• Jdc:nti.fiedby ConstantinStanislavski. See StanislavskiAnActor Prqxtrts, pm

Ollj«tive
their actions overthe course ofthe whole drama. This is known as the 'super
objective'10• For example, in Shakespeare's play Othello, Iago's attitude and
behaviour towards Othello over several scenes reveals the objective 'I want
Othello to suspect his wife (Desdemona) ofbeingunfaithful'.

By askingwhatyou want to achieve, and establishing a clear objective with

your magic, it forces you to question everything you do, everything you include
in your act, and to be specific about what you are communicating at any
given moment.

Alot ofmagic routines are weak because they have no point. Once an objective
has been established, suddenly, actions start to gain importance. Events have
significance for the audience, and from the performer's perspective, a greater
need emerges to justifyyour material. The objective works as a focus sing tool
that can be used as a 'validity benchmark' for your act. Ask: 'what do I want to
achieve?' or 'what goal I objective am I working towards?', and then: 'what
effects or routines will I include to help me achieve that?'

Ifyour chosen objective is 'I want the audience to believe I can really read their
minds', then this will influence the types ofeffect you choose and the order you
put them in. You might start with a 'pick a card' effect, then move on to a 'think
a card' routine- where no card is removed, then remove the cards altogether
and move on to something that appears to be pure mind reading. The
progression ofthese steps would increase the impossibility ofyourmagic in the
minds ofthe audience, and finally convince them ofyour objective. You would
be lll1likely to include sponge balls in the routine, or an elastic band effect,
because this deviates from achieving your objective and weakens the
progression ofsignificant events. Remember that focussed and direct action
causes increased interest, but undefined and diffused action loses the
audience's attention. Without an objective, you have no purpose and are likely
to fall into the trap ofperforming a series ofunconnected effects that don't
necessarily achieve anything.

An objective is something active that you can pursue whilst you are performing.
In pursuing an objective, you will find that you need to be persuasive in orderto
achieve it.

10
Stanlslavski, Creating a Rok, p77

68 Part I: FOUNDATION
You could give yourself an objective like 'I want to convince the audience I am a
great mind reader', but the audience is unlikely to be convinced until they have
seen your progression through your performance. One or two effects may
generate some response, but it is the overall development ofyour routines that
convinces the audience ofyour end point. Everything you choose to add into
your act should be included with the intention of obtaining your objective.
Ifa routine or effect doesn't do this, get rid ofit.

So to summarise, the key points are:

a) Your act must work towards the achievement ofa single attainable
objective.
b) Everything in your act should have meaning and exist to help you achieve
the objective.

Use this knowledge effectively and it will not only strengthenyour act, b~t also
affect the way you approach performance as a whole. Focussing on achieving
the objective will cause you to change your behaviour, and it will affect the level
at which you engage with your material. Focussing on what you are doing to the
audience, and what you are trying to achieve at any given moment, will give
your performance drive and intention.

Sh-engthening and testing the objective

It is imponant to make sure that the objective you establish is tangible.
There are ways to test ifthis is the case.

Want' or 'need'
The objective should emerge from a 'want' or 'need' ofsome kind. For example,
'I need to impress the audience', 'I need my performance to be ftm', 'I want my
audience to be amazed', or 'I want my audience to pay attention'.

The objective should emerge from a need to control or shape something in

the present.

Obj«tive
Ifa want or need isn't immediately obvious, establish what opposites are at
play. For example: 'the audience's perception ofmagic before I begin' versus
'what I want the audience to think at the end'. By establishingwhat
it is that you need to change, you will be able to find the objective.

The objective is an end point thameeds to be worked towards. It is something

that needs to be achieved.

Inordertowhat?
The objective needs to be articulated in a specific way to make sure it is
necessary, rather than obsolete.

Try to fit your objective into the following sentence:

I want to ...................................... in orderto..................................

This will help you to qualify your objective.

Ifyour objective is; 'I want to convince the audience ofmyrnindreading

abilities'. By asking 'in orderto what?' you can make sense ofthe objective and
make it necessary to achieve. You might complete the sentence thus: 'I want to
convince the audience ofmy mindreading abilities in order to supersede their
expectations ofwhat a magician can do'. The reason for the objective being
there now makes sense. It is important as a performer that you knowwhyyou
are pursuing the objective. 'In ordeno what?' gives the objective meaning and a
reason to be achieved.

To give an example ofhowthis works in theatre, consider Iago's objective in

Othello once more; 'I want Othello to suspect his wife ofbeing unfaithful'. By
asking 'in order to what?' the actor is forced to find a logical and psychological
basis for Iago's behaviour. Though Iago's motivations are not clear, there are
clues in the text such as Othello having appointed Cassio as Lieutenant, and
!ago's suspicion that Othello may have slept with his wife. Whether or not
these are the driving force behind his actions is for the actor and directorto
decide, but they could give this justification to the objective: 'I want Othello to
suspect his wife ofbeing unfaithful in order to ruin his relationship and status,
and have my revenge'.

70 Part 1: FOUNDATION
Ifyou are still finding it difficult to create an objective for your magic, consider
whether a current routine you perform contains a dormant need or want. For
example, ifyou have a routine with a surprise ending, presumably that means
you want to surprise the audience. However, you could use an objective to help
you get more out of its performance. Give the surprise ending a purpose. 'I want
to surprise the audience in order to generate a feeling ofgenuine
astonishment'. Straight away this gives focus to what you're doing and brings
your magic to life.

The stakes

The stakes is an abbreviation for 'what is at stake?'

This is a useful tool for making sure that you pursue an objective with real
intent. Establishing how important it is that you achieve the objective affecrs
your behaviour. Ifyou find that the need isn't great enough, ask:
'What will happen ifI don't achieve my objective?'

This will reveal how important the objective is, and increase the need to pursue
it, by showing the consequence ifyou fail. The consequence is a painful
outcome that you want to avoid. Once you have established how painful failure
can be, it drives you to achieve the objective at all costs. 'The stakes' inform you
ofwhat there is to be lost, and the reminder ofthat gives the necessarykick to
perform with intention, economy and conviction.

Ifyour objective is a really simple one such as 'I want to entertain my audience'
and you don't achieve it-the consequence could be disastrous. The audience's
perception ofyour act and status will plummet, you will not be re-booked, you
won't get good reactions, you will find it difficult to move to the next table and
so on. In fact, there is so much to be lost that you cannot afford to fail. Realising
the consequences means you absolutely have to achieve the objective, and
when you do, the result will be elation, applause and future work!
The obstacle

Actors will look not only for the objective that drives their behaviour, but
also for the obstacle that is in the way of achieving it. In theatre, it is often the
tension between things that creates drama Tension emerges from conflict, and
conflict is often caused by something in the way ofa character achieving their
objective. Watching someone deal with an obstacle can be interesting for an
audience because people narurally empathise with human snuggle. Tension
and struggle are necessary in magic to make the effect count. Don't make it look
too easy. Ifyou have a drrd returned to the deck and find it instantly, it may not
be halfas effective as ifyou attempt to find the card unsuccessfully, and then
locate it in an unexpected way. Dealingwith the obstacle offailure and
succeeding rn1der pressure makes the resolution more of an achievement.
Obviously, it goes without saying that it is important to consider where a
sequence like this would go in your act. You can only afford to play with the
audience in this way once they have gained confidence in you.

Whilst you may choose to playwith the idea ofan obstacle that needs to be
overcome at certain points in your act, an interesting rule to remember is:

- there is always an obstacle to the objective

Without an obstacle in the way, you would already have achieved your
objective. This means that there is always something between you and the
objective- something you need to tackle in orderto achieve it. Sometimes the
obstacle is small, and sometimes it is large.

Pursuing an objective is about finding out what: you need to change in order to
reach your goal.

What do I need to change?

This question will help you to become more active when you perform magic. It
is important that you fully engage, and don't just go through the motions ofan
effect- especially ifyou have performed it many times before. Ifyour objective
is 'I want to entertain the audience', your obstacle (ifyou are a close-up
magician) might be 'the audience is not receptive to magic', or 'the audience is

72 Pm11: FoUNDATIO~
not willing to express their astonishment' or even 'the audience doesn't know
they are my audience yet- or that I am the performer!' In orderto achieve the
objective, you will have to initiate a change. This will most likely be a change in
the audience's behaviour or attitude towards you- and you can only make that
happen by doing something to the audience. Once again, the focus is on your
intention, not the effects. Your magic is there to help fuel the achievement of
your objective.

In thinking about the need to change something in the audience, and the idea
that drama is created through tension, consider the following:

- it takes effon to do magic

From experience, I believe that ninety per cent ofthe time magicians throw
away the magic effect. Communicating the effon it would take to actually
achieve something magical builds it up dramatically for the audience. Ifl
vanish a coin, it may be a good effect, but if! build up suspense before it
disappears, it could have much more impact. You can't just expect the
audience to reach the end point ofhysterical reaction instantaneously. You
must take them there. You must create a moment when something changes
and give it focus.

To illustrate this funher, I would like to quote from Chris Dugdale and PhilJay's
course Close-Up Success:

'Phil Jay was once booked to work with another magician... Upon arriving at
the gig... they first met the waiter [who] really really loved magic and asked
"Could one ofyou please show me a trick?"... This magician then performed
a ten minute coin routine that included just about every coin move you can
think of. The patter went something like this... "Ifi put this coin here it
disappears and reappears over here, ifi do this it does that, ifi do that it
does this... etc."... At the end ofthe routine the waiter said" that was good"
and turned to Phil Jay and said" can you show me a coin trick?"

Here's what happened next...

Objtdivt 73
 Phil Jay asked the other magician to take all the coins out ofhis pocket and
hold them cupped in his hands... he then rumed to the waiter and said "I will
only show you one thing, but this will be the wildest bit ofmagic you will
ever see..." Phil asked the waiter i:o hold his left wrist whilst Phil's left hand
was palm upwards. Then Phil, with his right hand, reached into the handful
ofcoins and mimed the action ofremoving a coin and placing it in his left
upturned hand which was held by the wrist by the waiter. Phil closed his left
hand as he did this and then did a fake take back to the right and mimed
showing the coin inches from the waiter's face as he said "don't take your
eyes off the coin." He then placed what shouldhave been a coin back into
his left hand as he was telling the waiter "don't take your eyes off my hands
and keep holding my wrist tight."

''You will talk about this for the rest ofyour life... don't ever ask me to show
you this again..." Phil said
'Watch"

Very slowly he opened his left hand to show the coin had vanished under
impossible circurnsrances. It was at this stage that the waiter started
running around the room, screaming.'11

As we can observe, the first magician was focussing on himselfand his 'tricks'.
They didn't have any impact because he performed too much too quickly. Phil
focussed on building suspense and doing something specific to his audience.
You could say his objective was 'I want to completely freak him out', which he
did using a coin vanish. Did the first magician have any objective at all? Perhaps
only subconsciously 'I want to please myself, 'I need to show how clever I am',
or 'I need to show how many moves I lmow'. Ifyou stop to think: why am I
performing this material, and why am I doing it like this, you can start to make
your act much better.

In this instance, Phil wished to show the other magician that great magic is not
about how many sleights you can perform in two minutes. It's about moving
your audience, taking them somewhere they haven't been since they were a
child, when they believed in Father Christmas, the Tooth Fairy, etc.

" ClOSt'-Up St~m:~S, pan 2, p68·69

74 Part 1: FOUI'It>ATION
Multiple objectives
When you have discovered how useful an objective is, you may wish to move
on and considerthe use ofmultiple objectives.

You canbreak your act down into its different components and consider the
different objectives you are nying to achieve at various points. The super-
objective might be 'I want the audience to think I am the best magician they
have ever seen', but this can be broken down into a series ofobjectives leading
towards this final goal. Each effect or routine you perfonn should have a
different objective attached. The first routine might have the objective 'I want
to relax my audience in order to gain their confidence.' For the next routine it
might be 'I want to make my audience laugh.' And for the final routine maybe
something like 'I want to surpass the audience's expectations ofwhat is
possible.'

Whatever the different objectives you decide upon, they must all lead towards
the achievement ofthe super-objective. They should take your spectators
through a series of emotional states that arrives at the final conclusion. Does
your act currently leave the audience feeling significantly different at the end?
Ifnot, then this is somethingyou need to work on. In order to leave people with
a memorable experience, you must take them through a range ofemotions in
the performance ofyour magic. Jolt them out oftheir everydaylife, and make
them experience something amazing and impossible.

One further thought: consider the different weights ofobjectives leading to

the super-objective. Ifyou pursue several objectives simultaneously, rather
than one after the other, it can be useful to think about how imponant each one
is, and thus the focus you give to each in turn. Let's say, for example, that over
the course ofyour act you have three objectives that can be achieved at any time:

- I need to break the ice

- I want to convince the audience ofmy mind reading abilities
- I want to communicate that I can be booked for corporate magic

Objtdive 75
The most important and immediate objective is breaking the ice-that must
be achieved before the others can be pursued. The second is convincing the
audience ofyour abilities. Although in some cases you may be able to achieve
these objectives simultaneously. Only after being sucked in by what you can do,
will they consider making a future booking. Here is one idea for achieving the
last objective in a subtle, non-verbal way: put a BP sticker on a card box, which
you remove the deck from before starting a routine. This might get the
audience thinking 'what is that logo about? Does he perform for BP?' without
mentioning anything. They may even ask- in which case you can mention
previous events. It is betterto get the audience to think what you want them to,
apparently through their own free will, rather than bytelling them directly.
Thus in terms ofweight, the first two objectives are likely to be quite heavy, and
the last is lighter and more passive. You want the audience to ask you for a card,
not force them your publicity.

Each objective adds something different and helps to layer the act from start
to finish. Considering the weight ofeach objective will help to differentiate its
importance and will give your act variety. Use the stakes to identify how
important achieving each objective is, then decide how much focus you place
on each duringtheact.

Concluding Part-1

As I said in the introduction, Part 1 is about establishing a foundation you can

build upon and understandlng the factors involved in creating a good magic
act. The four simple factors ofspecificity, circumstance, character and
objective offer a startingpoimforcreatingyourpersona and your act. For those
who are already experienced performers, it provides the opportunity to self
reflect and identify the weaknesses in your work.

I would suggest that you take some time to consider Part 1 in relation to the
magic you currently perform, before moving on to Part 2. Be aware ofthe
danger ofrushing too far ahead before you have fully absorbed and applied the
information so far. Depending on your level of experience, you may feel you
can move quite swiftly on to the next section, or, you may need to do a lot of
work. Just make sure that you establish a strong foundation before moving on.

Part l: FOUNDATION
Remember the parable ofthe foolish man who built his house on sand, and the
wise man who built his.house on rock...

Part 2 requires you to have an understanding ofwho you are, what kind of
magician you want to be, and where you want to perform, before you start
structuring an act from start to finish. Get that right first, and everything else
will flow much easier. Ifyou rush it, you may have to start again after investing a
lot oftime, effort and money in something that doesn't work.

77
 Part2:

STRUCTURE
&DETAIL

...............................................................................................................................................................................
78 Part 2: STRUcnJRE & DETAIL
 Introducin,g part 2

A clearly defined structure is the basis for a good act.

No structure means no progression. Without progression, the audience cannot

grasp where the performer is going. Ifthe performer doesn't know where they
are going and what they are doing-how can they produce a good act?

This may seem obvious, but many magicians don't sit down and carefully
consider the shape oftheir act. Some have no structure at all. I would argue
that an act cannot really be called an act tmless it has some form ofbackbone.
Without structure you can only rely on fluke. To think 'it will go alright when
I have an audience' is fatal. What do you do when the audience doesn't react in
the way you want them to? What do you do when your magic fails and you have
no plan ofaction?

'By failing to prepare, you arepreparing to fail.'

Benjamin Franklin

You must get the audience to react in a way that facilitates you by carefully
srrucruring routines that nurture and develop response. Just doing a series
ofunrelated effects won't allow you to climb higher. Ifyou analyse those
performers who consistently generate amazing reactions, you will find that
the structure oftheir act takes the audience on a journey building up to the
achievement ofa desired response. No matter how easy or impromptu it may
seem, underneath it all, the audience still has to get from Ato B. The performer
must draw the reaction out from audience, but they can't do it without a clear
sense ofdirection and a structure to hang things on.

'I'm just preparing my impromptu remarks'

vVinston Churchill

Ir.trodudngpart 2 79
Your act needs to be considered from stan to finish so that you prepare a
performance that is layered and meaningful. Being specific about what you are
doing and why you are doing it at every moment is essential. Be aware ofhow
your act might be received by different members ofthe audience. You need to
know what you are trying to communicate through your performance. Attend
to the given circumstances that govern your choices, but focus on holding your
audience's attention at every moment. Question whether or not your magic is
really magical enough. To deliver an act that entenains the audience, controls
them, builds them up, supersedes their expectations and generates an amazing
response requires a lot ofdetailed work.

'Luck is what happens when preparation meets opportunity'

Seneca

A concrete, detailed structure gives you a clear sense ofpurpose and

confidence. Once you know what you are doing, you can simply concentrate
on doing it. You will soon find out whether you have got it right or wrong. The
otherthing that a detailed structure provides is freedom. Once you know where
you are going, interesting things will emerge along the way.

'1 alwaysfeltifwewere going to do an album, there should already be a lot of

structure already made up so we could get on with that and see what else
happened.'
JimmyPage

You can respond to oppommities when you have a good underlying structure
to fall back on. Structure is the starting point for facilitating good performance.
It allows you to progress and it allows you to play. Once you have perfected the
structure, you will know that every time you perform you can hit a cenain level
-both in the quality ofyour performance and the response ofyour audience.
This then becomes your base level: your minimum level ofachievement. So if
you prepare in the right way, yourpelformances can range from good to
excellent, rather than bad to good.

Structuringyour act is an opponunity to prepare yourselffor the situations you

will face in performance. It is a chance to think- 'what could go wrong?', 'what
could happen that I haven't thought about?'

8o Part 2: StRUCn1Rii: & DETAIL

 'First askyourself: What is the worst that can happen? Then prepare to accept it.
Then proceed to improve on the worst.'
Dale Camegie

In Part 2 we will look primarily at the following:

- what makes strong magic

- ways ofcreating your act
- dramatic and structural tools that can be applied to your act

These elements will highlight the importance ofthe way you structure your
magical routines, and the range ofdramatic tools that can enhance your
presentation. Being aware ofcertain key dramatic principles and applying them
to your act, offers an infinite number ofways to make your magic tmique and
personal. It will also help you create an act that hangs together properly.
Unfortunately, magicians often use the tag line 'for my next trick...' They put
one prop away and pick up another for no reason other than needing it to
execute the next piece ofmagic. Stringing things together like this is a ve:ryweak
way ofperforming because it points towards the fact that the props do the
magic- not the magician. I would go so far as to say that magicians' lack of
knowledge about how to structure magic dramatically has led to audiences
perceiving our art as variety entertainment and somewhat second-rate
compared to other art forms. A lack ofstructural technique has led to magic
feeling somewhat impermanent- something light and sideshow that doesn't
compare to theatre or music.

The purpose ofthis book is to educate magicians about the rules of

performance, and provide the tools to understand what makes a show good
or bad. I sincerely hope that this will pave the way for magicians to create better
zcrs-and that the world ofmagic will become more respected by the public
as a result.

81
 Strong magic

It's not what you do; it's how you do it...

There is such a thing as the typical London magician. They all do coin in bottle,
they all do the ambitious card and they all do card to wallet. They do it almost
exactly the same as everyone else.

How can you possibly distinguish yourselfas a magical emenainerifyour

act is the same as everyone else's and it has all been seen before?

'It's not what you do, it's how you do it' is a saying we all know, but how many
ofus strive to create unique, original routines that set us apan from others?

Amark ofa great performer is someone that can take a trivial piece ofmagic
and turn it into a miracle through their creative ingenuity and understanding
ofdramatic techniques. Burger and Neale comment in Magic andMeaningthat
there is no such thing as a good or bad effect. It is the originality ofthe
performer that makes the difference.

'a card trick, in and ofitself, is neithergood nor bad but only becomes one or the
other in the course ofsomeone's actualperformane~

This is not entirelyuue-there are, after all, some magic effects that are not
deceptive or interesting-but the sentiment ofthis statement is imponant. It is
the magician that makes the magic magical. We should strive to create routines
that are original and personal in order to differentiate ourselves from all the
other performers out there. It is you and the way you do it that is so imponant.
That is what makes the difference between being viewed by your audience as
'just another magician' or as a totally unique performer. So, strive to be an
original thinker.

" Bmger& Neale, puS

82 Part 2: STRUCTURE & DETAIL

Economy in1~outining

Simpler, direct magic is better than longwinded overcomplicated magic.

These days, people don't wait around to make a decision about whether ornot
to watch you. You must strike efficiently and quickly to hook their interest and
their respect. Remember that in a close-up situation, most ofthe time people
don't know who you are or whether you are any good. On stage, whilst the
audience is a captive one-you can still quite easily bore them and send them
ro sleep for the rest ofthe show. Every moment ofyour magic must be engaging.
The way you structure your routines must have a point and get to that point:
quickly. You can afford to take your time when you've got the audience
absolutelyhooked and they are desperate to see more. Even then, however,
there is a fine line between holding your audience and losing them.

When I sayyou must get to the point quickly, I mean you should be crystal-
clear about what you are doing and where you are going. I don't necessarily
mean do it fast. Many magicians make the mistake of speaking and moving far
too much and far too quickly. As a result the impact oftheir magic is lessened,
because the audience is not properly engaged. Make everythingyou do or say
count, and routine your magic economically.

Ken Weber talks in Maximum I mpad about eliminating weak spots in your
routines13. Byweak spots, he refers to anything that is 'filler' and doesn't propel
the action forwards. He says

'Make every moment important to the flow of the entertainment. Not most
moments. Every moment. Every second.'~.~

This means making every moment or every second active in some way. What
are you doing to the audience? What is a particular word, movement or pause
communicating to them? Ifyou are not active, then you are not doing anything
at all. Would you watch somebody do nothing, or listen to someone who
doesn't fully engage you?

.., Weber, p77

.. Wcbe~;p']S
Economy is about using every inch ofthe material you are performing, and
making it count. The more you work on the structure ofyour routines, the more
you will realise just how much you can get rid of. Every moment should be used
to its maximum potential- so you are left with an airtight act that cannot fail to
hold the audience's attention throughout. Ifyou get to a place where you are
struggling to throw out material because it is all effective and efficient- then
you will have reached a very advanced stage. However, most ofthe time,
magicians don't throw things out because they are attached to them. They
provide excuses like 'I'm good at this move' or 'I've been doing this for years',
rather than thinking objectively and assessing its value for the audience. Make
your magic work hard for you. Squeeze your routines as much as possible until
you are only left with the simplest, strongest, most economic effects.

Awareness ofmoves and economy in movement

Ifthe audience thinks they have seen anything they shouldn't have, then you
have failed to give them a magical experience.

Whether or not the audience has acrually detected 'the move' does not matter.
Ifthey can provide an explanation, then they have, in their mind, worked it out,
and are no longer baffled by it. This could be as simple as 'when he took my
card back he saw what it was' or 'he hid the coin in his hand' or even 'he made
me pick that card'. So part ofyourjobis to make the magic seem as impossible
as possible. Chris Dugdale recommends dispelling possible solutions as a
technique to enhance the magical effect. He gives one example in Psychological
Applicationsfor Magicians: Volume 2 where he wasn't getting the desired reaction
from a book tesL He decided to dispel all the solutions the audience might be
thinking ofbefore starting in order to make it stronger 15

1iyto think from the audience's perspective by asking-'what would their

internal dialogue be whilst watching this', and then combat that in yourroutining.
Remember Phil's question; What would the audience think ofme now?'

However, before you start thinking about ways ofmaking your effects stronger,
it is imponant to ask-'is the audience aware ofany move I perform?'

•s PsychologicalApplicationsfor Magicians: Voh<mt 2, P3 onwards

Part 2: STRUCTURE & DETAIL

'One has an experience ofmagic only when there is no awareness ofsecret
machinations or sleight ofhand manoeuvres' 16

Agreat deal of magic receives little or no reaction because it is poorly

executed. For heaven's sake make sure you can perform the necessary sleight
ofhand confidently and cleanly. You should be able to do sleights as second
nature, so that you can focus on your performance. Ifyou are worried about
your technique, the audience will pick up on it. Ifyou perform a move badly,
the audience may notice. Make sure you can do the moves properly, at the
right timing.

You should perform the moves in your routine at moments ofnatural

misdirection, and direct the audience's focus with your body movement
and personal attention. This is, of course, basic sruff, and there is a wealth
ofreaching and literature on misdirection. However, it's amazing how many
magicians make it hard for themselves byperforming sleight ofhand ar the
wrong timing, so the hear is on rather than offwhat they are doing. The
audience should not be aware that you have done anything at all. Ifthey think
they have discovered something, rightly or wrongly, then you have failed
ro give them a magical experience.

Ifyou are confident that your sieights are well executed, ask yourself:
does anything I do look like a move, whether it is a move or not?

The most effective magic is clean, clear and simple. There is no point at which
the audience can go 'aha! I think something happened there'. Justify every
movement you make and cut out any unnecessary action. Apart from being
interpreted as something that makes the effect work, extraneous movements
also diffuse the audience's attention. For example, with a card crick, in the time
between signing a card and reproducing it, anything could have happened.
Ifyou put the pen away, rummage inyour pocket, readjust the grip on the deck,
shuffle the cards, straighten the cards, riffle the cards, spring the cards, fan the
cards, cough and square the deck-before the magic effect happens- you could
have cheated at any ofthese moments. The audience doesn't know what a
move looks like, so they will lock on to everything you do. Ifyou playwith the
cards a lot before revealing the selection, they may think 'Wow-he knows what

• MagicandMeaning, p14

Strong magic 85
to do with cards, I bet finding my card will be easy... perhaps he moved itjust
then... or then... he's too quick I can't follow it-but I definitely saw him do
something just then.' Instead ofgiving your audience opportunities to find
solutions, make your magic clear and direct. The result ofwatching something
done simply and being completely fooled by it is far more effective. For
example: a card is returned to the deck and in as fewer movements as possible,
is revealed at the top ofthe deck. Ifyou do it like this, their internal dialogue will
change to somethinglike: 'Ok- I'm not going to miss this... I'm watching as
close as I can... what? How the hell did it get to the top? He did nothing! This
guy is amazing. That's totally impossible.'

As the old saying goes - less is more. This is certainly true with performing
magic. The most effective and most baffling magic I have seen is when it looks
like nothing happens other than the actual impact moment ofthe effect itself
Ofcourse, this can't be true... several things must have occurred in order fonhe
illusion to take place-but watching the routine I am not aware ofany ofthem,
because all moves are minimised and justified by the performer. For example:
a top change is made far more deceptive when it is executed in conjunction
with a real world action, such as moving a glass. It is the impact moment and
the clear journey towards it, which the audience should remember. That is
determined by you, the performer, and how you structure and choreograph
your routines. All the essential workings ofthe effect should go unnoticed.

To demonstrate more clearlyhow important routining is in generating a true

magical experience, I am going to descnbe my handling for the Kennedy
mystery box as I currentlyperfonn it at corporate functions. For those who
don't know ofthis prop, it's a small rectangular box just large enough to contain
a folded playing card. The box can be set so there seems to be a card inside
when the lid is lifted.

In my close-up act I say the following:

I never know where to put sparepaperclips, so I keep them. in this.

I produce the Kennedy box, lift the lid and tip out the paperclips17.
Sir, wouldyou mind holding on to these until a bit later? Thanks.

'' I use plastic coated paperclips to avoid them attracting to the magnet In the box.

86 Part 2: STRUctURE& DETAlL

 I'm going to do something thatyou shouldn't really do...
I'm going to tellyou the endingofthis next bit before it happens.

Madam... putyourfinger here.

I demonstrate by putting my finger in the box.

In a shorh,vhile,your signed card will end up in here under impossible conditions.

First ofall, I need a keeper ofthe box...

Who's the most trustworthy person here?

I set the gimmick with my fingernail and place the lid on the box in one fluid
motion.
Sir- wouldyou holdyour hand up like this?
Thankyou.

I place the box on his hand.

From now on it is most important that no one touches the box-so please keep
your eye on it.

Madam, please choose any cardyou like and signyour name on it.

She signs it.

There is only one card in the world that can look like this does right now.

Watch closely.

I push the signed card into the centre ofthe deck slowly and control it to the
cop during an overhand shuffle.

I relax my hands and casually rum the deck face up.

If I toldyou itwas already inside that box... would any ofyou believe me?

I execute the mercury card fold.

No? Yes? Well thankyou... but I can't do miracles!
In order to do that I would have to be veryfast- but even thenyou would see
something... or I would have to makeyou look away...

Strong magic
 Sir, please choose one ofthe paperclips...

Strangely enough, ifyou look through the cards Madam, you will notice
one missing.

I spread the cards face up on the table with my right hand, while my left
(containing the signed card) rests on the lady's shoulder.
Sir... the box has been onyourpalm and underyour scrutiny the whole time...
butif I lift the lid...you're notgoing to believe this... look...

I place the lid on his palm, allow him to register the card fake inside, pick up the
box and execute a shuttle pass to reveal the actual signed card.
Pleasepass me the paperclip.

I put the paperclip on the card and place it on the lady's hand.
I ask for the rest ofthe paperclips, put them back in the box, put the lid on top,
and put the box in my pocket. I take my time doing this to build up suspense.
I know whatyou're thinking...
There's no way itspossible...

Madam what card didyou go for?

Take offthe paperclip. Unfold it carefully...

Is thatyour signature on theface?

I guarantee you that this gets a fantastic reaction from the audience because
it seems like I have done absolutely nothing. The journey to the revelation
appears normal and clean. As far as the audience is concerned, when they see
the card in the box, it's all over. The switch is offbeat. The timing ofthe mercury
card fold occurs when their attention is away from my hands. At that point, they
are either making eye contact with me, or looking at the box. The cards are not
important.

By inviting someone to put their finger inside the box, it clarifies that it is empty
without saying: 'this is an empty box', which would draw suspicion. Notice also
that although I tell them what is going to happen, I do it afterthey have
inspected the box. There is no danger ofthem discovering the gimmick
because they don't know the plot at that point.

88 Part 2: STRUCfURE& DETAIL

After the reaction, I continue with a routine using the paperclip. Regarding the
hox as a container gives me a logical reason to get rid ofit. The box isn't treated
as a prop that makes the magic happen.

I frequently go back over my routines and ask:

'Is that the right moment for a sleight?'

'Is that the right moment for a revelation?'
'Is anythlng detectable?'
'Does it build up effectively?'
'Do the audience really care?'

Continually asking questions and revisiting your material is one ofthe best
7Jays to strengthen the magic you perform. Don't get complacent.

Working to1,vards achieving specific experiences

and visual m.oments

Focussing on the 'impact moment' ofyour magic begs the question:

What moments areyou actually looking to highlight inyour act?

! believe that strong magic occurs as a result ofknowing exactlyhowyou are

going to make the audience feel at a particular point in time. To find specific
experiences and visual moments that will stick in the spectator's minds, I have
:Ound it helpful to complete the following sentence:

~'Jhen they walk away from this, the thing the audience will remember forever
:s...
!his could be anything you choose. For example; the momentwhen a coin
·.-anishes, the moment when you give their watch back, the sensation ofa
sponge ball expanding in their hand and so on. The need for specific magical
::noments applies equally to stage magic. It is the moment when the lady floats,
:!le moment when somebody vanishes, and how that feels which is so
::Uponant. You must articulate the experience for your audience. In a theatre,
:!re impact ofthese moments can be so much richer and more dramatic by the

~-:r.gmagic
way you combine the use of sound, light and movement. Everything together
delivers the experience. On stage, you have a complete dramatic arsenal at your
disposal. It is the directors job to bring all the elements together and sculpt the
final product. In close-up, you are both the director and the performer, so you
need to create a theatrical experience for your audience with an awareness of
how you useyourvoice and body.

Because ofmy background in theatre and magic, I have always found that the
most gripping moments are visual. Others may contest this- but I believe the
impact of an image or a transformation packs the most punch. So something
I always consider is: ~hat is the magical moment going to look like?' In other
words, what specific image am I working towards and what kind ofexperience
am I articulating for the audience? Can you see it as a single picture in your
mind?

Significance

Something that concerns me is when magicians perform magic that doesn't

mean anything. When you think about it, a lot ofmagic doesn't make sense and
doesn't carry any significance for the audience. Why change a handkerchief
from blue to red? Why have a handkerchiefat all? Why produce feather flowers
or spring flowers that don't even look like real flowers? What is the point? Why
should the audience care? And most importandy-will it seem like real magic?

Magic props can look strange. Quite often, they can't be related to real life. They
don't represent anything that exists in the real world. Whenever this is the case,
audiences can only assume that the effect you have achieved has something to
do with the prop you are using. Srraight away this changes their perception of
what they are watching. It is no longer magic, it is a 'trick' made possible by a
strange contraption. They are not engaging with the experience you are giving
them. Instead, they are focussed on the prop and how it might work.

Far too often magicians hide behind their props, relying on the cleverness ofthe
effect or gimmick to do all the work for them. This is the wrong way round. It
should be about you, the audience and what you share with them. The prop is

90 Part2: STRUcrtiRE& DErAIL

ofsecondary importance- it should only come to the audience's attention
at specific moments in the routine where it's necessary. How many times have
you watched an illusionist perform where all the focus is placed on 'the magic
box'? In many cases the prop upstages the performer! Sometimes you can
remember the effect, but completely forget who they were.

Magic is not about 'tricks', it is about experience. The second the audience flicks
theirmindset to 'tricks' it trivialises what you are doing, and their perception
becomes analytical rather than experiential. At the end ofyour act, you want
people to remember how they felt- not how they thought it was achieved.

Consider how many props you use in your act and whether they are all
necessary. Do they add or take away from what you are doing? How do they
relate to each other? Remember, we don't want a 'and for my next trick'
scenario. The whole ofthis book has been designed to get you awayfrom that
and make you think critically about the way you put material together. One
effect after another for no apparent reason reduces our art to ineffecrual
sideshow entertainment Magic should be so much more than that.

What is most important is the significance ofwhat you do for the audience.
Put yourselfin their shoes and ask- 'why should I watch this?' A colour
changing thimble routine makes no sense. Why should the audience be
interested? Thimbles have nothing to do with real life today. You have to make
it relevant, or give them a reason to be interested. Ifyou took a spectator's £2o
note and burnt it, they would certainlybe attentive because it's cheirmoney
and they want it back! Thimbles multiplying and changing colouris a museum
piece. Pretty to look at, but a product ofits time. However, ifwe think for a
moment, is there a way that thimbles could be made relevant and interesting
for a modem audience? Perhaps you could change the appearance ofa thimble
so it looks like a plaster or bandage. You could explain to an audience that the
last time you performed a piece ofmagic you cut your finger. Then during a
routine, another bandage appears and you say that previously ro that, you cut a
different finger. Suddenly, you could have bandages all overyourfingers. Then,
perhaps, they all disappear as you travel 'back in time'. This isjust a quick idea,
but it could be the starting point for a very different and unique act All I've
done is change the perception ofwhat a thimble couldbe, which in rum
presents new artistic possibilities.

91
There is one important rule you should follow to keep your act interesting for
the audience:

- Ifyou are going to use a strange prop, you must justify its existence

When you use an unusual item in your act, how do you introduce it? You can't
just pull out an Okito coin box and do a routine with it. Well you can, but the
audience will be thinking 'that's a funny looking box- I bet that has something
to do with how the trick works', and it does of course, which is why it is so
important that you justify it. Don't leave the audience focus sing on the prop.
Phil Jay would argue that you can use a strange prop provided that you allow
your audience to inspect it. That way the item has mystery, and adds something
unusual to the routine, but the audience don't place the blame on it. What you
want the audience to think is that you are magical. You make the magic happen,
not the props.
Think about the 'coin in bottle' routine. When it is performed well, the
audience should believe that you took two objects from them, which just
happened to be nearby, and did something miraculous. Don't present the
routine as a puzzle to be worked out, because that takes the magic out ofit. You
should try to make the effect seem spontaneous. The audience should believe
you are able to make amazing things happen whenever you choose. Don't
present it as: 'Here I have a normal bottle, and a normal coin. The coin goes into
the bottle and you can't get it out. Try for yourself' The subtext ofthis is; it's
a trick, the coin and bottle are props, and you are cleverer than the audience.

Understated

When your magic is good, you shouldn't need to shout about it.
When watching the best magical entertainers, you almost forget how good they
are technically, because their focus is on the experience they are creating for
the audience.

Ifyou perform your material in a way that says 'I am good at sleight ofhand',
people won'tlike you. All they will think is 'very clever'. You may get
momentary satisfaction, but it won't last long.

92 Part 2: STRUcruRE& DETAIL

The danger with showing how good you are at magic is that you develop a
superior attitude. You look down on people. You make cleverremarks and
think you are funny, when you are actually being condescending. For example,
phrases like 'most people clap there', or 'I was so amazed I forgotto clap the
first time' reek ofarrogance. Theywill only everbrush people up the wrong way.
You may think a laugh equals a successful response, but sometimes this is only
a polite reaction. Ifyou're not careful, this attitude might extend to everyday
life. I know magicians who carry an arrogant, superior attitude with them all
the time. Don't make this mistake. Don't give magicians a bad name.

The way to tell people that you are good at magic is to perform well. Let the
audience tell you what they thought. You can, ifyou are clever and subtle, draw
them towards the conclusion that you are good at what you do, bur you should
never say it yourself.

Stepping out ofthe (daily'

Some theatre practitioners use the term 'daily' to refer to movement that we
use in everyday life. An example of a daily action might be brushing your hair or
rolling up your sleeves. The term 'extra daily' refers to any movement that is not
an everyday action. It refers to actions that occur outside ofour daily range of
movements. This might be, for example, a choreographic or abstract gesture.
Ifyou have been trained in movement, you will already have the skills m choose
between using daily or extra daily gestures in performance, and you will be
aware ofthe range ofphysical options available when you create your act.
We will look further at physicality and movement in Part 3· For the moment
though, I would just like to suggest that magic allows the audience to step out
of'daily' life and into the 'extra daily' world ofmagic. In otherwords, magic
takes people from their routine existence into a world where anything is
possible. Think about how you could structure a magic routine so that it forces
the audience out oftheir normal perception ofthe world at one or more points.
You should be able to pinpoint exactly where the magic happens, and how it
takes the audience beyond daily existence. Decide how you are going to draw
your audience from 'daily' to 'extra daily' over the course ofa routine.

Strong magic 93
Let us consider an effect such as 'the rising card'. We could observe that the
routine is split into two halves. In the first half, the spectator chooses a card and
returns it to the deck. In the second halfthe card rises out ofthe pack. Picking
and returning a card is not an everyday action for most people, but it is not
overly strange either. Therefore, it is a 'daily' action. The card rising, however, is
definitely an 'extra daily' moment because it defies the laws ofgravity. So where
does the cross over into the extra daily world occur in this routine? Somewhere
between returning the card and seeing it rise. That is the moment when the
magician says or does something that informs the audience an incredible
event is about to take place. The cross over occurs when the magician signifies
it. The signifier could be anything; a word like 'watch', a gesture ofthe hand,
or even a silence.

However, we could also consider how the action ofchoosing and returning a
card prepares the audience for the extra daily moment. Played in the right way,
necessary action can become something that builds up suspense. Meeting you,
the magician, also prepares them to cross over to the extra daily world. From
the moment you engage them, there is a gradual or sudden journey into the
extra daily- depending on the effect you are performing. Thinking in this way
helps the lead up to the magic moment remain active. What you don't want is
for the first thirty seconds or minute to feel like dead time. Use it to prepare the
audience for what is going to happen to them.

Understanding the implications of'daily', 'exaa daily', and the shift from one to
the other, can help you become more aware ofwhatyou are doing dramatically
in yourroutines. It can help you differentiate between 'real' and 'magical' more
clearly for the audience. You are the one who invests a sequence with drama.
You are the one who creates the sensation ofsomething magical. This is one
tool thatcanhelpyou.

94 Part2: STRucruRE& Dli:I'AlL

 Str'ucturingyour act

This is where the work really stans.

We are nowgoing to look at structuring an act from start to finish.

I have used the tools imparted in this section ofthe book to create tbearre
based magic shows and develop my own performance as a close-up magician.

We established earlier on the importance ofcharacter. Let that guide your

decisions about material and structure, and keep comingback to it as a point
ofreference. A lot ofthe time magicians get side tracked. They pick up things
from all over the place-such as so and so's effect, move, gag, prop, or
mannerism. Like a magpie they collect magical paraphernalia. Suddenly their
'act' is a watered down hotchpotch ofother people's work with no real point.
They group effects together that have no real relevance to themselves, let alone
a sense ofcohesion for the audience. Ifyou don't put things together with your
character in mind and a vision for your act, a patchwork ofother people's magic
is all you will ever end up with. So, before you start putting the act together-
think about what you are going for and why. A sound structure is a hanger
ro put the clothes on.

5::r.JaUringyouract 95
 Ways in

Ifyou know what you are going for and you have an overall vision for your act,
then the work you do will be meaningful. However~ finding that vision may not
be instant. It takes time m find something that feels right. Ifyou already have a
definite idea for your act, you may be able w skip the following section. Ifyou
don't, the following are a series ofways in designed to free your mind and help
you realise the possibilities available.

Theme
Having a theme for your act, whetherit is oven or understated, can help you
to link everything together. It can also assist you in deciding what material to
include or eliminate. The theme you choose can be anything at all-but you
must make sure that it fits with your character choices and the given
circumstances. Make your act less about the individual effects, and more
about articulating the theme for the audience through the material you
perform. This is notto say that you have to have a theme-it's not obligatory-
but it does help to focus your work and give it a sense ofcohesion.

Associated material
How can one particular theme help to generate ideas for an act? Let us look at
one example: 'time'.

Ifi were structuring an act around this theme, what should I do first? Well,
I could begin bybrainstorming effects that already have a connection to time,
to see ifwhat I already know and use could be relevant. Brainstorming, spider
diagrams and other free association exercises are extremely useful in helping
to reveal the breadth ofpossible options.

Part a: STRUCTURE & DETAIL

Here is a quick list oftime related magic effects that I made:

- 'GiftofTime' (V'lkingMagic)
- 'Perfect Time' (VIking Magic)
- 'Watch&Wear' (BazardeMagia)
- 'Card in Watch' (V'iling Magic)
- Card f Coin under watch
- broken &restored watch
- 'Pyscho Kinetic time' (watch stopping effect)
- Quick release hand cuffs (speed)
- Nest of Clocks (shells)
- Watch steal
- Slow Bum (Richard Sanders)

I'm sure that you can think ofmany more.

Even a brieflist like this shows how much material could be available to you,
and after a short amount ofresearch, you would be able to find many more time
related magic effects.

You could, atthis early stage, decide which effects might work logically in
sequence, and use that as a dramatic basis for the act.

Subsections
What's interesting in the above list is that each ofthe effects mentioned refers
to a particular aspect oftime. After you have made a list ofeffects, think about
how the theme could be described, articulated or interpreted. Aspider diagram
breaking it down into separate elements is often helpful.

1Miysin 97
 AnnualjMonthlyjWeeklyfDaily/Lunar?

Time limit
Immediate
or ancient?

Suspension
oftime

Passing
oftime

f------t Premonition/
'------' Prediction?

Realising just how much is contained by the theme opens up a huge amount
ofopportunities for your act. The ways in which you could relate to time are
almost infinite. You could do it bypassing through different genres, playing
with speed, using calendar dates, using a spectator's birthday and so on. In fact,
one way ofconstructing an act is to make the theme the overall subject maner
ofyour show, then each routine within it about an aspect ofthe·theme. For
example, your coin routine might be about changing old money into new
money. Your ambitious card routine might be about gradually decreasing speed
to increase the overall impressiveness ofthe effect. Or, a prediction effect
might be about guessing special events a spectator has planned in their diary.
The next stage would be examining how those routines could relate to each
other so that the whole act connects and flows from one thing to the next.

Part2:STRUcnJR£&DE:rAIL
Using subsections ofa theme connects your routines and makes them original
md unique to you. Suddenly, in the eyes ofthe audience, you are performing
:ruiterial that no one else is doing.

Transferable material
Considerjust how far magical ideas can be applied to a variety ofsubject
::tatter. Lift your mind out ofthe <this is so and so's effect which must be
;:errormed like this' mindset and think: 'what principles do I know and how
::ould I apply them indifferent ways?'. The ability to do this has helpedDerren
2rown and his team become worldleaders in their field. If you watch Brown's
mows critically and dramatically, you can observe how he uses similar
::J.ethods and techniques, but applies them in a variety ofsettings and guises.
:ts all about the build up and the event which occurs. The method is not
=ecessarily different, but to the audience it looks new every time. That is
:!le mark of someone who looks at an idea and rather than take its suggested
~esentation thinks: what could I do with this? How far c~n this principle
::e pushed or applied?

~e way offreeing your mind is to look at the list ofeffects you have made
znd the spider diagram together. Go through each one, isolate the principle
:rmethod, and think about how that could be applied to any aspect ofthe
~erne. Let us use one principle of magic as an example: the thumb writer.
:-!ere are three routines that I have created using this method, which seem
::>the audience to be completely different effects. All I have done is link the
::1ethod with an element oftime. These are only quick ideas. Thinkwhat
:"'u could do ifthey were developed into fully fledged routines.
Routine 1: The Speed Camera
Tlntmb writer applied to <speed'

Eshow a spectator an envelope with a picture ofa car speedometer on the

:!ont. I ask them to spend a momentjust looking at the dial. Then, I ask them
::ovisualise a journey they have been on before. As they are part the way through
=re journey, I say 'imagine for a moment that I am a speed camera, and I've just
:2ken a snap shot of the speed you are going. How fast are you travelling?' The
:pectator answers 3'J!llph.

99
I open the envelope and remove a speeding ticket which says you were caught
travelling at 37J11ph.

In this instance I thumb write on to the speeding ticket using an envelope cut
away at the back.

Routine 2: Family Connections

Thumb writer applied to 'age'

To prepare, I take a blank deck ofcards and write individual ages on one side.
I leave one card blank onboth sides and place it on the bottom ofthe deck.
(The blanks face upwards so no numbers are visible). I also cut a rectangle out
ofthe cardbox on one sidewith a craft knife. Before I begin, I put the cards in
the box so that the completelyblank card is visible through the window I have
made. I keep this side awayfrom the audience at all times. To start the routine,
I ask a specratorto name a member oftheir family (someone I could not
know). Casually, amongstotherquestions, I ask their age and thumb write it on
the exposed blank:cam. I then ditch the thumb writer in a pocket as I take out a
marker pen. It appears as though the effect begins at this point, when in fact all
the dirtyworldsnowcomplete..

I remove the deckfrom thebox and force the card I have just thumb written on.
I ask the spectatonowrite the name ofthe person in question on the blank face
(making sure they don't rum it over). I have the card returned and shuffle the
deck. Then, with more purpose and intent, I ask their age-as though I didn't
register it the first time. I find their card and remove it (without showing the
age), and spread the deck revealing a variety ofages. I turn over their card to
reveal the matching age on the back.

I must credit Chris Dugdale for the majority ofthe method and effect in this
instance, and Phil Jay for additional ideas.

Routine 3: A Special Occasion

Thumb writer applied to 'calendar'

This is an idea that would work well at a one table gig or in an intimate cabaret
setting. I would have a pilot's case to the side containing twelve calendars, each

lOO Part 2: STRUCJ1JRE & DETAIL

with one month missing. I would also have twelve envelopes, each containing
a corresponding missing month. The calendars and envelopes would be
separated by the centre partition and indexed. As before, the back ofthe
envelopes would be cut away exposing the dates.

To begin, I would hand one spectator a John Comelius Thought Transmitter

wallet and ask them to write a date personal to them. Taking it back, I would ask
the significance ofthe date and glimpse it. I would motion as ifto rerum the
wallet to my pocket, but then change my mind and ask the spectator to show
someone else. As this happens I would reach down and remove the calendar
and envelope corresponding to the month oftheir date with one hand. With
the other hand I would steal the thumb writer from my jacket pocket. The steal
would occur on the sid~ ofmy body furthest away from the audience.

Through the window the relevant date could be circled, just prior to the
envelope being placed on the table. I would put something on top ofthe
envelope to stop anyone lifting it and exposing the cutawayback. I would
then ask for the wallet back again and ditch the thumb writer as I return
itromypocket.

Once again, it would appear that the routine starts at this point, when I am
already clean. I would ask the spectator to think oftheir date, then find it in
the calendar. The month would be seen missing and the page found in the
envelope, with their date circled. As the audience perceives the evenrs, no
date was ever mentioned.

The index would be arranged so that the relevant month could be easily
removed on bending down. However, to speed up the handling at this moment,
just one envelope could be used containing a page that has been cleanly cut
between the title ofthe month and the dates. It would obviouslybe better to
pull out a page with the relevant month displayed on it, but this method would
still give the impression that you had cut the page our earlier.

As you can see, three different routines can come from one simple idea. Each
ofthese could be developed into part ofa bigger act. The application ofa theme
and its components is almost limitless. What's more, the way in which it is
applied can occur in several ways; visually, kinesthetically, or aurally. You don't

101
necessarily need to be completelyliteral in illustrating the theme- it might
just subtly colour a cenain aspect ofthe routine. It can be as obvious or
disguised as you like.

Cross-fertilising
Extending an effect into a whole routine often requires more than one
component. However, a word ofwarning: adding other elements should only
strengthen the original idea magically or dramatically- not overcomplicate
it for you or the audience.

Bringing two ideas together can spark a whole new range ofideas for a routine.
For example, combiningsponge balls and cards throws up a number ofideas
such as:

- pullingpips offthe canis in a variety ofways

- predicting the numberofsponges in a spectators hand
- splitting a spongeinto multiple sponges using a playing card
- rubbingoutt:hefaceoftbeplayingcard using a sponge, whereupon the
value ofthe card appears on the sponge itself
- using a spongeball ro change the value ofa card
- pushing a spongeball through a playing card
- changing a folded cardinro a sponge ball
- Changing a sponge ball into a sponge pip, matching the spectators
choice ofsuit
- Rubbing a red spongeball against the deck leaving a big red mark on the face
of the chosen card

Any ofthese, either on their own, orin relation to each other, could be the basis
fora whole magic routine. From the list above, I have taken ideas and formed
them into a practical close-up routine, as an example.

The Unp1·edictable Pack

The magician has a card selected. He has a few incorrect guesses, and then
explains that the pack can sometimes be unpredictable. He takes a Joker out
and places it on the spectator's hand. It changes into their selection. He then
taps the card, whereupon all the pips fall off. He asks for another card to be
selected by another spectator. He then takes the pips and squashes them

102 Part2:STRUC!URE&DETAIL
against the deck whereupon they vanish. He explains that they haven't
w.nished- but have gone into the deck. He spreads the cards. One face down
card has the mark ofthe pips on the back ofit. He turns it overto reveal the
second spectator's selection. He then takes the second selection and rubs the
back ofit against the face ofthe first selection. The pips vanish from the back
ofthe card, and the face ofthe first selection is restored.

You could even add a deck switch to this, so that you end the routine with all
the cards ruming into jokers as a kicker finish. Perhaps develop two versions;
one that you perform walk-around, and the joker finish as a stand-alone effect
for special occasions.

Find the effect from an object and develop your aesthetic

Another way ofinvestigating a theme - and this is more an artist's approach
than a magician's-is to gather objects that relate to the subjectmaner, and
contemplate them until an idea emerges. So for example, I might start my
research into time by picking up a variety ofassociated objects, such as
watches, clocks, calendars, sundials, or rusted items (indicating the passage
oftime). I might choose objects that are 'timeless', indicate a specific period
oftime (genre, time of day, time ofmonth, time ofyear), or stop time (such as
an alarm). I would then consider these objects and look for the magical
opportunities they present. On some occasions, rather than collect physical
items, I would gather images and photographs. However, the benefit ofusing
three-dimensional objects at this stage is that you can playwith them in a
tactile way and find a move or method almost by accident.

An artist's approach involves contemplating the quality ofimages and the way
dtey relate to each other. When working on a routine, like a sculptor orpainter,
I may discover that I am particularly taken by a certain idea, image, ormoment,
and it becomes a strong feature ofmy routine.

.As a magician, you need to be aware ofyour own aesthetic. Whilst creating
something with the audience in mind, your instinct and artistic sensibility
should not be overlooked. Developing a clearly identifiable aesthetic that can
be associated with your magic is important in allowing people to recognise your
individuality. Your aesthetic comes from the very core ofyourself It is
something fragile that you must recognise and nurture.

1llotrys in 103
When looking at images and objects, I would contemplate the process of
time, and how its form could influence a magic routine. How might I draw
attention to time? What would happen if! stopped it suddenly? What ifit
went backwards? What about using a flashback? How might playingwith
the structure oftime affect the routines that I currently perform, and what
dramatic opportunities does it offer? I could perform an effect under a time
limit set by the audience, or predict the time a spectator stops at. I could start
with the ending ofan effect, such as a card revelation, and work backwards.
There are an infinite nwnber ofoptions, all ofwhich could be unique and
personal. Spend some time collating things associated with the theme,
and see where your brain takes you.

Brainstorming, spider diagrams, and free association exercises can free you up
tremendously. Sometimes just spending time with an object is enough. When I
am sruckwith an idea, I often place the objects in question on a table that I keep
walking past. I let my mind work on it subconsciously until a solution arrives.
Sometimes I draw pictures, or write words next to the object to see whether
that pushes me in a cenain direction.
Make sure you keep progressing forward. It is easy to get stuck on an idea, and
thenjust forget about it. Ifyou realise that you're not getting anywhere, keep
changing things until your creativity flows again.

The wall
When actors work on a play, the director may allocate a space where the cast
and creative team can stick up anything related to the show. This could include
images, articles, costume designs, etc. Throughout the weeks that they
rehearse, the wall builds up into a rich patchwork that describes the essence
ofthe production. There is no reason why you can't create a wall for your magic
act. You could stick up images that express something about your aesthetic,
the structure, your image as a magician, the images you want the audience to
remember, the props you use, and so on. This could help you reflect on how
your act fits together, see the whole thing as a snapshot and consider how the
audience might receive it. You can also watch your ideas change and evolve.
It's easy to stick something up, come back later, think 'that's not right', take it
down and put something else up. It helps to externalise your process, rather
than leave it trapped in your head.

104 Part 2: STRUCTUR£ & DETAIL

V\Torking conditions
When involved in the creative process, I find it imponant to have a clean, tidy
space and silence. This helps me to focus on the task in hand without anything
else cluttering my thoughts orvision. But, everyone is different. Ifyou find that
other conditions suit you better, then go with that. However, do make a
conscious decision to set up a space for creative work.

Give yourselfa time each day when you work on your act. This could be a
long or shon session depending on your commitments. In general, I wouldn't
recommend more than two hours in one sitting- unless you are working with a
full creative team in a rehearsal room. But even then, breaks are important! The
key thing is to commit to working on your act regularly. That's one ofthe only
ways to make measureable improvements. Set yourselfthe goal ofachieving
something by a cenain date, and rhen work systematically towards it.

Finding a hinge

Quite often, an act doesn't feel coherent until you find a 'hinge'.Ahinge
is a hanger that makes sense of everything, draws the elements together and
facilitates the performance ofyour magic. Atheme can tie everythingtogether,
but sometimes it isn't enough. Ahinge is one specific element which the act can
revolve around. Here are a few examples ofhinges that have worked in the past;

Spray paint
A magician called Florian Zimmer developed a manipulation act using spray
paint. At the stan he picks up a can, sprays his fingers and a ball appears. During
the course ofthe act, the spray can facilitates a number ofeffects; multiple
items appear at his finger tips, the can vanishes, reappears, changes colour-
which in turn changes the colour ofthe items he sprays. As a result, the whole
2:Ct comes across as cool, hip and srreetwise. It finishes with him producing a
BMXbike.

Puppet
Afemale magician called Tina Lenen is lmown for a silent act where she
dresses as a cleaner. The act hinges around her assembling a puppet ofa
magician, which gradually comes to life and turns her into a magician's

-.pin 105
assistant The puppet, made of a coat on an upturned mop, takes on a life ofits
own, changes her costume, gives her new earrings and so on. There is a definite
Cinderella-like journey through this act, which is facilitated by the puppet. It is
one ofthe most well thought out acts I have come across.

Ball to dove
Greg Frewin, a Canadian magician entered FISM in 1994 with a dove act quite
unlike any other. His hinge was turning coloured balls into doves in a way that
looks as close to real magic asyou can get. At the start, he fires a yellow ball
from a slingshot. The ball appears to change into a yellow dove. At other points
in the act, he hits a coloured ball with a bat-which changes into a dove. He
bounces a ball againsubefloor, which changes into a dove as it returns up to his
hand. Using this idea, hehas created a totally original act full ofreally strong
magic. What's mo~ tbebingegives each effect a logic, which helps facilitate
the timingoftbedoveproduaions.

Fmdingagoodbingeiharfaciliwesyour act is not easy. Be careful that you

don'tforceanidea. I have seenperformances made worse by a gimmick that
doesn'tsuitthemagicianorbismarerial. Remember that a hinge should:

- bejustified
- encapsulatethe message ofthe show in some way
- facilitatetheacr
- makelogicalsense
- facilitate an approachto magic that is new and original

Working backwards

Another effective 'way in' to creating an act orroutine is to consider the end
point firSt. Having found an original or suitably surprising finale, you can back
track and work out how to get there.

There are several benefits ofworking this way. Most importantly, it makes you
justify everything that precedes the end point. Too often magicians don't create
routines that lead them towards a big finish. Working backwards gives focus to
your routining. Could several elements combine at the end? How does your

106 Part 2: STRUCTURE & DETAIL

magic build momentum? Does the final moment make sense ofprevious
events? Working backwards helps you to justify everything in the act- the style
ofeffects, the props, your actions and your delivery.

Working from the end point quite often makes you realise that your material
can be improved or developed further. The big finish should go above and
beyond the original premise in order to pull the required response from the
audience. Think about how far you could go. Ifyour current ending is: the card
vanishes from the deck and appears in my pocket-how could you make that
more impressive? What about ifit vanishes from a spectator's hands? Can it be
signed? Can it appear in their pocket? Can it jump from your pocket to theirs?
Can the pack vanish as well? All ofthese possibilities are achievable and more
impressive than simply 'the card is in my pocket'. You could begin a routine
with that, but then up your game to finish with something much more
impressive- something the audience will really remember.

The following is a telephone conversation between Phil Jay and myselfwhen

I was developing a routine for a cabaret act. We talked about dramatic structure
and about justifying every action. Normally I would keep this process private,
particularly at this early stage, but I think it would be beneficial foryou to
follow our thoughts, so that you can apply similar critical thinking to your
magic. It also shows how bouncing ideas offsomeone else can allowyou ro
progress much faster.

Tony:
I've been usingplay and games as a themefor this act. Each routine relates to some
fonn ofgame, and all oftheprops come out ofa huge toy chest-which is actually
a subtnmk in disguise. I'm using the subtrunkfor thefinale and don'twant tojust
wheel iton stagefor no reason- so everything comes out ofit, and then I use it as
an afterthought at the end. I think thiswill make the illusion morespontaneous
and surprising.

Anyway... I've been thinking about the idea ofusing dice. I want to do something
where I usedice to create a seeminglyfree selection. I was thinkingofdoing a 'just
chance' type effect, where I putsome money in an envelope- say£so- which I
then mix randomly with other ones. Then,l getfive volunteers to throw a dice in

Ways in 107
 turn to decide which envelope they stand next to. There's one leftforme, and that's
the one with the cash in it. But... it's a bitsimplistic on its own, so I want to do it
twice. The second time I was thinkingofshredding the envelopes in an electric
shredder. Then, as a surprisefinish, I could show thefinal envelope empty and
reveal that the cash is under the cup they have been using to shake the dice.

Phil:
Hmm.
Do you need to do it twice?

Tony:
Doyou think it will make tlzeroutine drag?

Phz1:
It could do.
Ifyou do tlzat, you need to duznge samethingthe second time- maybe have a
different way ofselecting. or use dftferent containers.

Tony:
Actually, tlzere is oneprob!em, which I Juzven't quite worked out. I've been
playingaround with differmtdia:tofind a way offorcing thefinal selection.
I bouglztsume loaded dice, buttlzeydon'twork one hzmdredpercen.t. In fact, they
onlyfaH aboutsixt;yperr:entoftlzetime the way they are supposed to. So I bought
some otherdice tluzt lltlVeor.e numbermissing, but there's a problem with those
too. One number tumsup morethan tlzerest, which is suspicious, and by the time
you get to thefourth person, theyluzve to shake the dice in the cup quite a number
oftimes. So rather than tlze routinespeedingup, it slows down.

Any ideas on anothermetlwdfortlzeforce?

Pln1:
Right...
I can't think ofanything straight off.
...I'm not sure ifthe ending is really wow enough... given thatyou do it f:l.vice.
It 1vould be much more inzpressive ifthe cash tumed up somewhere else
altogether. Under the cup isn't that impossible, given. all the build up.

108 Part:<~: STRUCTURE & DETAI.L

Tony:
Yeah. I should eant a biggerfinish than that...

What aboutif I borrow someone else's money -so they are interested in getting it
back, rather than justwinning it, and it appears somewhere completely different.

Phil:
Itell you whatwould be amazing: borrow a note offsomeone atthesta1t, write
dmvn the serial numberfor the audience, seal it in an envelope, mi."C itwith the
other envelopes, shredfive ofthem, show the last one empty-and then have the
same note appearin another audience member's wallet.

Tony:
That would be a greatfinish .
...Not sure howyou would achieve it though...

Phil:
Well, ifyou get hold ofa run offresh bank notes, it'spossible to have ones where
only the last digit dijfe1·s. Ifyou got hold ofnotes -with a sevm and a one at the
end, you could easily docto1· the one to look like a seven. Then you have two
seemingly identical bank notes. Before the show-get the bm· staffto give one of
those notes as change, and infonnyou where the person who has itis sitting. All
you need do then is S1Alitch a volunteer's bank noteforyouTs, ge1minely sltred it
alongwith the other envelopes, and ask that person to look inside theirwallet

Tony:
That would be a real miracle...

Phil:
Yeah- totally impossible.

Tony:
... because the audience would have no ideayou could go to such lengths.
They on?J' think aboutwhat they can see infront ofthem.

Ways in 109
Phil:
Exactly.
Make sure the initial switch is clean though.
What size envelopes areyou using?

Tony:
Well I was thinkingofusingAs size- but the switch is much easier ifthe note is
folded up... so I need a reason tofold the note up...

Phil:
Use smaller envelopes -likepay envelopes-you have tofold the note to put it
inside. Thatjustifies it

Tony:
I like the idea ofanaudiencememberfindingthenote in their wallet a lot.
However... it'squitea clanguous thing to do. I mean, it could go wrong; the
barman mightnotmnemhertheperson properly, they mightgive the money to
someone else, theymightchangetheirseatetc.

To besafeyouwould need three identical notes-one as an outplanted somewhere

else in casesomethingwentawry.

I'm not sureyou couldgetthreenotes to look the same...

Phil:
Tell you whatyou could do instead; have itappearinside an envelope suspended
above the stagefrom the start oftlzeshow. There is an excellent switch whereyou
use a chair to help you reaclz the envelope, tlzen, asyou come down, you ditch
it in a servante on the back ofthe chai1~ and simultaneously pick up an identical
envelope containing tile actual note that is pteloaded there. Asyou1· assistant
brings the chair on, they keep itfront on to the audience.

Tony:
Right, ok...
Is that easy to do?

110 Part 2: STRUCI'URE & DETAIL

Phil:
Yes, very easy, and it's a beautiful switcl1, you can't see a thing.

Tony:
So earlier in the routine, I could switch the audience member's notefor mine,
which I then shred... then I couldpass the actual note to nry assistant as they take
stuffoffstage, and they preload it into the chair, which they bring back on.

Phil:
Yes. Exactly.

Tony:
Brilliant. That would seem totally impossible.

Phil:
Yes. Andyou would be sofa1' ahead ofthe audience too.

Tony:
Although...
Doyou think the switch could seem too perfect?

Phil:
Well... maybe.

Tony:
... because there seems no other wayyou could haveslvitched it. The only point
when itwould be remotely possible is the moment whenyou take itdown using
the chair.

Phil:
Ok, maybefinding the note there is too strong. Ifthe effect is too perfect, it could
be in dange7' ofpointing to the method... but the chair should only exist because
you need it to gain the height- it shouldn't be important.

Tony:
Yes ofcourse. I wonder ifwe could bring thefocus more onto the e11velope as it is
opened, and less onto the chair...

111
Phil:
Well you could have it sealed inside another envelope ofa different size and
colour- so all thefocus is put into opening it up step by step. That's when the
audience ·would thinkyou might switch something. Ifyou can show the envelope
with the note coming outofthe othe1~ some time after coming down ft'om the
chair, they shouldforget the clzairwas e11er involved. In fact, your assistant
should take the chair away as soon asyou have used it.

Make sure tlze1·e is e11ortgh time misdirection betwee1t taking it down and
ope12ingit.

Tony:
Yes. That might be the answer.

Phil:
Actually, I tellyou what._

Why not have a pmiiction in the envelope that says the number on the bank
note, not the note itself. People might think you could switch the note, but nota
prediction. You could even have theprediction say where the note is- such as 'in
the lemon', which has been on the tablein full view ofthe audienceft·om the start.

Tony:
Switch the lemonfor onethatisprdoaded?
Or have it loaded offstageandbroughtonwithabowloffruit?

Phil:
Why not?

Tony:
Could do that... yes...
I think the idea ofafinish where the prediction reads the number on the bill, and
the billvanishes and appears in a lemon gives the audience several amazing kicker
finishes. Itgoes so much further than they expect it to-andyou are so far ahead
too...

We have come a long way from a 'just chance' type effect haven't we?

................................................................................................................................................................................
112 Part 2: STRUCftiRE &DtTAIL
Phil:
Indeed. This is so much stronge-r now.

Specifying an end point and then critiquing it in the way I did here with Phil has
taken this routine up several notches. However, I'm not completely happy with
it even now. I still revisit it between shows and think- 'could it be better? Is it
deceptive enough? Is it dramatic enough?' I call this ongoing thinking 'work in
progress'. In a way, no idea, routine or show I work on is ever finished. It
continues to be developed and improved.

Working like this has the benefit ofcontinually making you think outside the
box. In order for something to be truly deceptive, it must bypass an audience
member's thought patterns. Ifan effect is contained in the hands, the method
doesn't have to be... You must take advantage ofwhat they would not suspect,
or even consider. You could use other people watching, the surrounding
environment, hidden devices, or do pre-show work. You can do very extensive
pre-showwork and make it appear impromptu during the performance.

I believe there are three important rules that apply in the creation ofstrong
magic:

L Think outside ofthe box you are already in.

2. Maximise how far ahead you are ofyour audience.
3- Dispel possible solutions before, during and after.

Thinking outside the box means you are widening your options. Maximising
how far ahead you are means you can ensure the audience don'c catch you up.
Dispelling possible solutions canbe woven into the natural course ofyour act
in different ways. You can dispel methods verbally, for example; 'you can see
that I don't look at the book when I flick the pages, and every word is different'
or it could be physical, for example showing your hands empty before stealing
somethingfrom your sleeve.

Using these three rules will take your magic to a whole new level.
They have mine.

Ways in 113
Focus on the story, rather than the trick
As I have said previously, the main thing to get away from when routining
magic is stringing effects together for no apparent reason. Ifyour performance
comprises oflots ofbits that don't relate to each other, it won't flow. Linking
everything creates a cohesive dramatic whole for the audience. This is easy to
understand in principle, but sometimes we can look back and discoverrhat our
act is just a collection ofbits and pieces. There is one 'way in' that can stop you
falling into this trap: focus on the story, rather than the trick. As I mentioned at
the beginning ofthe book, your performance shouldn't be concerned with
tricking people anyway. Concentrate on the narrative that drives your act,
and include effects as a result ofthe story you are trying to tell.

Stories draw us in. They spark our imagination. You must tease out the
audience's interest by giving them an experience they can feel and get involved
with. Stories help people to become sucked into the magic, rather than regard it
as a puzzle to be explained. A narrative framework provides dramatic moments
at which you can hit the audience with a piece ofmagic and gain a true reaction.
Astory or narrative structure can help you to be original with your presentation.
There are a number ofdifferent ways stories can be used in relation to magic.
You could tell a literal story like 'Sam the Bellhop '18, where the magician
illustrates a tale with a deck ofcards. However, a story could equally come from
an audience member's past. For example: you ask someone to think ofan event
in their life and you gradually read their mind. As human beings we are drawn in
by stories, and we complete picnues in our own minds. Perhaps this goes back
to when we were children; listening to fairytales before bedtime, or to the
earliest instinct ofman, drawing pictures on cave walls. One thing is certain:
stories have the power to excite and inspire us. They can help us to rekindle
the flame ofchildhood in an adult world filled with common sense and logic.
As a magician, you have the power to allow your audience to feel a childlike
sense ofwonder again.

Ofcourse, stories don't have to be in the past tense. A story could be created
with the audience during your act. Matthew Johnson uses a device called
'Alone' which allows an audience member to freely generate a narrative based
" Sam the Bellhopwas put ln print by Frnnk Everhan, and more recently, popularised by Bill Mal one. However,
whetheror not Frnnk Everhart actually invented it is debatable, as perfom1ances ofthe story have been allegedly
reponed before he sold it in 1!)61.

114 Part 2: STRUCTURE & DETAIL

around the game ofCluedo. This is very much a story-based effect that happens
moment to moment with the audience in the present. He finishes the routine
by predicting every spontaneous choice they made.

The process ofstorytelling can be that ofretelling, or creating something

impromptu. Narrative provides an imaginative context, draws people in, and
helps you to earn a final moment ofmagic.

In its broadest sense, a story creates a structural framework for your magic.
The audience doesn't necessarily have to be aware that you are telling them a
story at all, and there should certainly be nothing parronising or condescending
in way you deliver it. The focus should be on the journey you take the audience
on-whether that is in conscious receipt ofa story or not. We have all seen bad
presentations where telling a story devalues the overall effect orbores the
audience. Use your common sense. What I am suggesting is that a story
structure can help create a mcigical experience for the audience ifit is
used wisely.

I used a story framework effectively when generating a sequence for Cltris

Dugdale: An Evening ofMagic & Mindreading at Riverside Studios in October
2010. Chris had an effect where he could correctly predict a number chosen
by the audience. It was always the number 44 and he revealed it by adding up
the value ofthe letters of the word IPOD (I being the 8th letter in the alphabet,
P -16th, 0 -15th, and D-4th). He then turned around a small shop sign which
showed the opening hours '443m- 44pm'. I liked the idea ofthe revelation
surrounding a shop sign, but felt the routine didn't really build up to or earn a
big enough finish. Also, the shop sign prop wasn't very impressive. So, I set to
work on generating a story that could build up dramatically, suck the audience
in and give them some exciting moments ofvisual magic. I thought 'where
could the shop be? What is the street like outside it? How do we get there?' In
asking these questions I came up with a structure where Chris recalls a bizarre
dream for the audience. The number forty-four keeps re-occurring. As the story
progresses, he goes into the dream and makes new discoveries. This allowed
the design team to generate an amazing array ofstage pictures, and rum the
initial idea into a dynamic theatrical journey. Wayne Dobson also helped us
with the script.

W'aysin 115
FigA: Chris Dugdale begins the dream sequence

Script Extractfrom
Chris Dugdale:An EveningofMagic 8c Mindreading

Chris:
Sir- have a look at the face ofmy watch. You can see that when I turn it like
this, the hands move freely.

As I hold the watch face down could you say stop at any point...
Take a look at the time.
Do you want that time or would you like another one?

A time is agreed upon and Chris turns his attention to the

previous volunteer.

What is the number you are thinking of?

Audience member:
44

Chris:
Really?
44?

He takes back the envelope they are holding.

116 Part 2: STRUCTURE & DETAIL

 Ladies and gentlemen, this has just rumed into the most amazing
coincidence ofmy life.

Let me explain.

Blackout, e:>.:pedfor a tightfocussed spotlight on Chris in open white.

He opens the e-nvelope and shows a series oflarge cards.

Last night, I had a very strange and bizarre dream.

It was February the 13th.
Now I'm not superstitious, but ifyou add the 31 days in January to the 13 days
in February, the total brings us to.... your number: 44.

I was in a street, which somehow seemed familiar.

A monochrome image ofBig Ben and Westminster bridge stttr·ounded by clouds

gradually appears on the set behind.

It was cold outside. It was 6.6 degrees Fahrenheit, which incidentally is

44 degrees Celsius...

I arrived in a taxi cab.

You'll have to trust me when I say it had 44 on the side.
It was driven by Barak Obama

That made no sense at all, until I realised....

He is the 44th president ofthe United States ofAmerica
You'll never guess how much the cab fare was...

No- £76- a complete rip off!

So I walked down the street...

I could see my way bythe light ofa street lamp.

A lit street lamp tvith a shop sign appearsfrom the darkness upstage left with snow
falling m·ound it. The snow haspartially covered the shop sign so that the word
'open' can be seen, but not the hours.

Ways in
Chris spins in the snaw.

It started snowing... which is impossible at 6.6 degrees Celsius.

The image crossfades to an old antique shop with all sorts ofitems in the window,
one ofwhich is an iPod.

I came to an old antique shop.

There was something incongruous in the window ofthat shop.

There was an iPod.
Soirookir.

Chris readzesfonvard andvisibly pulls the image ofthe iPod offthe screen and
walks downstage centre.

Think about the letters ofthe word iPod:

AB CDEFG H, Iisnumber9, Pis16, Ois 15and Dis 4·
Add them all up, and you get your number: 44

The image crossfades back to BigBen a11d Westminster B1idge.

And I wanted to buy everysingle thing in that shop. I wanted to, but I wasn't
able. I wasn't able because the opening hours ofthe shop were...

Chris brushes the snowfrom the shop sign to 1"eveal

4¥-ffi- 44pm. 7 days ofthe week.

That made no sense... until I ask you what your time was...

Audience member: (Gives the time they remembered)

I walked towards the clock...

The image zooms into theface ofBig Ben and at the same time chimes reverberate
through the theatre.

118 furt :.l: STRUCTURE & DETAIL

The clock face matches the spectator's chosen time.

and it was your time exactly...

on a 44 hour clock.

You will never guess what else happened at (their time) .... pause.

I woke up.

Blackout with a 'slam' sound effect.

Apiercing alarm clock sound is heard, and we are brought back into the 'end
ofshow' lighting state.

Fig B: The final clock face revelation

In this instance, we had the capabilities ofthe theatre; sound, light

and projection, to help us tell the story. But, whether you are working on
a full-blown stage show or a simple card effect, you can still use storytelling
techniques. Give your magic a structure that draws the audience in and opens
up their imagination before hitting them with the final effect.

Waysi>l 119
Settling

When working on a theme, routine, hinge, end point, or sto.ry, it can take time
to discover the right answer. You should accept that some things will come
quickly, and others slowly. Work on something for a while in a committed,
focussed way, and then give the idea time to settle in your mind. Often in the
heat ofthe moment, an idea may seem amazing, but in hindsight, it may not
have been the right solution. Give yourself time in between sessions to mull
over a new idea. Try to remain objective and ask the following:

- Is it really a good idea?

- What choices am I eliminating from this point on (and does that matter?)
- Isitpractical?
- How might the audience respond?
- Does the idea make mymagicmore original?
- Does it make my magic stronger?

If, after a period ofsettling, you think the idea is still as good as it was, you may
be right. But, it is always bestto search for a second opinion, because there is
rarely an instance when something can'tbe improved at all.

Bouncing ideas offothers

Bouncing ideas offother people is one ofthe best ways ofprogressing an idea
fast. Two heads are always better than one. Friends, magicians and creative
professionals can offer you different perspectives and take an idea to a whole
new level. They can offer you a whole series ofsolutions that you would not
have otherwise considered. It is a good idea to open out your thoughts for
others to develop, rather than keeping them to yoursel£ This is particularly true
when working in a professional theatre where you have the combined
resources ofthe technical and creative departments at your disposal. However,
looking at the other side ofthe coin, you need to make sure you have a clear
overall vision. Sometimes it can be good to take on other peoples ideas, but not
ifit compromises your aesthetic or original intention. Remember that eve.ryone
has their own creative agenda, which might not necessarily fit with what you are
trying to achieve. Absorb comments from different people with different skills,

120 Part :1: STRUcruRE & D£TAIL

and then allow time for those opinions to settle in your mind before maldng
a final decision.

'Hold on tightly, let go lightly'

This was a phrase that someone once said to me when I was srudying drama at
Royal Holloway, University ofLondon. On reflection, I think it is quite a good
piece of advice for any performer. Stick to your guns, know what you are after,
but ifsomething better emerges, don't resist it-go with it.ln my conversation
with Phil Jay, I originally started with the idea ofusing dice. However, despite
playing with several different options, it emerged that the dice weren't helping
the siruation- they were maldng it worse. I was holding on to an idea that
wasn't really going anywhere. Instead ofsaying- 'No, I'm using dice and that's
final', I let go. As a result, the routine developed into something much better,
dramatically and magically. Sometimes one thing just leads onto another, and
that's the way it is. The message of'hold on tightly, let go lightly' is: have the
ability to be focussed and passionate, but also learn to be fluid and flexible.

Magic effects

Before considering the various structural tools that can be applied ro your act,
I want to talk briefly about magic effects themselves.

Type of effect
In The Trick Brain, Dariel Fitzkee talks about the types ofmagic effects that are
actually possible. He concludes that there are nineteen basic effects. Whether
you agree with this or not, it is certainly useful to look at this list and remind
yourselfofthe different possibilities.

The Nineteen Basic Effects

1 Production (Appearance, creation, multiplication)
2 Vanish (Disappearance, obliteration)
3 Transposition (Change in location)
4 Transformation (Change in appearance, character or identity)
s Penetration (One solid through another)

Ways in 121
6 Restoration (Making the destroyed whole)
7 Animation (Movement imparted to the inanimate)
8 Anti-Gravity (Levitation and change in weight)
9 Attraction (Mysterious adhesion)
10 Sympathetic Reaction (Sympathetic response)
u Invulnerability (Injury proof)
12 Physical Anomaly (Contradictions, abnormalities, freaks)
13 Spectator Failure (Magician's challenge)
14 Control (Mind over the inanimate)
15 Identification (Specific discovery)
16 Thought Reading (Mental perception, mind reading)
17 Thought Transmission (Thought projection and transference)
18 Prediction (Foretellingthefurure)
19 Extra-Sensory Perception (Unusual perception, other than mind) 19

When creating your act, nynotto repeat yourself. Ifyou just use cards, at some
point the audience might say 'do you only do card magic?' It is important to
remember that ifyou are a magician, you should, in the minds ofthe audience,
be able to do magic with anything. Ifyour strength is in working with cards or
coins, consider developing skills in other areas.

It is also important to vary the type ofeffects you do. Ifyou use cards, coins and
sponge balls, bur only ever do colour changes, it may seem too sinlilar overall.
Vary the type ofeffects and the objeers you use. Keep it interesting. You may be
able to perform three effects, which appear different, but use the same
principle. This would probablybe better for the audience than three routines
that appear very similar, but actually use different magic techniques. I am not
necessarily suggesting that you should use the same principle again and again-
on the contrary- changing the tmderlying principle will to help you remain
ahead ofthe audience. However, you should avoid performing effects where,
from the audience's perspective, the same thing happens repeatedly. For
example: the ambitious card is a great effect-but it can be really dull ifthe card
jumps to the top too many times.

How much change and difference is there in the material you currently
perform?

"Fitzkee, TheTrickBrai11,p7-8

122 Part 2: STRUCfURE& 0£rAIL

There is, ofcourse, always an exception to the rule. Ifan effect is incredibly
srrong, it may benefit from multiple repetitions. However, it is likely that each
repetition will need to progress or raise the bar in some way. There is still a fine
line between astonishment and boredom. Do something several times and the
audience may go wild, but do it too many times and they may wish they had
never seen it.

Ifyou are a really accomplished performer, you may be able ro hold an

audience for forty-five minutes just with a deck ofcards. However, in the
majority ofcases, this would result in the overall weakening ofyour magic and
run the risk ofboring the audience. Whatever medium you work in, dramatic
skills and the ability to vary the pace and content ofyour act is vitally important.

Quality ofeffect
Look for the cleanest, purest, and strongest effects possible. The quality ofyour
magic is everything. Ifyou do complicated or longwinded magic, you will only
ever get an average response. In terms ofstructuring, you must hit the audience
with something orhook their attention fast. This doesn't necessarilymean you
should perform fast- but you do need to get to the point. You need to make
them pay attention. Ifyou do simple but totally impossible magic, you will get
an excellent response. The second that the plot becomes convoluted for the
audience, they will lose interest- no matter how clever the method mighr be
magically. The simplicity or complexity ofthe method is secondary towbar the
audience perceives. Always try to keep the full picture in mind. Wharwould be
best dramatically? Ifyou want to make a coin vanish, think about how itwould
look ifyou could actually do it. Then, search for the most suitable and
deceptive solution. Keep things simple, strong and real. One coin vanishing
from a spectator's palm under impossible conditions has got to be more
effective than a longwinded 1oil and water' routine. Magicians love packet tricks
and moves, but at the end ofthe day, the experience you give the audience
should be clear, dynamic and memorable.

Ways in 123
 Str~Lctural tools

DuTation ofthe act

FigC

With the prepararorywork in place, let's look at some key structural elements.
Whether you are performing close-up at a cocktail party, or on stage for several
hundred people, there are important dramatic steps that you should embed in
the structure ofyour performance.

124 Part2: STRUCTURE & DETAIL

The open.er

Regardless ofthe type of show you are giving, the opener is the single most
important thing in your act. The opening routine (and it should be thought
ofas a routine, not a single effect) tells the audience:

a) whether they should bother paying anention to you or not

b) what kind ofperson you are
c) what kind ofact you are
d) how good you are

What you do in the opener can pave the way towards success, or disaster.
Make sure that what you do ensures the audience want to see more. Think back
to 'the stakes' in Part 1-ifyou don't convince the audience that you are worth
watching during the course ofyour opener, you will find it extremely difficult to
get them back. Choose only the strongest, watertight material, and knock them
dead. At the conclusion ofyour opener, the audience, regardless oftheirpast
experience ofmagicians, should be thinking 'wow, this guy is amazing'.

The reason I say that the opener is a routii~e rather than a single effect, is
because even ifyou only appear to do one thing, during the course ofit's
happening you should be finding ways to gain rapport with the audience.
You should use its duration to communicate key information abomyourself
and the show. Plus, you can't just do something quickly and gain a huge
response. You need to work your audience. Phil Jay begins his close-up act with
an original coin routine made up ofseveral magical moments- the last being
the biggest and most impressive. Each ofthese moments helps to break down
the audience. I think it is essential to reach a moment ofmagic, even ifit is only
small, as fast as possible to grab people's attention. Darwin Ortizrecommends
that magic should take place within two minuteS20• In a close-up situation, I
would say that two minutes is too long. Aim to reach a magical moment as soon
as you possibly can. The opening routine should bash down me audience's
walls of scepticism and guarded behaviour, so that they can react naturally. You
must break through their fa~ade of reserve and pave the wayfor the rest ofyour
act. Tell them how you want them to respond.

10
Ortiz, p271

Stroctura/ too/; 125

I would like you to think about the components ofyour act- the magic effects -
like a series ofweapons on the battlefield. The opener is the first and most ·
important structural tool. It is the initial air strike and it must land effectively.

The journey

Consider your act as a journey. You are the guide. Ifyour opener has been
successful, you will have already taken your audience on a short trip arriving
at a magical ending, and you will have gained some respect. Now you must
take them on a journey through the rest ofyour act, and carry them each
step ofthe way.

Ajourney has, obviously, a beginning and an end.

Two very important questions to answer when putting your material

together are
a) wherearemyaudienceatthestart?

and
b) where do I wantthem to end up?

You need to recognise what your audience might be thinking and feeling
initially, and take them on a journeythrough your act that arrives at how you
want them to think and feel at the end. You must know where you want to rake
them, and there must be a significant change within them by the time you
finish. Your magic and the wayyou perform it facilitates this change. Ifyour
audience doesn't feel differently bythe end, then you have failed to achieve
your objective. They will walk away cold with their preconceptions about
magicians reaffirmed, and you will walk away feeling demoralised and
frustrated. Don't let this happen.

I have seen too many magicians who don't engage their audience properly
when they perform. This is fatal. Ifyou don't connect with people, how can you
expect them to react and enjoyyour magic? You must look them in the eyes,
involve them physically, and relate to them emotionally. This may sound basic,
but many magicians don't do it. They stare at their props and zip through their

12.6 Part 2: STRUC'IUR£& DETAIL

ace at top speed, never once looking up at the audience or involving them. This
disassociated attitude to performing magic is deadly. It's rather like me starting
a conversation with you and then turning to face the wall to reel offa pre-learned
monologue. It's rude and above all very strange behaviour. No wonder some
people don't like magicians...

The idea ofa journey relates to using a super-objective as discussed in Part 1.

Both can and should be linked together. The journey gives you the start and end
points, and the super-objective gives you the driving need behind your act.
Combining these tools will help you create a strong, coherent and meaningful
performance. ·

Structtt1~al shapes

There are many ways in which you can choose to strUcture an act. F'tg C is one
example ofa shape you might fit your magic to. Whatever you decide, make
sure you use key moments ofmagic to build momentum. I personally find that
drawing the shape ofthe act helps you tO have an overall sense ofwhat you are
doing and where things fit dramatically.

BEGINNNING - MIDDLE - END

At school, we were all told that a good story has a beginning, a middle and
an end. This is cenainly one way to do it-ifyou can identify three strong
moments in your ace. However, there are a number ofdifferent ways ofcreating
an effective plodine. Perhaps you could try the following with your magic:

- start at the end and working backwards

- start at the middle and 'flash back' to the start
- a cyclical plot line
- fragments that appear random but connect at the end

You can really create your own shape. There is more at your disposal than the
'beginning- middle-end' formula. Just look at films, television and novels for
more inspiration. Make the journey as interesting for the audience as the
effects. It is the way you put things together that makes the difference,

S!ructural tools 127

otherwise it is just 'trick, nick, nick' with no sense ofcohesion. As we have
discussed, an act is not a collection ofnicks. It is a series ofmagical routines
woven together to create a dramatic whole.

Whateveryou choose to do with the underlying structure, make sure it is clear

to the audience. Be clear in your own mind why you are doing it and how it will
make your magic stronger.

Threads

I have found it useful when working on theatre based magic shows, and
close-up routines, to think ofan act as comprising ofseveral different 'threads'.
A thread is an individualjourney or thought, which is continued. The way these
threads intetweave creates the overall shape. You can establish distinct
elements in your show, which you keep relating back to, or that keep cropping
up and relate to each other. This creates a layered approach to performance.
Aesthetically, this interests me because it provides many opportunities for
surprise and play. Working on Chris Dugdale:An Evening ofMagic & Mindreading
at Riverside Studios, I created one thread that functioned as a running gag.
Chris continually interrupted the flow ofhis show to guess a four figure number
thought ofbya spectator. Each time he would get it wrong and say 'never mind
-I'll come back to that... it's something I'm working on.' At the end ofAct 1,
he gives up and the spectatortells him the number. He asks them to name a
playing card instead. He writes the number on the selected card saying 'I
wouldn't have gotthat'. Fora moment the audience thinks he has genuinely
gone wrong. He then proceeds to push the card through the screen behind him
to a projection ofan old man. The old man takes it, unfolds it and shows that
the card and number match exactly. In this instance, the 'thread' ofa running
gag was used to create a dramatic and unexpected finish to the first half
oftheshow.

Considering a show in terms ofthreads that interweave is one way to stop your
act becoming a sning ofunrelated effects. Derren Brown's show An Evening of
Wonders at the Garrick Theatre in 2009 offered a number ofdifferent threads to
the audience in its duration. One ofthose was the opportunity for a spectatorto
win or lose a large amount ofmoney by guessing whether there was £soo or

128 Part:z:STRUCTURE&DETAJL
£s,ooo in a box. Brown returned periodically to ask ifthey wished to change
their mind, and at the end ofAct 1, revealed they had made the wrong decision.
Another thread in his show was a proposition established at the start: 'At some
point during the show a man dressed in a gorilla suitwill cross the stage and
pick up this banana, but you won't see him'. The first time the audience misses
it, but the second time (which coincides with the climax ofthe win/}ose thread)
the audience spots him. At this point the man in the gorilla suit takes his head
offto reveal that it is... Derren Brown- a clever twist that made the audience
gasp, and ended the first halfwith a bang. Dramatically this works because you
have two strong finishes, one after the other, earned by a sufficient build up.
Ifyou can think creatively about the different threads that complete your act,
and the surprising ways that they could interact, then you will be well on the
way to generating an exciting and thought provoking performance.

Continuation ofthe object

The deadly 'trick, trick, trick' syndrome usually occurs when the performer
hasn't thought sufficiently about the way they put material together. They take
something out, do some magic with it, put it back in their pocket, get the next
thing out, do some magic with that and so on. Dramatically, this is bad practice.
Aroutine needs to be a series ofmagical events woven together for the
audience. It shouldn't feel like a collection of one-liners. Think about how one
thing connects with the next.

Auseful tool to help you create routines that flow is to considerhow an object
might change and evolve-rather than just serve one purpose. This is
something I call 'continuation ofthe object'. Ifyou get out some coins, what
happens to them after the initial effect? Rather than just perform a matrix, why
not make the coins appear one at time, continue on to the matrix effect, then
melt them into one large coin while the spectator holds your wrist? You could
ret one item, like a coin, lead you through a whole series ofeffects. Maybe you
could produce a coin at the end ofeach effect Oike a running gag), or start and
finish with one coin? These are just quick ideas. You will have to work yourself
ro find practical solutions, and a reason for each element in the routine.
However, thinking this way stops an object becoming a stand-alone item, and
allows it to fuel the shape of a routine or act.

129
I have provided consultancy for a company called Theatre Rites. One oftheir
techniques is to investigate the journey ofa single object. They storyboard their
productions and focus on maintaining continuity on stage. Thinking 'what
could happen to this object next?' can help you strengthen your routines.
You don't need lots ofdifferent items in your act. More props don't
necessarily equal more value. Instead, when you use something, ask the
following questions:

Where has it comefrom?

Where does itgo to?'

You must justify its existence, and think about where it could naturallytake
you. Flow is very important, and it comes from attention to the elements that
draw the audience through your performance, and how the sections connect
together.

This is, ofcourse, just one approach. But like all ofthe tools in this section,
it is a weapon you can add to your arsenal. You can apply it when working
on something new, orwhen you are stuck for ideas.

A proposition

One way to establish a thread is to give the audience a proposition. Derren

Brown offered the challenge ofspotting when the banana was taken away, but
any kind ofbet or promise to the audience would suffice. For example, 'at the
very end your card will end up inside this box'. A proposition is something that
gives meaning to your performance. It is a way ofmaintaining the audience's
attention. When Brown announces the banana will be removed- the audience
thinks 'right-I'm not going to miss that', and their involvement and level
ofengagement is assured. Ofcourse they do miss it, and when he gives the
audience another chance, their resolve is strengthened further. This makes
the surprise ending all the more effective.

Aproposition can build dramatic tension and make things clearer for
the audience.

Part 2: STRUCTURE & DETAIL

The hook

Why should the audience watch your act?

Why should they care?
What's in it for them?

The hook is a dramatic technique I use to make the audience interested in what
I'm doing. It bares some similarities to making a proposition, but it doesn't have
to appear as a challenge or promise. It can be anything that holds their
attention. Often, this involves something of value to the audience.

IfI break something and restore it, the audience will probably think- 'very
clever', but ifI take a spectator's watch and do the same thing, they will be far
more attentive. If you can make the audience care about something then
holding their interest will be much easier. The hook could be a personal object
(such as a finger ring, which you link to someone else's), money, a promise of
something to come, a person, or even a forfeit or consequence when something
doesn't happen. Jimmy Carr hosted a television game show called Distraction
from 2004 to 2006. One ofthe games was to answer questions correctly to win
a car. In this case the hook- the car- was on stage. Every time the participant
got a question wrong, someone would smash a bit ofthe car. You can bet that
they were focussed on getting the answers right- and the audience were on
the edge oftheir seats watching them.

Tlu·ough line

As you assimilate material, bring ideas together and develop a structure,

ask yourselfthe following question:
What draws the audience through my ad?

What forms the underlying current and backbone ofyour performance?

What's it about? What propels the action forward?

Finding a through line gives your act a united purpose and simplifies it in your
mind. Though there may be many elements at play, it's important to fuse
everything together and gain a clear sense ofdirection. Usually this comes from
bringing everything in line with your super-objective.

&Tuctural tools
Stanislavski talks about something he calls 'through action' in CreatingARol&1•
Through action is basicallythe actions a character takes through the course of
a play towards the achievement oftheir super-objective. The super-objective is
the driving force. Through action is the journey ofphysical action striving
towards it. In our case, a through line should express the reason d'etre ofthe
magician. Why you are doing magic at all should be expressed throughout your
performance-it should be the driving force behind your actions.

Bullets

Continuing the comparisonbetween magic effects and weapons, let us

consider other ways in which magic can 'gun down' or disarm the audience
duringthecourseofyouraot

In order for a routine to be effective inbreaking down guarded behaviour, you

need to hit the audience repeatedlywith small moments of magic before you
release the big effect. I call these 'bullets'. They are designed to loosen the
spectatorbefore you drop the A-bomb. You can't just expect them to react fully
straight away; you have to tease it out ofthem over a series ofevents. An
example ofa bullet might be a pen vanishing afteryou have written with it, the
card box shrinking after you take the deck out, or your wallet flaming when you
open it. Bullets are mini effects on the way to a bigger effect. The full moment
ofmagic is what you point towards and focus on. That effect may not be any
harder, magically, than the bullets you shoot on the journey towards it. In fact
quite often it can be something as simple as a double lift. It is the focus you give
it that communicates its importance to the audience. You tell the audience
what the main event is. Bullets generate interest and excitement along the way.

The key moment

A key moment is an important magical event in your routine. This is something

you build up to, whereas the bullets function as an aside. Akey moment must
be dramatically placed and given adequate attention by you, the performer. It

» Stanlslavksi, CreatingA Role, P77

132 Part2: STRUCI'URE & DETAIL

must be a moment ofstrong magic. As I said earlier-you can't perform weak
magic and expect a good response from the audience.

Ifyou perform the Heads Offillusion, for example, the moment when you
appear to separate the head from the body is a key moment. There is a second
key moment: when you reveal the head ofyour assistant again at the end. The
first moment has the surprise factor and the second brings resolution. Agood
routine should be composed ofone or more sufficiently spaced key moments
linked together by bullets. A key moment is the focus ofsurrounding events
-it is the real thing the magician wants the audience to experience.

The hard bit is to make everything else; the build up, the journey and so on,
of sufficient interest also, so your spectators aren't bored before you reach your
destination. You must keep them interested every step ofthe way, and earn the
pay-off.

The bigfinish

You should always end your act with a big finish- something that supersedes
everything else. Ifyou don't have a big finish, the audience will feel cheated.
You may have an encore, or a quieter moment afterwards to conclude- buryou
have to earn it. The finish could comprise ofseveral amazing moments, one
after the other. Maybe it's something that draws everything you have done
together. Perhaps it's a surprise. Whatever you do it needs to feellike a dear
end point for the audience.

I have often thought ofperforming Harbin's Zig-Zag Lady with a kicker finish.
After the restoration, just before opening the doors, my assistant could vanish
from the box and reappear at the back ofthe auditorium or somewhere else on
stage. This is probably the last thing the audience would expect. Theywould
assume, as soon as the girl is put back together, that that's it. Unexpected twists
often get the best reactions.

Make sure you devise a big finish that will guarantee rapturous applause.

Structural tools 133

Joining sections
You must give adequate attention to the way in which you join things
together, from both moment to moment and from routine to routine. This is as
important as the effects themselves in terms ofgenerating a slick act. The main
rule here is:

- make some form oflogical sense

This might sound like a really obvious thing to say, but it's amazing how many
magicians don't make sense with their magic. Putting one thing away and
taking something else out for the next effect, without justifying the action, is
bad practice. It makes an awkward join and draws attention to the fact that the
secret is in the object-it is not a power that the magician inherently possesses.
Joins are so important and they must facilitate the flow ofmagic. One way to
aid flow is to allow a thread oflogic to continue. Okay- because it's magic, what
we do can be amazing and doesn't have to make complete sense-but it must
make some sense. Ifyou finish a card·effect, how do you progress into a coin
routine without letting the energy drop? Don't just put the cards away and pull
some coins out. That will kill yourmomenrum. VVhy do you use coins? Where
do they come from? VVhat's the justification? Perhaps you could make coins
appear from an empty card box, or discover coins between cards in the deck?
Maybe the pack vanishes and you are left with coins? Find magical events that
allow you to move smoothly into the next routine without stopping and
starting. Or, ifyou borrow something from a spectator, plan how you are going
to cover the gap and keep the action moving forward.

In my own close-up act, I move from a card routine into a sponge ball routine
by pulling the red pips offa card. This doesn't make sense in the real world, but
nevertheless it does continue a thread oflogic: a red pip becomes a red three-
dimensional object. It adds an intriguing magical moment to the transition
between one routine and the next, which would otherwise be dead time.

134 Part 2: STRUCTURE& DETAIL

Signposting
A signpost is when you tell the audience what you are going to do next, or what
has just happened. Signposting refocusses the audience's attention and makes
the action clearer to follow.

Saying words to the effect of'this is what happened and here's where we are
going next' is sufficient to take the audience from one place to another without
confusion. For example, 'Earlier you thought of any card at random. It was
a free choice. You didn't even take it out ofthe deck. Here's my wallet. Look
what's inside the zip compartment...'. Re-capping on a sequence ofevents,
briefly, helps to prepare the audience before a key moment arrives. Other
signposts could include references to future events, for example 'At the very
end, your card will end up inside this box under impossible conditions'.
Equally you could point to the discovery of events promised earlier in the act
by saying something like 'Remember the prediction I showed you at the start?'.
Without being patronizing, you need to guide your audience with occasional
signposts, so that they understand what has happened, what is happening, and
where you are going next.

For stage workers, signposting gives clarity to your action. For close-upworl<ers
it can give fill in information to those who join the audience halfway through
a routine, such as in a drinks reception situation. It can also help with time
misdirection. Making slight amendments to the events or facts as you recall
them, or omitting elements that point towards the method increases the
illusion in the minds ofthe audience.

Focus

The magician tells the audience where to focus in their act.

In close-up magic, it is essential to understand how to establish, close in and

open out performance space. Your actions and your words tell the audience
where to look, and when to look there. Therefore, to increase your skills as a
magician and showman, you must be clear about where the focus is at any point
in time, and when it changes. Focus shouldn't be generalised; it should be

Stmctural tools 135

specific. For example: attention moves from the magician to a deck ofcards,
or from the audience as a whole, to one single card. You need to expand and
contract focus. Giving your act clear dynamics between big and small facilitates
misdirection by drawing focus away from certain areas at certain times. By
focussing on one card on a spectator's hand, you can make a body steal without
risk ofdetection. Or, by opening out focus, you can facilitate a top change.
Focus and misdirection go hand in hand.

Focus control is also a dramatic storytelling tool. As a performer, you need to

prepare the audience for a key moment ofmagic by closing down focus and
opening it out afterwards as the reaction unfolds. Doing this effectively can
triple the response you receive. We will look at this further in Part 3 when we
study audience reactions through a series ofphotographs. The main thing to
realise is that it's about making the journey clear for the audience. Build the
tension in an intense, contained way and let it offlike an explosion. It can be
really powerful when something big happens in a small space. The impact ofa
magical moment can rocket right through the audience. Pbil Jay makes a point
ofbringing spectators as close as possible to a card on someone's hand before it
changes. When it does change, they reel back and other diners witness their
response. Theirbody language and shared experience communicates
everything to those watching from afar.

Applause cues

Applause cues should be woven into the strUcture ofyour act.

You must give necessary space for reactions and applause.

-One ofthe best pieces of advice I was given was to complete an effect, look
directly at the audience, and wait. They have to react. Ifyou show them
something amazing and give them focus they have no option but to respond.
It would be rude not to.

It is absolutely essential to include pauses and moments ofstillness in your

routines. Some magicians get it wrong by not giving enough space for the
reaction. They move too quickly on to the next effect.

Part 2: STRUCI'URE & DETAIL

An applause cue is a definite gesture that tells the audience they can react.
It is·used initially to condition their response, and revisited at other moments
when you wish to generate applause. As Chris Dugdale and Phil Jay point out in
Close-Up SuccessU, the simplest and most effective applause cue is to finish an
effect by saying 'thank you'-holding your arms out palm up. This gesrure can
be used to generate reactions at various points throughout the act. Initially it is
quite deliberate, but once established, the verbal cue can be dropped and
raising the hands alone at the conclusion ofa routine will generate applause
automatically. You can see applause cues in action in Part 3- A pictorial study
ofreactions. This technique is something that top pros use all the time to
condition and manage audience response, and is a closely guarded secret:. I was
in two minds about including it in this book, given that I use it myselfto great
effect. But, as it is such an essential technique, I felt I couldn't publish a book on
performance and leave it out.

This tool alone can dramatically improve the reception ofyour act. Useitwisely.

Variation

One ofthe keys to a successful act is variation. These days with television, the
internet, computer games, iphones, ipods, and so on-nobody sits still fora
minute any more. Today there is a culture of constant visual change and instant
gratification. People get bored very quickly. Therefore you must provide
enough variation in your act, onhe audience will simply switch off You need
to keep them interested all the time. This doesn't mean thatyou should
perform lots ofdifferent things at top speed, on the contrary, doingless and
slowing it down can often have double the impact. But, given people's
expectations and behaviour, you need to make sure your act doesn't drag or
lose energy. Keep it dynamic and entertaining.

Consider the following...

Material
Not all card effects, please.

., Dugdale and Jay, Jl64

Structural tools 137

Magicians love card magic, but real people start to zone out after too many
on the trot, no matter how amazing they are. Learn how to vary the objects you
work with. Remember, in the minds ofthe audience, the magician should be
able to make things happen to all sorts ofitems, not just playing cards. Find the
strongest effects you can with a variety ofobjects.

Speed
Vary the speed within your routines and within your whole act.

Do you remember sitting in a classroom when you were at school, listening to a

teacher and nearly falling asleep? That's what happens when you perform your
act at the same speed. It's rather like going on a long monotonous car journey.
Nothing changes and it quicklybecomes boring. Select different gears for
different bits. Start fast paced to grab your audience's attention, slow down to
draw them in, stop all togetheno generate a response, accelerate towards the
big finish and so on.·

Think about your act like a rollercoaster ride. Make every twist and turn count,
and keep the audience with you all the time.

Duration
There's no set rule for howlong or short a routine should be. All I can say for
sure is when you're in the audience; you know when it's too long! Good
questions to ask when looking at the length ofyour routines are:

- Is the pace and interest maintained throughout?

- Do I get to the point quickly enough?
- Could I cut anything out?
- Does it drag anywhere?

Most ofthe time, inexperienced magicians make their routines too long and
wafflely. Even well seasoned pros need to nip and ruck to keep the pace oftheir
act up. Ken Weberwrites in Maximum Entertainmenf3 about eliminating weak
spots so that every moment is engaging. Most ofthe time, the pace and interest
is lost when a routine is too drawn out. Just get to the point. However, as I
mentioned, that doesn't necessarily mean go faster. The audience still needs to
understand everything you say and do clearly. Instead, concentrate on cutting
>J Weber, p77

Part2:STRUCTURE&DETAIL
anything that doesn't help the act move forward. This will make everything
more economic without necessarily increasing speed.

Another thought on duration: don't assume that every routine should last a
similar amount oftime. Change the length ofyour routines, as well as the action
within them. You may start with two short and snappy routines, one after the
other, then move on to something more involved when the audience's
attention is assured.

Tempo
Stanislavski talks in his books about something called 'tempo-rhythm'2.4.
Whenever we do anything, vocally or physically, we do it in a cerrain rhythm
-a certain tempo. This is linked with our emotional state. Doing an activity in
an upbeat tempo can make us feel elated, whereas doing it slowly and
predictably can make us feel depressed.

We have the ability to control our tempo-rhythm, change our emotional state
and thereby how we feel. Managingyour state whilst performing is important
because the audience picks up on the energyyou give out. They can sense ifyou
are tired, bored or disinterested. But, ifyou control your internal rhyrhm, you
can control what you communicate.

Changing tempo-rhythms is one way ofadding colour, variation and dynamics

to your act. For example, you could perform an effect with a regular internal
pulse, or with an offbeat pulse. You can attach different tempo-rhythms to
different routines or sequences in your act.

Performing in a certain rhythm is also a character choice. Remember our

discussion ofTommy Cooper and David Blaine earlier? They have quite
different tempo-rhythms. Cooper is manic and unpredictable, whereas Blaine
is much slower. Theyboth deliver a very different quality ofperformance.
One important thing to realise about tempo-rhythm in terms ofstructuring an
act is that you can get stuck in it. All ofus have a predictable tempo that we
reside in ninety percent ofthe time. Usually, our residual rempo-rhydun is not
dramatically engaging for an audience. It is important to realise how easilywe
can fall into that rhythm and to structure routines so that we keep changing and
varying our delivery.
... Sranislavsld, Buildinga Character, p183

Stntctural tools 139

Surprise
Surprise is another one ofthe big weapons in our arsenal. All successful magic
acts contain a large dose of surprise. Our specialism as magicians is giving
people the experience ofsomething they don't expect. We show them
something impossible. In this sense, any moment ofmagic that occurs is
surprising, even when we have told the audience it is going to happen. You put
a ball in your hand and say it is going to disappear. It does. The audience reacts
with surprise. The only time it doesn't surprise them is ifthe effect isn't
deceptive enough. However, the real kicker reaction comes when the audience
sees something they really didn't expect, and it is an amazing piece ofmagic.
These are the moments oftrue astonishment.

Think about structuring your routines so that they twist and tum in
ways that couldn't be anticipated. The most boring magic acts I have seen
are unsuccessful because it's obvious what is going to happen and the effects
aren't particularly exciting. That's not to say that knowing what will happen is
bad. Some ofthe best magic is simple and clear. However, there is a distinct
difference between that and waiting for the inevitable conclusion of a
boring performance.

Routines are often boring when an effect takes ages to do and nothing really
changes. I once saw a magic and illusion show at The Soho Theatre in London
where a girl was put into a box, split into several pieces, and put back together
again. The effect was tediously drawn out and putting her back into once piece
seemed to take forever. Ifthe audience can see the resolution in sight, and
nothing new happens, it isjust a case ofwaiting for the magician to finish.
Think about how you could surprise the audience when they least expect it.
Maximise how far ahead you are so you can hit them with one thing after the
other. The very best magic acts start so far in front ofthe audience's thinking
that they haven't got a chance in hell ofcatching up.

Ricky Jay performs a version ofthe cups & balls, which he calls 'the history
lesson' (-an interesting hinge). He begins by describing different ways the
game was played historically whilst showing a variety ofcontainers; a candle
stick, two rice bowls, and three tin cups. He puts them down and then proceeds
to use three spun copper cups. At the end ofthe routine, after balls have
appeared and disappeared impossibly, he lifts the candle stick to reveal one

140 Part 2: STRUCl'URE & DETAIL

ball, the rice bowls to reveal two, the tin cups to reveal three, the copper cups
to reveal three, and the copper cups again to reveal a lime, onion and potato.
This series ofevents is like one explosion after another, and it is all down to
thinking several steps ahead ofthe audience. At the start when casually
displaying the objects, he loads them ready for the finale. This happens so early
on that the audience has almost no way ofback tracking. They are hit in the face
by one amazing event after another. On the recording I saw, he received
a standing ovation.

Here are several ways ofgenerating surprise, which you should consider using
in the construction ofyour act:

- changing direction
- pulling the carpet from beneath
- superseding the end point
- smacking them when they're down

A change of direction is a break in flow and structure - the unexpected rum that
takes the audience unawares. For example: you tell the audience that a selected
card will jump into your pocket, but instead, the entire deckjumps intoyour
pocket, leavingthe selected card in your hand. The change ofdirection causes a
stronger response than the initial proposition.

Pulling the carpet from beneath means removing a strong foundation you
have built the audience's trust in. For example: you show three polystyrene
cups, mouth down, and ask a spectator to squash two ofthem with their hand
You then remove the .final one to reveal a spike. In this instance, the volunteer
had no idea they were in danger, so when this is revealed, their foundation is
shaken. They are surprised and shocked.

Superseding the end point means going past the finish the audience expects.
Ricky Jay does this by revealing all ofthe other loads at the end ofhis cups &
balls routine. Equally though, you could do something as simple as top change
the aces at the end ofa four ace assembly, and wait before revealing that they
have changed into jacks. As soon as the audience sees the aces appear, they
assume it's over. They don't expect anything else and the switch can be
performed on the offbeat.

Structural tools
Smacking them when they're down is a technique that can be used to draw out
and magnify audience reaction. As I mentioned when talking about bullets, you
need to loosen the audience ready for the final effect. Once you have broken
them, and yougetyourfirstproperreaction, don't stop there. Hit them several
times with amazing magic so you absolutely blow them away. For example,
in a close-up routine, the finish might be when the card jumps into your wallet.
Bang-reaction. But then, it jumps to yourjacket pocket, to their pocket, to your
shoe. Bang, bang, bang! If you do this, the audience will walk away
overwhelmed by the experience.

I once did a gig with Chris Dugdale and Charles Bach, which was the lames
Bond Anniversary Ball at Stoke Park. At the end, one guy came up to us to say
how much he had enjoyed the magic. Chris did another routine for him,
secretly using Charles, where the card jumped all overthe place. I have never
seen a more raw reaction to a series ofbewildering and impossible events.

Bz1ling one thing as another

Considerthe dramatic potential ofperforming an effect under the guise of

something completely different. You don't always have to tell the audience
what you are going to do. Perhaps you could set up a fake scenario that masks
the effect you are acruallygoingtoperforrn. Surprise the audience. Lead them
up the garden path, and then reveal what is actually happening.

I perform Jack Hughes' version ofsawing a woman in halfin my cabaret act,

but I don't let the audience know what the illusion is until just before I cut
through the volunteer. In fact, the volunteer has no idea they have been cut
in half at all. They rerum to their seat completely oblivious. The idea for this
routine originally came from trying to solve a problem. I !mew I wanted to
include a sawing in halfeffect in my show, as it is one ofthose classics ofmagic
that has a real wow factor. I also wanted to use a volunteer, so the audience
couldn't say that my assistant was in on it. I searched around and found Jack
Hughes' version ofthe effect, which suited the style ofmy show and was easily
transponable. However, the problem was: what happens ifthe volunteer
decides that they don't want to be chopped in half, right at the crucial moment?
Would someone else come up and take their place? This leaves the performer

142 Part2; STRUCTUR£ & DETAIL

in an extremely precarious position. Indeed, what normal person would say
'yes that's fine, you can push a hedge nimmer blade through my stomach'.
You are asking the spectator to put a lot oftrust and faith in the magician's
ability. I chatted this problem through with Chris Dugdale, and we eventually
came up wit;h the idea ofsawing through the victim without them ever knowing
about it. How? Well I start the routine bytalking about magnetic bands you can
buy from health shops that increase circulation. I explain that people wear
them on the wrist, and sometimes on the ankle, and they are scientifically
proven to increase blood flow. Then I say, 'I have been researching this fwther
and found out that the larger the magnet, the greater the effect-and that
individual senses are heightened as a result. Believe it or not, magnets can aid
bodily functions such as taste. I will prove it to you today with a taste test.
Madam, would you mind joining me on stage for a moment. Make her feel
welcome ladies and gentleman.' The audience applauds. 'Here I have a large
electromagnet which I bought on eBay, and to conduct this taste test,! would
like to put this around your waist, ifthat's ok. I know it looks a bit strange, but
it's just for the experiment. Would you mind lying on this table here fora
moment? According to research, the magnet works best when it's offthe floor.
So for this test, I have three different types ofbread: a 'taste the difference'
baguette, an organic baguette, and a normal baguette. I will give you a piece of
each to eat, and I would like you to guess which piece is from which baguette.
Does that make sense? However, to make this a fair test, I will take two ofyour
senses away. My assistant here will blindfold you, so that you can't see which
piece ofbread I am giving you, and we will also give you music to listen to
through headphones, so you can't hear and cheat that way. Ok? Just one final
thing before we do that- I will switch on the electromagnet halfway through,
which should increase your ability to 'taste the difference'.... so ifyou feel a
buzzing, that's all it is.' At this point in the routine I have a volunteer
blindfolded, with headphones on, shackled and lying on a table. She has no idea
that she is about to be chopped in half, and has far too much to think about to
consider it. Even ifshe did guess as the saw was switched on, she would be too
committed to change her mind. When she has beenblindfolded and the music
turned on, I turn to the audience and say 'everything I jusr said was complete
rubbish. What we are actually going to do is chop her in half!' As I do so, my
assistant feeds pieces ofbread with an expression ofglee, and I raise the saw.
She then takes a photograph as the blade passes through the volunteer. It gets
a fantastic reaction because it is furmy and unexpected.

Structtmu tools 143

This is how I put my own spin on a classic, and turned the tables on the
audience to dramatic effect. Please don't copy this routine. It is detailed here
as an example, so that you canbegin to think about bow to make the effects
you do more original bybilling one thing as another.

Book end the show

The way you start and finish your magic act is vitally important. Both must
be strong, crisp, and dynamic. The audience needs to know when you are about
to start and they need to know when you have definitely finished. One ofthe
biggest mistakes I have seen is not making the start and finish clear enough for
the audience. You musm't make the opening a smudge from everyday action
into performance. You need to tell the audience 'I am here performing for you-
now.' There shouldn't be an option to talk over you, or choose whether or not
to watch. Without appearing rude, you have to grab hold ofthe situation and
tell people to pay attention. Equally, you will not get the applause you deserve
unless the audience knows you have definitely finished.

Book ending the show is one technique I use as a director to mark the start and
finish in a theatre production. This could be something as simple as taking a
coat and hat offat the start and putting it back on at the end, because it clearly
signals entering and exiting. What's really effective is when you can make the
bookend coincide with a moment ofmagic. For example: the magician puts his
coat on, gesrures, and the hat floats towards him and on to his head. This could
triple the applause because the audience are amazed by the illusion, and know
it's the end simultaneously.

Breaking the rules

Once you have learnt how to use structural tools effectively, and you
understand why they work, you can consider the final technique: breaking
them.

Take·a simple rule ofmagic such as 'you never show the same thing twice'.
Why not create a routine that makes the audience ask: 'can you do that again?'

l'wt2:STRTJC111RE&DETAIL
In response you explain about the rule, but say that just for them, as a one-off,
you will break it. This guarantees their attention and gives the impression that
you are offering a special and unique experience. However, there would be two
important questions to bear in mind. Firstly: would the method be deceptive
enough to fool the audience on repeated showings? You might benefit from
changing the method on each repetition. Secondly: would repeated showings
be dramatically satisfying? Might it be better to show the same effect twice, and
then supersede it to finish with a moment of smprise? Or perhaps it would be
interesting to stage a mistake- so the audience thinks they have caught you-
and then turn the tables on them.

One word ofwarning: at the start ofthis book I explained that good magic
only comes from good technique. Don't rry breaking the rules until you have
mastered the use ofdramatic and structural tools first. Being too clever too
early on can be dangerous.

Structural tools 145

 The Changing ofthe Guard
By Sonic

To illustrate some ofthe points covered in Part 2, I am going to describe the

opening routine ofmy close-up act in detail. I have used this successfully for
a number ofyears now, and many people tell me it is their favourite part ofmy
show. People come back and say 'do the one where the cards change colour
again'. I was in two minds about putting it in print, because I don't really want
other magicians performing my opener. However, it is a good blend ofdramatic
structure, visual effect and participation. I have audience tested it in the real
world and refined it a number oftimes to create something that packs punch,
but remains very practical. As with other examples in this book, it is included
so you can see how I think about magic. It is then up to you to go away and
create your own opener with an awareness ofthe audience, and an
understanding of dramatic structure.

What I have arrived at is fairly simple in magic terms, but it is the product of
thinking long and hard about what would make a good opener for the audience.
In the beginning there wasn't a simple or obvious route. I considered various
different options, most ofwhich were too complicated for a real world close-up
act. Finally, after hours ofrefining, cutting and performing, I ended up with this.
The handling is simple because I wanted to focus my attention on gaining
rapport with the audience, and not on being pre-occupied with difficult moves.
Also, as I believe magic to be a predominately visual art, I wanted an opening
routine that was striking and colourful. In my experience, dynamic visual
changes create some ofthe strongest audience reactions.

The effect

Sonic introduces himselfand asks a member ofthe audience to choose any

card from a blue pack. Sonic then reveals that there is one red card in the deck.
He turns it over to reveal that it matches their selection. Putting this card on a
spectator's hand, the back ofthe selection magically changes back to blue.

Part 2: STRUcruRE & DETiJL

Suddenly, the whole pack changes to red. Then, as uthe audience were just
hallucinating, every card turns back to blue again. Sonic takes his applause and
swiftly continues on to the next routine ofhis act

Preparation

There isn't much, you'll be pleased to hear. This is an effect designed to

reset very quickly, so you can easily move to the next table or group ofpeople.
You begin with a deck ofblue backed cards with one red card on the bottom.
I use very few card gimmicks in my act for two reasons; firstly, I prefer to rely
on sleight ofhand, and secondly, it is easy to get girnmicked cards mixed up
or in the wrong place. I don't want the spectatorto accidentally discover a gaff,
ono leave one in the pack by accident and surprise myself dUring a routine.
It happens! From experience I can say: the less gimmicks, the better.

Step by step

We will go through each stage step by step, as they do in most magic books,
but with one major difference: I will place equal focus on the performance side
ofthe routine as I do on technique. Whilst deceptiveness is ofvital impommce,
remember that the ingenuity ofa method is secondary to the impact ofthe
effect. There are many moves that are clever but have no practical use. They
mainly fool magicians. I'm not interested in that My main focus is on creating
an experience for the audience.

Kicking off
Before I introduce myself, I hold the blue pack with the red card on the bottom
casually in my left hand. My approach to a table or group ofpeople is easy and
relaxed; 'Good evening everyone... I'm Sonic and I'm your magician!' Then
I address one spectator: 'take any one ofthese cards you like. Make sure it's
a free choice'. I move quickly and economically from greeting people into the
routine. Notice that I don't ask a question, or give anyone the opportunity to
say 'no thanks'. I simply spread the cards towards them in a friendly manner.

TMChangingoftheGuard 147
Fig1

You must be careful at this early stage not to accidentally expose the bottom
red card, as in Fig 1. It must remain secret until the appointed time. This may
sound like an obvious error, but we all make mistakes occasionally!

Once the spectator has chosen a card and looked at it, I gesture with my right
hand to take it back. When I have the card, I show any people surrounding the
group that have become interested, and any existing spectators who I think
might be in danger oflosing focus. It's important that I maintain the audience's
attention and don't leave someone behind because they couldn't see. I put the
selection back on top ofthe pack and say to a different spectator: 'as I riffle
down the edge with my thumb, would you please say stop. There? I can
carry on if you wish. It's your choice. Ok.'

Part 2: STRUCTURE & DETAIL

Fig2

I swing cut at the appointed place (as in Fig 2), so the selection is apparently
buried in the deck. In doing so, the red card falls straight on top ofit, as in the
old key card principle - probably the first card technique you ever learnt!
I have aimed to make all actions in the opening routine natural and open so that
the audience doesn't think I am hiding anything from them. My objective at the
start is 'I want the audience to think I am trustworthy in order to gain credibility
in their eyes as an entertainer'.

Next I say to a different person 'I know that some people are sceptical about
magicians, so before I start I'll roll my sleeves up!' I say this tongue-in-cheek.
It's important that I start talking to different members ofthe audience early in
the routine. Many magicians make the mistake of only talking to the spectator
who has chosen the card. The problem with that is- everyone else starts to lose
interest ifyou don't relate to them. Keep everyone involved. I continue:
'magicians keep secrets... I must admit there's one thing I didn't show you
before we started.' I spread the deck to reveal a single red card in the centre
ofthe pack. 'One card is different to the rest. It's red'. This is one ofthe few

T1reChangingofthe Guard 149

Fig3

occasions where I repeat verbally what the audience sees. It's important that
they get it immediately- especially if it's in low lighting conditions. Normally
though, I try not to say too many things that the audience can understand just
by looking. I continue: 'you could have chosen any card you liked - any one.
What was the one you went for? ... Really? ... That's an amazing coincidence.. .'
I cut at the red card, place the stock ofblue cards on the bottom, and prepare
to turn over the red card and selection beneath together using a double lift.
I pause for a second to increase dramatic tension. I say 'You're not going to
believe this.. .' As I turn it over I show the spectator how to respond with my
expression and body language. This is the first step in teaching the audience
how to react to my magic. See Figs 3 and 4 for the handling. Just one subtlety
here: I get a break for the double as I close the deck. This allows me to throw it
over very casually. I don't maintain a break to turn it back because that's not
what's going to happen next. I simply let the cards fall naturally face up on to
the top ofthe deck as though they were one. It is a very relaxed moment.

Part 2: STRUCfURE & DETAIL

I take advantage of the release in focus to execute the next bit ofsleight ofhand.
I don't think this move has been invented before; it's not reallyimponant-it's
just what I developed for this moment. What happens is this: you peel the top
card off, but at the same time rotate the hand palm down. This action does two
things: firstly, it hides the second face card from the audience, and secondly, it
masks the back ofthe top card-which the audience thinks is red. This card,
now secretly blue again, is placed on the palm ofa spectator's hand. The whole
thing is one smooth action. It shouldn't look like a sleight in anyway. As soon
as I have done this, I adjust my grip on the deck so that I'm holding the cards
normally once more, with the faces showing, in dealing position. Turning the
deck and readjusting the grip are incidental actions. I pay no attention to them.
The focus should be on the card on the spectator's hand- not the deck at all,
because that is where the audience should believe the magic happens. It's all
storytelling. Once everything is in place, I say: 'put your other hand on top of
the card, and push down firmly. Breathe in... Breathe out... Now lift your hand

The Changing ofthe Guard 151

Figs

gently.' More often than not, the pressure oftheir hand will cause the card
to stick to their top palm for a second, before falling to the other hand. This
is great because in the audience's mind they think something happens to the
card at that moment, not before. I say 'Did you feel that?'. I peel the card up
from their hand by one corner, gradually, to reveal the colour change. The focus
is closed in and emphasis is placed on the sensation ofthe card changing.
Because ofthat, it gets a great reaction. Figs 5 and 6 show the peeling offmove
in detail. Ifi were just to say 'And now the card changes back to blue again',
it wouldn't have the same impact on the audience.

You need to draw them in, excite them and make them feel something. I also
add my facial expressions for them to unconsciously mirror at this moment.
(See 'A pictorial study ofreactions' in Part 3). This is step two of'teaching the
audience how to react' complete. Once again as the audience reaction breaks,
I take advantage ofit to prepare the next moment when the entire deck appears
to change to red backs.

Part 2: STRUCfURE & DETAIL

Fig6

With my left index finger, I buckle the bottom card (the red one) as in Fig 7-
I then continue that action so that the card turns all the way over -like the
beginning of a halfpass- as in Fig 8. This now leaves me with the red card face
up on the bottom of the face up blue pack Whilst I can perform this move
undetected in view ofthe audience, I still take advantage ofthe audience's
reaction to the colour change to execute it. I continue by saying: 'you think
that's weird? What amazes me is when the entire deck changes colour, at which
point I tip the cards to reveal the red back I then execute a series ofcuts that
apparently shows the backs ofthe cards as red. This is a combination ofthe
flustration count, and the <Flip, Flop, Plop' move detailed in Paul Harris' The
Art ofAstonishment volume 1, where you throw the top packet down, but it
appears that you are only dropping cards from the bottom. See Figs 9 and 10.

I throw large chunks down in a sloppy fashion and make a point ofstarting the
sequence slowly and casually. Then I pick up speed. For the last five or so cards
I use a fast flustration count, finishing with the red card at the top ofthe face up

TheChangingoftheGuard 153
Fig7

Fig8

154 Part 2: STRUCfURE& DETAIL

Fig9

Figw

The Chattging ofthe Guard 155

Fign

deck. This gradual change in speed helps the revelation to crescendo. After the
reactions reach their peak I turn the deck over sharply to reveal the blue backs
whilst making a gesture with my left hand (as in Fig n ). Dramatically this has
the effect ofbuilding up in a snowball, and then changing direction sharply and
crisply. One emphasis is a crescendo, the other is a full stop. Both get equally
good reactions. At this point, I should no longer need to educate the audience
as to how to respond. The impact ofthe effect and my previous groundwork
should be enough. The sudden change gives the audience the impression that
the cards rum blue right in front oftheir eyes. 'Actually ladies and gentlemen,
your eyes can deceive you... There were never any red cards at all... You were
just imagining it.' I spread the cards to reveal the whole blue back deck once
more, and separate my hands into a natural applause cue. Ifl need to, I may
add the words 'thank you'-just to make it crystal clear that it's the end ofthe
routine, and to anchor those words and body position with applause in the
audience's mind. This is a fairly short routine, but at the start you don't want
something too long. You need to hit the audience with several points of magic
in order to break them down, gain their respect and generate applause. This

Part 2: STRUCTURE & DETAIL

opener has four points of magic, which occur in relatively quick succession.
By its conclusion, I should have received a good response and otb.er guests in
the room will be looking folWard to seeing my act

I played around witb. ways ofmaking this routine more impressive magically,
but in the end I always returned to simplicity. I tried using a double backer to
improve the card change on the spectator's hand. I tried deck switches so I
could show all the cards fairly as blue and red. However, tb.ese additional
elements always left me with too many gimmicks or decks, whichgorin the
way ofthe rest ofmy act I needed the pocket space for other effects, and didn't
want to get things accidentally mixed up, or have too much to reset One
different card does the job, and in the minds of the audience, the same
impossible sequence ofevents is wimessed. At the end ofthe routine, I simply
palm the indifferent card offthe deck, and put it in my pocket as I take out a
sharpie marker. They sign their card, and I get on with the next routine without
having to think about anything else. Later in my act, when I give the cards to the
audience, they often try to find the red ones!

Concluding Part 2
Part 2 has been designed to give you a starting point for creating an original
magic act, and an awareness ofthe dramatic and structural tools that can
build an exciting performance. It is now up to you to go away and apply this
knowledge practically. Reading this book will only get you so far. However, in
using the knowledge you now have, you will be able to progress much further
than other magicians who only focus on moves and <tricks'.

Being original is hard work. There is no quick fix. You must stop yourselfbuying
an effect put out on the magic market and performing it as instructed. Instead,
you must draw on principles that you already know and think outside the box
in order to come up with a unique routine. You will have to spend hours testing
your ideas and chucking things away that don't work. However, when you
finally get there, you will have an act that is worth the wait.

TheChangingofthtGuard 157
 Part3:

PERFORMANCE

ooooo ooo oo o oooou••• • ••••o • oooooooououooo ooooo oo ouoon oo ooooo o ooo oo•u•••••o•o o oooou o nuooooooo••••• • •oooo u ooooo oo o uoooo ooooouooooou o oooooooooooouooooooo u oooooo

158 Part3:PERFORMANCE
 I ntrodvtcing paTt 3

The sad nuth is that many magicians have no idea how to perform. rm not
just referring to amateurs and hobbyists, but also to a significant number of
people that call themselves 'professional'. I shake my head in despair when
I see a magician that doesn't understand the basic principles ofperformance,
and has zero charisma I think- what on earth are you doing being a magician?
Who are you kidding? Do you really think that what you are doing is good?
Then I remember that most magicians get into magic because they are initially
interested in the cleverness of'tricks'. They are often people with analytical
rather than performance mindsets. They are not necessarily performers by
nature. Having learnt a few effects, suddenly they become the centre of
attention, and they like it. They like fooling others and climbing up the
social ladder.

The difference with people who train to become actors is that they are
predominately interested in communicating themselves to others, in sharing
their emotions, and they feel comfortable being watched. I see so many
magicians, and 'professional' magicians who are not comfortable being
watched! Some magicians are scared ofperforming and consequendynever
perform for anyone. There are also many magicians who like being the centre
ofattention, who are not interesting to watch, even though they think they are.
You have to remember that the person giving the performance is ofmost
interest to the audience. Your personality and your character are ofparamount
importance. How do they feel aboutyou? Don't use magic as a protective shield.
Fitzkee rightly asserts that 'sellingyourselfis more important than sellingyour
magic'2s, and you should 'sell yourselfevery second ofevery minuteyou are in
front ofan audience... or next time they won't ask for you'16• Yourpersonality is
just as important, ifnot more important, than the magic you do. Your audience
has to like you. They must feel drawn to your presence. You must become
someone they want to see, rather than rely on your technical skill & dexterity
to grasp their attention.
" Fitzkee, p176
• Fittkee, P47

flftroducingpart3 159
Part 3is what it's really all about. In this section of the book I'm going to discuss
what makes the difference between a good performance (which you now have
the keys for), and an outstanding performance that lifts every fibre in the
audience's body.

The focus on the moment ofperformance is what sets this book apart from all
other magic literature on 'showmanship'. While some authors offer excellent
advice about magic and performance, very few offer detailed guidance on
actually doing it and howyou can become someone the audience really wants
to watch. How does it feel to be on stage in front ofseveral hundred people?
How does it affect you? Do you get nervous? Do you feel at ease? Do you have
a natural presence? Are you able to be spontaneous? As a theatre director and
magician, these questions are ofutmost importance to me. The moment of
engagement l:>etween performer and audience is vital. Everything up to this
point has been preparation. Developing a character and snucturing an act in
a detailed, focus sed way provides a strong foundation. From now on, it's about
actually doing it. How we communicate, physically and vocally, gives us a
palpable presence. How we engage the audience affects how they perceive
us. We can make them scream, shout, laugh and on occasion, cry. It's all about
remaining present, responsive and aware ofwhat you are communicating
to the audience.

Now you have decided who you are, what your act is and what you're going
to do -let's make you better at actually doing it.

This part ofthe book splits into several main sections: Colour, Rehearsal,
Presence, and Key Skills. The section on colour is designed to help you
understand what gives your performance life- what gives it shades and tones.
This includes a number of dramatic techniques that I didn't discuss in Part 2.
The rehearsal section is primarilylogistical. It's there to assist you with the
nitty-gritty part ofputting the elements together and running the act. It
includes a tried and tested process that will take you from first rehearsal right
through to first performance. The section on presence focusses on the image
you project to the audience, your mental state and the way you move. Several
key acting methodologies are imparted here. After this we move on to a section
titled Key Skills. This looks at basic rules ofstage practice, audience
management, generating reactions and gives advice on how to avoid
common performance pitfalls.

160 .Part3: PERFORMANCE

 The shell

Performance is something you have to gear up for and step into. It differs from
real world behaviour and it requires much more ofyou. Many magicians don't
know how to step into performance mode effectively, so I'm going to talk
about it now.

You can switch the performer pan ofyou 'on' and 'off', and there is a distinct
difference between being 'on stage' and being your normal self. I mentioned
this in Part 1, but I'm re-instating it here as something that lies at the very core
ofunderstanding performance as a craft. When you perform, you have to
switch on a better, more exciting version ofyourself This is a process of
transformation. You must change from being your normal selfinto 'the
magician'. It's something you can practice, and the more you do it, the quicker
and easier you will be able to switch from one to the other. It's rather like
dressing up for a night out. Putting on a coat makes you feel a certainway. Your
'performance self is like a shell- somethingyou can take offthe hangerand put
on. You have already created it by deciding who you are going to be and what
kind ofact you are going to do. So, after all the foundation work, it's simply a
case ofdonning the character.

No matter how dreadful you feel, what your current emotional state is orwbat
your troubles are, when you put the shell on you must become 'the magician'
and put everything else to one side. You can escape the real world and become
the person you want to be. In masked theatre, the actor will often stare at the
mask ofthe character they are going to play for a while before puttingit on.
They observe its features and qualities, and then they embody it. Theybecome
the mask. You can do the same. You can look at yourselfin the mirrorin the
dressing room, or as your prepare for a gig at home, and see the person you
wish to become. See everything there that you have decided upon: the
characteristics, the physicality, the more positive aspects ofyourself, and
then become that image.

ThtsheU 161
It helps to be alone when you make the transformation so that you ani
focussed, rather than self-conscious. Privately at home before the gig, or in your
dressing room are the best places. Ifyou are away from other people, and you
know you can't be heard, there is somethingyou can do which will strengthen
the transformation further. That is: assen a 1mantra'. Amantra is a concise
phrase that encapsulates the essence ofyour character. It should express the
reason d'etre ofwho you want to become. Uner it in the first person. An
example would be 'I am (your name) -world renowned illusionist-here to
dazzle and amaze you.' Repeating this several times in front ofthe mirror with
real conviction will help you make the psycho-physical change from your daily
selfto your performance self Try to create a mantra that has an emotional basis
to it. In this example the character needs to entertain and amaze others.
The manna is almost an expression ofthe character's through line or
super-objective.

It is, ofcourse, equally possible to transform into performance mode in other

circumstances. Quite often I rum up my favourite music in the car and shout
mymantra as I drive down the motorway to a gig. At other times, when working
with others, I may only be able to make the switch in my mind. Sometimes
switching on can be easy, othertimes it takes a while. However, it is a necessary
process and the more you practice, the easier you will be able to make the
change. One thing is certain, you can't give a really good performance without
being mentally and physically ready.

However, a few words ofwarning: your shell should not feel artificial to the
audience, or stop you interactingwith them. Ifyour·performance comes across
as mannered and false, it will make your performance worse, not better. As we
discussed in Part 1, your character mUst be a purer part ofyou, not an awkward
exterior that you throw on top. Only push it out of naturalism ifthe style ofyour
performance requires it.

The American magician Daniel Sylvester Battagline performs as a living

cartoon called 1Sylvesterthe Jester'. The cartoon basis ofhis act justifies his
over the top, pantomimic gestures. But underneath that, his comic physicality
is fundamentally an expression ofhis character's need to have fun with others.

The shell is a tool to help you 'become' the performer at the right moment.
Over time, and with practice, you will be able to switch it 1on' and 10ff at will.

162 Part3: PeRFoRMANCE

 Colour

Colour is all. When colour is right, form is right. Colour is everything, colour is
vibration like music; everythingis vibration.
Marc Chagall

I cannotpretend to be impartial about the colours. I rejoice with the brilliantones,

and am genuinely sorryfor the poor browns.
Winston Churchill

...colour can be man-made and its dandng rhythms njlertnotonly the sky but,
because ofits transparency, the depth oftlte wateras well.
David Hoclrney

As a performer, you should recognise that yourbodyis aninsmunent. It is the

vehicle through which you express yourself-your thoughtS, yourfeelings and
your emotions. It is capable ofa great many shades and coloUIS. In Part 2 we
talked about the dangers ofremaining in yournarural tempo-rhythm; namely
that you can bore the audience. As a performer, you should explore the almost
infinite range ofpossibilities your body and voice offers you, in ordeno find
what work in performance. In daily life, we only use a fraction ofour
capabilities because we spend too much time sitting in front ofa computer
and talking in a socially acceptable manner. The more you challenge yoUISelf,
and the more you look for new ways to express your personality, the more you
will discover.

Rememberthat as performers, we must lift ourselves out ofhabirual

communication, out ofthe 'daily',just enough to make us compelling to watch.
It is ourjob as magicians to communicate in a way that hold the viewer's
interest. Depending on the style ofyour act, you may have more or less license
to explore physical and vocal dynamics. However, within the given
circumstances, you still have an infinite range ofpossibilities. It doesn't matter

Colour
whether you perform close-up or on stage. There is no excuse forgetting stuck
in a monotonous, emotionless delivery.

Colour not only offers us a range ofexpression, but as the Hackney quote
indicates, it also offers us depth. By colouring our performance, we give our
audience so much more than a flat surface. We let them into a world ofmagic
through us. We articulate a journey for them. We tell them what to think, how to
feel and how to respond to the experience ofmagic. In doing so, we must make
choices about how and what we communicate.

What do we show the audience?

How much do we show the audience?
What do we choose not to show the audience?

It comes back to making a conscious decision about everything you do- the
'why' is so important. But the focus in tills section ofthe book is on how you use
your voice and body to help you communicate those attitudes, expressions and
emotions clearly to an audience.

Ofcourse, in order to get to a stage where you can focus exclusively on the
performance ofmagic, you must first have a strong familiarity with the mechanics
ofyour act. And ofcourse, you must also have a clear understanding ofyour
character. You need unity, purpose and specificity to drive your decisions.

Emotional involvement

Colour is fimdamemally about emotion. You may think that emotion is

something that only concerns actors and isn't important for magicians. There
are indeed some skills that actors acquire which are unnecessary for magicians.
However, the main thing to realise is that performance is inseparable from
expression. Any kind ofexpression involves the communication ofemotion.

All good magic acts affect the audience in some way. Think about great
performances like Harry Blackstone's floating light bulb, David Copperfield's
buzz saw illusion, or Tommy Cooper with the multiplying bottles. Agood
performance has an emotional sensation at its base-whether it be wonder,

164 Part3: PERFORMANCE

suspense, laughter, or anything else. Wonder involves hope, suspense
involves fear and laughter involves joy. Your magic should be a vehicle that
allows you and the audience to explore these human states. Making people care
requires you to pull on their feelings. In and ofitself, a card changing colour, or
a lady floating, has nothing emotional about it-but the way in which you do it
does. Think ofyour effects and routines as a medium through which you
express yourself

In talldng about the connection between emotion and magic, I don't want to
become self-indulgent. All I'm saying is that a magical experience is also an
emotional experience. In order to be successful, you must make the audience
feel something. You must do something that affects them. If, at the end ofyour
routine or act, they are cold and non-reactive, then you have failed to engage
them properly, and you have probably failed to communicate something
about yourselftoo.

In order to get an emotional response from the spectator, I believe you must
become involved yourself You must pass a feeling to your audience. Ifyou
want them to feel wonder, you must generate it inside yourselffirst. You must
let it flow through your performance. Ifyou want them to be fearful, you must
give them an edge offear. Emotion is infectious. If I act surprised, you are likely
to respond with surprise, ifi communicate myselfwith warmth, the chances
are you will rerum it. You can also cause emotional responses through other
methods too, but what I want you to grasp is that the audience picks up the way
you feel about what you're doing. The quality with which you handle a prop, for
example, communicates volumes about you and your character. You
communicate yourselfemotionally through your actions. Let's sayI use a
newspaper in my act; perhaps I perform the tom and restored newspaper. I
could touch the newspaper in different ways:

1) I grab the newspaper rashly and rip it into shreds.

2) I carefully and precisely fold and tear the newspaper.
3) I casually take the newspaper and tear it randomly.

Version 1 conununicates frustration, anger and agitation. Version 2

communicates care, attention, and focus. Version 3 communicates an easy-
going, relaxed nature. These are three different versions ofthe tom and

Colour
restored newspaper. What makes them different is the waytheyare coloured by
the performer. Colouring a peiformance unavoidably involves emotion. Even
when it is diffused, as in version 3, it still communicates an emotional state that
the performer is in-one ofrelaxed casualness- and that is picked up by the
audience. From these short descriptions alone, I can see three very different
magicians perfonning three different acts. In version 1, the performer could be
ripping up the newspaper because he has seen a bad review ofhis act, but then
realises he hasn't paid for it, so finds a way ofquickly restoring it. In version 2,
the performer could be demonstrating how may times it is possible to rip a
sheet ofpaper when you lay them ontop ofeach other, which to his surprise, all
folds out into a complete sheet at the end. In version 3, the performer could be
telling a story about making something out ofpaper mache and waiting for the
pieces to stick together. These are just quick examples, but what is interesting is
how the quality of action alone can communicate voltunes about character.

Emotion is what really engages the audience.

Emotion is colour.

Performing magic is a~out an emotional exchange between you and your

audience. It is about sharing a feeling or sensation with them.

Attitude
1
Attitude' is one ofthe most important tools that an actor has in their arsenal.
It can be used again and again to add emotion, detail, complexity and interest
to their performance.

What is an attitude? It is an emotional standpoint. Bored, irritated,

disinterested, committed, excited and so on, are all attitudes. You can be
disinterested in an activity, irritated by someone, committed to something, or
excited by an event. At any point in time you have an attitude to what's going
on. You change depending on what's around you, whom you are relating to and
what you're focussed on.

When working on a scene ofa play, typical questions a director might ask an
actor are:

166 Part3:PERFORMANCE
 'What isyour character's attitude towards this person?'
What isyour attitude to the situation?'
'What isyour overall attitude in this scene?'

Answering these questions helps an actor to decide how their character might
feel orbehave at any given moment in performance. As magicians, we can also
do this. Instead ofapplying the questions to a scene, we can apply them to an
effect or an aspect ofa routine. 'Attitude' is a powerful tool that allows you to
be specific, clear and detailed at any point in time. It can stop your performance
becoming 'woolly'. I think this tool is far more valuable than any effect you will
ever buy. Think about a typical magic routine such as 'The Ambitious Card'.
You could make it jump to the top several times in the same way, which would
be boring, or, you could change your attitude on each individual phase ofthe
routine. The first time itjumps your attitude could be cool, the second time
excited, and the third time, when the ending changes completely, you could be
surprised. Having read Part 2, I trust you would be looking for a climax that
supersedes expectation! Building up a range ofemotional attitudes affecrs the
audience, whereas: 'look it jumps to the top' three times does noL In fact, done
without any changes ofattitude, the spectator would probablydlinkyou were
trying to show up their stupidity in not understanding the method.Without
drama, the focus is simply on it being a puzzle, rather thana piece ofmagic.
The expression or feeling of'wow, wasn't that amazing!' often needs to come
from you before it can come from the audience. When I perform I sometimes
say 'wow!' filled with wonder myself, looking directlyat the spectator. I do this
to generate a response, and to teach them that they can react emotionally to
what happens. However, I only use this tactic at srrategicmomenrs within my
routines. Ifi did it all the time it would lose irs effect and become irritating.
I use it to anchor an initial response.

The great thing about attitudes is that they can colour almost anything in your
performance. Let us reshape the director's questions into something useful for
magicians:

'What is my attitude towards the audience f »o/ props I my magic I my assistant

at any given moment?'

Working out what the relationships are between various pans ofyour act is a
beneficial and revealing process. It can help to strengthen the show and clarify

Colour
how the pieces fit together. In some cases, it can cause you to re-think the
whole structure. One way oflooking at performance is to regard it as something
mysterious without technique- but that doesn't help you become consistent in
reaching a certain level. Ifyou don't make things clear in your own mind, then
the chances are yourperrormance will be mushy and unclear forthe audience.
Ifyou think 'well I am who I am, and I don't need to define my attitudes at
various moments', then think about a performance you have seen that has
gripped or moved you. Were the intentions or attitudes ofthe performer(s)
tmclear? I am willing to bet that it had an effect on you because you knew
exactly what they were communicating.

Choosing an overall attitude or a series of attitudes strengthens your

understanding ofwho you are and sharpens your performance. You will
know instinctivelywhetheryou have made the right choice when you start
performing with a certain attitude. Ifit doesn't work, you can keep changing it
until you find one that does. Trying things out and getting feedback will help to
strengthen your persona.

The attitudes you choose don't necessarilyhave to be positive. You could hate
your assistant because it takes her too long to do anything. You could get
irritated with a certain object because it keeps reappearing. You could even
have a sceptical attitude towards the audience, or be wary of one ofthe helpers
you have asked on stage because you think they keep stealing things from you.
You can choose almost anything. However, ifyou pick a negative attitude, it is
important that the audience still likes you. You could be wary ofone volunteer
and trusting ofanother. It would offer you comic possibilities. However, ifyou
insulted the audience, and it wasn't with obvious comic intent, they could turn
against you. Be intelligent with your choices. Choose attitudes that help your
act to become more entertaining.

In Part 1, we considered what makes outstanding perrormers. Lance Burton and

Derren Brown have very different attitudes to performance. Lance Button's
attitude is 'I'm relaxed'. He is relaxed with what he is doing and relaxed with the
audience-everything he does emits that attitude. We enjoy watching him
because ofthe way he delivers magic to us. Derren Brown's attitude is one of
intelligence, and, to an extent, cleverness. However, it is a cleverness that the
audience likes. He looks at the world in a way which intrigues the audience. He

168 Part3: PERFORMANCE

peppers his magic with psychology, false explanations and mental trickery.
In fact, the cleverest thing about his magic is often not the method, but the way
he dresses it up. He is a master of showmanship and presentation.
The three examples I gave ofthe 'tom and restored newspaper' are different
because they each have a clearly defined emotional attitude attached to them.
You can use attitudes to unify, layer, or split up your performance as you see fit.
You can take the audience on an emotional journey that they either identify
with or react to, and make it seem real and spontaneous.

Effort

Some magicians don't get the reaction they should because they don't make
their magic seem hard enough to achieve. What you have to remember is that
the audience has no idea what is hard or easy in magic. It's all magic to them.
It's all impossible. They don't know a pull from a thumb writer, ora double lift
from a second deal. They don't know about the methods and they don't know
whether it's easier to perform a key card trick or the 'tom and restored card'.
They have no way ofmeasuring difficulty... unless you show them. Ifyou
produce a coin, vanish it, pull it from behind your ear, vanish it again, pullit
out from your pocket and so on, the audience might be impressed. However,
given the speed and number ofrepetitions, they would probablyconclude that
although it looked impossible, it can't be that hard to achieve becauseyoujust
did it several times in quick succession. Consequently, theyarelikelyto
respond with mild amusement rather than genuine astonishment.

Ifyou place focus on the effort it takes to achieve something, regardless ofhow
simple or complex the method, you can dramatically increase the reactions you
receive. Think about Houdini's performance ofthe watertorrure cell. He didn't
just get out immediately. He made itlook as hard as possible. Infact, he was
known to get out and stand behind the curtain for a good amount oftime
before revealing himselfto the audience, dripping wet and gasping for air. This
made the feat see much more impossible. The audience identified with his
state ofexhaustion and the effort expelled before their eyes. This earned him
a terrific response- much more than ifhe had done the escape at speed. It was
the human struggle that the audience connected with. More recently, David
Blaine concluded his stunt Frozen in Time by being taken awayin an ambulance

Colt:mr
and given oxygen. He didn't just walk away at the end because that would have
made the feat look too easy.

Showing the audience how much effort is required involves them in the
process and articulates the journey.

Effort has an emotional quality about it and it is something that people identify
with. Ifyou show the audience how hard something is, they will instinctively
relate it to their own personal experience.

Take something as simple as opening a can.

Ifyou asked me to open a can, and I did it quickly, without any fuss, you
wouldn't think anything ofit. However, ifI expelled more energy, struggled
with the can opener, pulled a face, stopped for a rest, breathed out heavily, tried
again and exclaimed 'ah!' as I finally managed it; you would probably think I
had found it difficult. You might conclude that the can openerwasn't working
properly. Perhaps you would have tried to give me a hand.

The difference with the second 'perfonnance' ofopening the can is that I
articulated, in detail, the difficulty involved at each individual stage. Anyone
watchingwould have understood the process and just how hard it was, even
though they didn't do it themselves.

Nowlet's apply the same principle to a simple magic effect.

Ratherthan make a card change quickly; articulate bow difficult it is to actually

make a ·card change. For example; you show a card, place it on a spectator's
hand, hover your hand above theirs and press down against the air, as though it
had the resistance ofconcrete. As you push down, you show tension in your
facial expression. ·when your hand touches the card, you suddenly release all
the tension and reveal the change. This is only an idea, but after that display, do
you think the audience would meet you stone-faced when they see the card has
turned into their selection? Try it. In my experience, to get a good reaction you
must invest a certain amount ofdrama in the events.

Imagine what it would be like ifyou could actually do magic. Would it be easy?
Would it be difficult? Would it drain you ofenergy? Would some things be

Part3: PERfORMANCE
harder to achieve than others? Is the moment when something vanishes the bit
that requires the most effort? Or, does itrequire more effort before it vanishes?
Effort articulates the journey for the audience. They must identify with the
separate stages you go through in order to achieve the end result. This is not to
say that you can't choose to make your magic look effortless-but that is a
dramatic choice. All I am saying here is that varying the degree ofdifficulty
helps colour your routines, and gives credibility to your magic.

Remember that effort tells a story. Although false shuffling.a deck ofcards may
be more difficult than a double lift, the audience should only focus onwhat you
tell them to. Articulate what is hardest in terms ofthe story you are telling. The
mechanics are independent ofthat. The irony is that quite often you have ro
make a hard move look like nothing has happened, and an easymove look like
something really difficult to achieve. For example, returning to the ambitious
card again, perhaps you make each phase ofthe routine slower. But, in terms
ofstorytelling, doing it slower requires greater effort and concentration from
you. Perhaps the final stage, when it jumps into your pocket, requires the most
effort. Adding such colours to your routines will earn you a good applause
from your audience.

Think about an amazing goal you have seen in a football game. It doesn't come
often, and it doesn't come easily. It requires a great level ofskill, effon:,
concentration and timing. The audience sees this, understands it and reacts
appropriately. Articulate what is most difficult or impossible in your routine,
and give that moment the weight and focus it deserves.

However: a word ofwarning. Although articulating effort is important, don't be

tempted to turn your magic into a self-indulgent, melodramatic display. Create
something that the audience can believe in; something that will make them
think: you are a more amazing magician with every step. The effortyou expel
must be believable. I have seen many magic performances where it is too over
the top, too arched and it appears fake. It feels fake. Once you cross the line of
believability, you shatter the illusion for your audience, and theywill just see
your performance as unnecessarily dramatic. One ofthe most important rules
ofstraight acting is:

- believable acting looks real

Colour 171
There is a very fine line between something looking and feeling real, and
appearing too pantomime. IfI walked into a theatre and heard someone assert
in a theatrical voice 'to be or not to be; that is the question', my immediate
response would be 'oh- that's an actor pretending to be Hamlet'. However,
ifi saw a cleaner sweeping the stage, moving things around and minding their
own business, I wouldn't perceive them as an actor impersonating someone
else. However, they could be an actor in character. I wouldn't think to question
them because their activity, movement and physicality seem real. Although
you are a performer, and you need to assert yourself, realism should be your
benchmark. Everything you do should have a certain amount ofreality in it.
For example, your powers might allow you to levitate an object so far, but the
force ofgravityyou batde with stops it from flying all over the room. Think
about how far you could feasibly stretch reality as a magician, but be careful.
Understand the point at which the audience aren't going to believe any more.

When you add degrees ofeffort into your routine, remember that it has got to
look and feel real in order to convince the audience. The only instance where
this is not the case, as I have already mentioned, is ifthe style ofperformance
is highly stylised, and the audience understands this. However, even in those
circumstances, seine level ofreality must be present so that an action can be
understood ancj_ empathised with.

What is t he price paid?

An acting teacher I know used to ask 'what is the price paid?' when dealing with
the achievement ofan objective. Sometimes, where effort is required to achieve
something, there can also be a consequence. This relates to our discussion of
'The Stakes' in Parr 1, when we identified that an undesirable outcome can fuel
you to fulfil an objective.

'What is the price paid' prompts us to consider what the consequence might be
when an objective is achieved.

In the context ofa dramatic scene, the objective might be:

'I need to tell my friend who stole their wallet, in orderto regain their crust'.

However, ifthe character is friends with both the thiefand the friend in
question, the consequence ofachieving the objective might be the loss of one

172 Part3: PERFORMANCE

ofthose friendships. Effon becomes visible as the character snuggles to make
their decision about which friend to keep. Tension generated by dilemma
makes for an interesting dramatic scene. Ifthe objective is too easy to achieve,
the chances are it will not make good dramatic material.

In terms ofmagic then, what is the consequence offloating an object, or

escaping from a packing case? Perhaps the activity drains you ofenergy.
Remember that it's all about storytelling. Maybe the consequence ofvanishing
an object is that it reappears somewhere else- so it never really disappears,
itjust moves. An act with a hook like that could have considerable comedy
potential. You could even apply a consequence to a routine such as 'card warp'.
The price paid might simply be that two playing cards are desrroyed. This ruins
the pack, leaving it incomplete. You could choose to make it clear to the
spectator that you are willing to sacrifice two cards in order to showthem an
extra special piece ofmagic. This would help focus their attention. Theydon't
need to lmow that you can perform without a full deck, that you buy cards in
bulk for a discount price, or that you show almost everyone that effect.

Scripting

Why should you script your act? Well, regardless ofwhether you are a close-up
magician, cabaret magician, or stage magician, scripting can consistendymake
the difference between a below average performance, and a great performance
packed full ofcolour. Following a detailed script allows you to hit the same
mark every night. It allows your performances to be consistent, defined,
focus sed, economic, and in control at every moment. You should neverbe in a
position where you are thinking ofwhat to say next. You should know exacdy
what you are going to say and do, and with what intention.

At the start ofthe book I mentioned that specificity can lead to a confident,
successful performance. Being specific helps the performer's sense of
direction, and it makes things clearer for the audience. The more prepared, the
more detailed, and the more specific you are, the higher levelyou will be able
w achieve in performance. Ifyou start at a low base level, you may only reach a
high level on occasion, but ifyou start high, you can hit that mark consistently.
A script is like a music manuscript: once played by a competent performer, all
the richness and texture is produced for the listener. It contains the details

Cdour 173
ofwhat to play, and how to play it. Your script should do the same. All your
work on colour should be contained within it.

Scripting is a vitally important part ofyour preparation for performance. Ifyou

don't believe that scripting will improve your magic, consider this: do you think
a comedian can produce a funny, witty, razor sharp act, and deliver lines at the
right timing and pace without preparation? Of course not. It takes hours of
conscientious rehearsal, development, audience testing, redrafting and so on,
before the script can become perfectly honed.

Unless you do a silent act, much ofyour communication as a performer is

verbal. Perhaps you might contest this, given the visual nature ofmagic, and the
fact that psychologists attribute a high percentage of communication as being
non-verbal. However, something I have noticed when performing
internationally is that misdirection becomes significantly harder when your
audience doesn't speak English as their first language. I usually execute sleight
ofhand whilst speaking, when I know the audience has eye contact with me. I
often wait for the moment when they respond to my instruction, or answer a
question. With foreign audiences it's different. They tend to focus on what you
show them physically. Performing abroad has made me realise just how much
the timing and delivery ofmy speech facilitates my magic.

Ifyou neglect scripting, you will do yourself a huge disservice because there are
several ways it can help your act:

1. Scripting leads to economy and clarity.

2. Scripting aids misdirection.
3· Scripting clarifies intention.
4 Your choice ofwords communicates specific things. about you and your act
(both good & bad).

Your speech must be active. It must draw the audience in. Whetheryou like it
or not, everything you say, intentionally or otherwise, is interpreted by the
audience. Therefore, ifyou don't script, you may find yourselfusing sloppy or
unclear language that devalues the magic you perform.
Think about everything you say in your act and remember Phil Jay's question
that we discussed earlier:

............ ................................................................................................................................................. ........................

~

174
 'What will the audience think ofme now?'

Look over your script and askyourselfwhatwould the audience think when
you say a particular:word or phrase. What can you cut or change in order to
make your act more entertaining?

1Vords
Your choice of specific words can help build status and prestige, or work
against you. Remember that what you say and do is dictated by the
circumstances. In most contexts you should avoid expletives and strong sexual
references. I have rarely seen a magic act that has been improved through
excessive swearing etc. The only exception to the rule is ifthe circumstance
allows it, oryou have been booked because ofthe risque nature ofyour act. For
example, Jerry Sadowitz is known for using foul language with his magic- that
is his act and that's what people expect from him.

Your choice ofwords depends on your audience. Decisions may be influenced

by gender, age, religion, education, culture, and so on. You can choose to make
yourself more amenable by using language that your audience is familiar with.
Using words that relate to their worldview shows you understand them.
Equally, you can choose to use language that indicates your difference to the
audience. Perhaps a bit ofboth-it's your choice.

Words can be used strategically to build your character, add drama and
facilitate the audience's journey through your act. Emotional words can be
woven into your routines in order to encourage the audience ro feel a certain
way in response to your magic. These could be direct exclamations such as
'wow!', which tell the audience what kind ofreaction you want, orsuggestive
words used in the build up of an effect, such as 'wouldn'tyougowild?', 1ust
imagine', or 'some people scream when they see this'.

An obvious benefit ofscripting is that you can eliminate unwanted words or

phrases that don't push your act forward. Ifyou watch your performances back
on video you will discover a script filled with useless words like 'er', 'urn', 'okay',
'alright', which dilute the overall impact and slickness ofyour performance.
Scripting can help you to avoid these pitfalls.

175
Quality of speech
Theway in which you speak, as well as the choice ofwords, makes your
audience feel a certainway. Delivery is just as important as the words
themselves. Think about something as simple as the way you get a spectator
to choose a card. Below are two treatments ofthe same activity in terms of
scripting:

Version1:

Grab a card.

Spectator takes a card

Great.'

Versionz:

'There are fifty two cards in a pack ofplaying cards... They derive from the
ancient system ofthe Tarot. As I go through like this... as I pass them from
one hand to the other, I would like you to choose one... when you feel the
urge... just one...

Spedato1' 1·eaches

However, it's important that you feel it's a free choice...

Take your time. I won't influence you.'

Spectator takes a card

In version 1, the quality ofthe speech is direct, simple and relaxed. In version 2,
the speech is tentative, suggestive and mysterious. Because ofmy style and
delivery, I would prefer the more direct version, but neither ofthese is
necessarily any better than the other. Appropriateness depends, as usual, on
the circumstance and what you want to communicate. Notice that the quality
ofspeech reflects your character and the style ofyour act. The use ofthe word
'Tarot' for example, immediately implies bizarre or esoteric magic.

Part3: Pt:J!roRMANCE
Version 1 would work in a party environment, which is what I am used to,
whereas version 2 might be better at a one table gig, or in an intimate close-up
show. Depending on the delivery, version 1 could appear more urgent, and
version 2 more enticing. It's all a matter ofchoice and justification. However,
version 2 wouldn't work in a noisy environment because it's too long winded
and detailed. Choose the most appropriate language for the environment you
are in, and use words to communicate key information about your act.

Don't try to write the script as you go along. All this will achieve is a lazy,
sluggish and unpolished performance. Any good reactions you achieve v..rill
be the result offluke. You need to know what you are going to say and do, and
how one thing leads on to the next, so you can build and build to the climax.
Scripting aids dramatic structure. Your spectators should feel whipped along·
byyour performance.

Some performers develop a script by trying out routines and then tightening
their words through repetition. To my mind this happens anyway. Decisions
still have to be made about what you do, and what you might saybefore you
perform, so even though the script may not be written down, it is still an
unavoidable part ofthe process. The more you script, the quicker you will reach
a polished performance.

I would strongly suggest writing your script down and filing it somewhere
safe, so you can look back at it and revise it whenever you want. Commit it to
memory so you can focus on performing, rather rhan thinking what to say. It's
not a good idea to have several processes going on at once-you already have
enough on your plate dealing with volunteers and executing sleight ofhand.
The last thing you want to be thinking about is 'what am I going to say to cover
this move?' or 'what should I say ne:x1:?'

Ofcourse, the audience shouldn't be aware that you have a script. You don't
want them to think 'he wrote those lines dovm at home'. It should appear
spontaneous. If, having scripted your act and committed it to memory, ifit
doesn't come across naturally, there are three possible reasons:

1) You haven't written a script that sounds believable.

2) You don't know it well enough.
3) You aren't really speaking your script with intention.

Colour 177
In the case of 1, it is easy to write things you would never say that way in reality.
Be careful. Make sure your script fits in with your breathing and manner of
speaking. Vary the tone, tempo, and type oflanguage you use, but make sure
that it fits in with your natural speech patterns. I have seen many magicians
launch into horribly arched presentations that don't suit their character at all.
Don't make that mistake. Close-up magicians need to be particularly wary of
going from normal speech into 'act' speech. The difference should be
imperceptible ro the audience.

The other common mi.stake is saying things that don't seem realistic or
autbful For example, 1 found these ancient sticks on my travels in China'.
Doyou reallyexpectthe audience to believe that when you show them two
plasticstickswithpom-poms on the ends? Don't just copy the patter you were
givenwirh aneffect, saysomething that suits your character. Make it yours.
When I gee a newdfecr, the last thing I do is look at the suggested routine
becauseldon'twa:m:someoneelse's ideas to cloud my creative process. It's
veiJeasytoassumetbartheinsttuctions given are 'the law', but don't forget
tbatevezyoneis differentand what works for one person may not for another.

In the case oh, speechmllS[ appear real and spontaneous. Ifyou don't know
your saiptwell enough. yourpreoccupation with remembering the lines will
be noticed byrhe audience. The best way to absorb a script is to link it with the
physical actions you perform. It should never feel as though you are reciting
lines from memorylike a pledge or a series ofverb endings.

1nthe case of3, the scriptyou have written isn't being spoken as though it were
real. It doesn't have any drive or impetus behind it. Every single thing you say
must be linked to an intention. You can'tjust say 'pick a card, look at it, give it
back, hold your hand out, the card has changed into your selection' in a
monotonous disinterested voice. You might as well get a robot to do the effect.
Give everything a motivation. For example, you could say 'pick a card' with the
intention ofexciting your audience.

To give life and colourtoyourwords, you need to link them to the objective.
Ifyour overall objective is to freak the audience out, how does that inform the
way you speak and your choice ofwords? Perhaps you might say 'hold your hand
out' in a slow, sustained voice, whilst staring directly at them. Thinkbackto our
examples ofLance Button, Derren Brown and David Blaine. The choice and

1'1lrt3; PERFORMANCE
delivery oftheir words informs the auclience about their character. It also reveals
their intentions. How does their use oflanguage establish and maintain interest?

Scripting action
Your script shouldn't just contain what you say, but all necessary physical and
logistical actions. In between the lines you should inclicate where and when
sleights are performed, when steals occur, when you ditch something from a
dirty hand and so on. You should also detail all visible actions such as cutting
the cards, helping a volunteer on stage and so on. When you write your script,
include all ofthis information because it will force you to focus on the timing
and necessity ofyour speech. It will help you to realise when you shouldn't
speak, for example; at times where you don't want split focus, orwhere it's
unnecessary because the action is self-explanatory. Itwill also help you to
realise when you do need to speak-for example, at moments where you need
to misdirect or smooth over a dead spot.

Including full details ofyour action in the script, both open and hidden, will
help you discover any potential problems before it's too late. You don't want to
be in mid-performance when you realise that you haven't got a free hand to
help a volunteer up the steps, or you need an excuse to ditch a thumb tip. It
should all have been considered, noted down and rehearsed beforehand.
However, many magicians don't prepare thoroughlyenough before they
perform, and they don't record all necessary information in a scriptwhere it
can be revisited. Get in the habit ofdoing it. Amajor difference betweengood
and bad performers is that bad performers think they can wing it. They think
they don't need to bother with any kind ofscripting. Full time pros know that
you can't afford to make basic errors. Everything has to be fully considered. A
formalised script can help you collate your thoughts, create a dramatic journey,
see possible logistical pitfalls early on and monitor your progress.

Below is a script I have used in the past. Please note that given the nature of
close-up magic and the circumstances, I do change what I say depending on my
audience. Ifthey are drunk, or the music is too loud, I may have to adapt. Some
lines are more effective for some aucliences than others. I have to make a split
second decision. However, my script gives me a firm base from which to do
this. I improvise from a strong foundation.

I have put optional lines in brackets.

Colo11r 179
C01-porate Close-up Se1-ipt
Holding a deck ofred backed Carla Mundi playing cards in his left hand, Sonic puts
his hands on the shoulders oftwo diners at the table.
As they look up, he ad~t·esses them.

Good evening, is it ok ifl squeeze between you to entertain the table?

Thanks.
[You will get thebest view ofeveryone.]

Sonic addresses the wlzole table.

Good evening ladies and gentlemen.

Mild responsefrom the audience.

Party animals we'll try that again!

Good evening ladies and gentlemen!

Better 1·esponsefmm the audience.

Thank you.
My name is Sonic and I am your magician tonight.

Sonic gesturesfor a 1·espouse.

To a spectator across the table:

Sir I Madam, say stop any time you wish.

Sonic drops the cardsfastfrom his 1ight hand to his open left hand.

(Any time before the end.

Sonic drops the ca1·ds again.]

The spectator calls stop.

180 Part3: PERFORMANCE

Sonic sho·ws thefirst face dOVI.m card in his left hand to the audience without
looking at it.

Thank you.
Would you like to use this one, or shall we start again?

Sonic retums the top packet and holds a break

Ladies and gentlemen, I know some people are sceptical about magicians,
so before I begin, I will roll my sleeves up.

Whilst maintaining the break, Sonic pulls his left sleeve up with his right hand, and
his 1-ight sleeve up with his left hand with *e thumb and indexfinger.

To afemale spectator close by:

Madam your name is...?

Lovely to meet you (their name). Which hand do you write with?

Sonic executes the pass.

Hold your left/right hand up like this...

Sonic demonstrates.

...and bring it forward so everyone can get a good view.

Sonic adjusts the spectator's hand and con·ects the height orposition ifnecessmy.

Now tonight ladies and gentlemen, (their name) is going to feel and see
everything that happens.

Sonic double lifts the top two cards, showing them as one.

The (whatever the indifferent double is)

Did you choose this?

Colour 181
 No. But it would have been great ifyou had... right?

Mild response.

Sonic tut1l.S the double back over and puts the selectionface down on the spectator's
palm.

Ok... Watch closely...

Take a deep breath in.

I am going to show you something totally impossible...

Breathe out.

Does the card feel any different?

Respo71Se.

When you see what's happened you are going to be amazed...

Take a look... and show the rest ofthe table.

Audience 1·esponse.

Come on ladies and gentlemen -let's get this party started!

Thank you.

Sonic finishes with an open anns applause cue.

This extract is only the first small phase ofa multi-phase routine and magically
it is very simple. The focus is not on being clever with the moves-it's on
establishing myselfwith the audience, educating them with a sequence that
builds up dramatically and sharing something magical in a short space oftime.
In my mind, the first few lines occurbefore I start my act. I don't start with a
question- I begin properly on 'good evening ladies & gentlemen'. The initial
exchange gives the audience time to realise I am there, and that something is

182
about to happen. My request is a polite, but assertive question, which can't be
refused. I don't say 'is it ok if! entertain the table?'- I say 'is it ok ifI squeeze
between you to entertain the table?'- the implication being that I am going to
perform anyway. They don't have a choice about whether or not they would like
to watch my act. I am simply being polite so that they can adjust themselves
accordingly. I say 'thanks', before they even have time to answer.

The line 'you will get the best view ofeveryone' is optional. I sometimes say it
to make these two spectators feel privileged that they will have a front row seat.
The next line 'party animals we'll try that again!' is designed to let the audience
know that they can respond loudly, and reminds them that they are at a party.
They are supposed to be having fun!

When I say 'my name is Sonic and I am your magician tonight', the emphasis
is on the word 'your'. That word is filled with excitement and enthusiasm.
The overall delivery ofthe sentence should make the audience think 'wow,
I can'twait to see what this guy is going to do. Aren't we lucky ro have our
o~ magician?'

Getting someone to remember a card that you display, rather than take
it themselves, speeds things up. Choosing and returning a card isn't that
interesting, so the faster I can reach the magic moment me berrer, as mat's
what gives me credibility in the eyes ofthe audience. I can afford to go slower
when they want to see more.

When I drop the cards from one hand to the other, sometimes a spectator won't
shout stop as I ask. In this instance, I will say 'any time before the end', afrer the
cards have landed. This gets a little laugh, and conditions the audience to
respond to future instructions more quickly. However, I don't make the
spectator miss so that I can make a joke out ofthe situation- I simply use the
line ifthey are being awkward, or have lost focus.

The words 'would you like to use this one, or shall we start again?' have been
chosen very specifically. The phrase 'start again' implies that ifthey want
another card, the flow ofthe act will be interrupted. Most spectators don't want
ro put a spanner in the works and agree to the first selection. This again helps to
weed up the eventS. Sometimes people do want to change and ifthat's the case,

Colour
I make a feature ofit. I highlight how free the choice is and this adds further
impossibility to the overall effect.

I continue with 'ladies and gentlemen, I lmow some people are sceptical about
magicians, so before I begin, I will roll my sleeves up.' This is said tongue-in-
cheek and adds a little humour. It helps me to gain more rapport.
When I say 'lovely to meet you (their name). Which hand do your write with?',
I execute the pass. I wait for the moment when the focus shifts to the spectator
for my timing. They can't bum my hands whilst maintaining eye contact and
answering a question. I often use a question in conjunction with a sleight in
orderto direct focus away from me- even ifit's only for a second. That's all I
need. You'd be amazed how many people have to think for a moment before
anwering that question! On those occasions, I throw in anotherline 'you had
to think about that for a second didn't you?'-which gets a quick laugh from the
rest of the audience. I make a point ofasking their name and then repeating it.
This does two things: it shows that I'm listening and once again helps gain
rapport.

By emphasising sight and touch in the line 'now tonight ladies and gentlemen,
(their name) is going to feel and see everything that happens', it heightens the
spectators sensitivity to their senses. Also, it closes down focus to a specific
area. Two senses are engaged in preparation for the moment ofmagic. The
small joke about the card being at the top is a throw away designed to get a little
response from the audience- again it's still about building rapport at this stage.
The action really starts with the next bit:

Ok. .. Watch closely...

Take a deep breath in.

I am going to show you something totally impossible...

Breathe out.

Does the card feel any different?

The implication is that the magic takes place at this moment. The quality of
these lines is much more deliberate and sustained. By asking whether ornot the
card feels different, I give the impression that something has just happened,
when in actual fact, all the moves and sleights were completed a while ago.
It is important to clarify when the magic happens in the mind ofthe audience.
In a way, this build up acts as timed misdirection and increases the
impossibility ofthe effect when it is recalled later on.

I continue with:

When you see what's happened you are going to be amazed...

Take a look... and show the rest ofthe table.

I make a point of telling the spectator how they are going to feel, so thar they
react accordingly. It's all part ofme educating the audience. I tell them to look
at the card first, because their reaction cues everyone else to respond I then
push on that reaction with 'come on ladies and gentlemen -let's get this party
started!' Once again, I am reminding them that they should be generating a
party atmosphere. The 'thank you' which follows is accompaniedbyan open
hands applause cue gesrure, anchoring that response.

Scripting this simple sequence helped me to clarifywho I was talking to at each

moment, and where things happen logistically in my act. As well as an effective
method for recording detail, scripting is a process that re-affirms your dramatic
and character choices. Ifyou have the intention ofperforming inaligbtbeaned,
friendly and off-beat fashion, you will need to choose phrases andwords which
reflect that attitude. Scripting helps unify your work By seeingall the elements
in one place, you can be more objective. Also, by committing to cen:ainwords
and actions, you can look back and improve on what you've done. Rarelydo
you get it right the first time.

Once you have learnt your lines, you need to acquire the ability to go on and off
script whenever it is necessary. Good performers can pause their script to deal
with a situation and carry on where they left off-without the audience having
any idea. In close-up performance, you need to be flexible to interruptions-
such as food arriving at the wrong moment. In a theatre show, you need to be
able to deal with problems like people arriving late, getting a volunteer on stage
and so on. The benefit ofhaving a script there in the first place is that you can
quickly and efficiently pick up where you left off, rather than let the energy

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flounder and drop. Also, it can give you time to think when something
unexpected does occur. Rather than trying to work out what you are going to
say next at the same time as dealing with a problem, you can continue your
script effonlesslywhile you think about a solution.

The emphasis

The words you choose and the p~es you use are crucial and informative.
However, of equal importance is the way you speak and the emphasis you place
on words in a sentence.

This simple exercise shows how using the same sentence, but giving weight
to different words, can affect the whole meaning. It's a tool you may choose
to take advantage ofwhen working on your script. Consider the following:

1. 'Iloveyou'

2. 'I love you'

3· 'Iloveyou'

Each has a different connotation. With the first, the imponance ofthe speaker
is emphasised. In the second, 'love' is the most important element. In the third,
focus is placed on the person being addressed. An actor knows when they read
a script that a line can be interpreted in different ways. There is always more
than one way ofsaying a sentence, and the smallest shift in emphasis can
significantly alterthe meaning. This simple principle can be applied to a phrase
in a magic routine:

1. 'Watch my hand'

2. 'Watch my hand'

3· Watch my hand'

Ofcourse, as with any other technique, you don't want to over use it.

186
 et~

Emphasising one word in a sentence gives focus. Too much emphasis on the
otherhand, and your script will sound false.

'Watth my hand'

You could do this, but there is a danger ofit sounding too strong and
confrontational. Remember that everything is received and interpreted by
your audience. Emphasising the whole phrase is not informative enough. You
should make a decision about what is most important; what you really want
them to take notice ofor understand.
Consider the following opening.

Version I:
'Good evening Ladies and Gentleman. Tonight I am going to sharewithyou
something e;~tra01·dinm-y. I am going to showyou an amazingpiece ofmagic.
However, to verify everything I do for the rest ofthe audience, I need the help oftwo
people: a lady and a gentleman. Ifyou would like to have the chance to witness the
magic closer than mryone else in the audience, please raiseyourhand now, so that
1can see.'

Version2:
(Good evening Ladies and Gentleman. Tonight I am going to s1zarewithyou
something extraordinary. I am going to showyou an aTTUlZingpieceofmagic.
However, to verify everything I do for the rest ofthe audience, I need the help of
two people: a lady and agentleman. Ifyou would like to have the chance to
witness the magic closer than anyone else in the audience, please miseyour ha,zd
now, so that I can see.'

Aselect number of emphases can give focus and intention to your script.
Choosing what you want your audience ro rake notice ofis linked to the
objective.

In version 1, the magician wants ro build up the audience's anticipation before

sharing a piece ofmagic with them. He wants to inspire them in order to give
them a magical experience. Emphasis is placed on the amazement,
impossibility and mysteriousness ofwhat is going to happen.

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In version 2, the magician places emphasis on the conditions in which magic
will occur. He wants the audience to feel he is being as fair as possible, in order
to increase the impact ofthe magic. These two versions ofthe same script have
a different feel because they are governed by different objectives. Certain
words are emphasised to make the objective clearer to the audience. Once
again, there must be a reason for everything. As well as adding colour and
variation, you must give your words and emphases a clear purpose.

The space between

We can alter various aspects of our speech:

- how much we say

- at what speed
- with what intention
- with what emphasis

However, there is one other important factor in scripting, and that is the use of
silence. When you read a play, you will often see the following stage directions:

pause.

beat.

a moment.

A 'pause' indicates a period ofsilence-although the length ofit is something

to be negotiated between the director and actor. A 'beat' indicates a very short
pause; perhaps a second, or the time it takes fora short in-breath. 'A moment'
usually indicates a pause in which there is a heightened sense ofengagement.
It is a pause loaded with meaning. Again, what this is and how long it lasts is
something to be investigated in rehearsal. All ofthese are different qualities of
silence and just as necessary as words. Each pause should be there for a specific
reason and engage just as much as when the performer is speaking. The silence
before or after a word, phrase, or speech can be totally riveting. It is a simple,

188
well-lmown fact that you don't need to be talking to have the audience's
attention. Therefore, as a magician, you should consider pauses and silence
with equal importance to words when you write your script.

Apause can be used strategically in a number ofways:

- it can give importance to what you are about to say

- -it can give the audience time to process what you have just said
- it can generate a reaction
- it can be used for comic effect
- it can show time when you are 'thinking'
- it can give focus to what you are doing

Adding a pause before you begin speaking focusses the audience's attention
on you. It could be the moment before you say; 'good evening ladies and
gentlemen', or you could use it more obviouslywithin your routine; 'nowwatch
this very carefully.... (pause)... you are going to feel this happen'. (Notice the
use ofan emphasis to give the sentence focus.)

Giving the audience time to process what you have just said is vitally important.
One ofthe biggest mistakes magicians make is talking too fast. Ifyou rattle
through something at a rate ofknors, how can you expect people to understand
and react? They can't. You must allow time for mental processing. Ifyou have
ever wondered why you didn't get a reaction to something, my first guess would
be that you didn't allow space for it. Areally well placed pause makes the
audience react, because it puts focus on them. In a similar way, a pause in a
specific place can make people laugh. Comedy is inherently linked with timing.
Something can become funny ifyou make a statement that seems conclusive,
and then add something after a short pause. For example, the line I used in my
close-up script:

'Say stop anytime as I drop the cardsfrom one hand to the other... (pause during
which all the cards are dropped) ... any time before the end'.

It isn't a big punch line, but the timing ofit does have an effect.

Using a pause to show the audience what you are thinking about can be

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effective in articulating a j oumeywithour spelling it out word for word. For
example, you can communicate that you are trying to read a spectator's mind
byholdillg eye contact with them. You don't have to say 'now I am going to try
and read your thoughts'. You can show this through your focus and expression.
Ifin doubt, you should cut down on the amount you say. That way, when you
do say something, it will have importance.

Lasdy, silence can give focus to your actions. Ifyou say 'watch this ...', draw the
audience in with a gesture, and hold their focus before a revelation, you will
build up suspense. Ifyou talk all the way through it, you may not necessarily
generate the same response.

Having said that, too many pauses are often the sign ofa bad magic act.
However, in this case they are not usually intentional. They come from having
no script at all. The pauses are there because the performer is working out what
to say as they go along. Sometimes inexperienced performers add long pauses
because they think it will build tension, when in actual fact it makes the show
drag. These are known as 'pregnant pauses'. That is not to say you can't have a
long pause, but there is a fine line between long and too long. The pause must
communicate something.

To avoid conunon mistakes, strive to make every moment in your act, spoken
or silent, meaningful for the audience. Make any pause orword serve the story
you are nying to tell.

Actioning

Actioning is a technical term that many actors are familiar with, which was
popularised by British director Maria Calderone. It was originally developed as
a fast way ofadding colour to lines in radio drama, where a script has verylittle
rehearsal before being recorded. Maria published this method in her book
called Actions: TheAdors' Thesaurus. It has since become widely used in theatre,
and directors such as Max Stafford-Clarkbase their whole rehearsal process
around it. The idea is quite simple: every line of script has an action. An action
is something which is happening underneath the line. It is what one character is
doing to another. The action is articulated as a verb.

190
An action can be done to another character, an object, an imagined person, the
audience, or even to the performer themselves. In order to 'action' a line, you
must choose an appropriate verb which suits your objective. The technique of
actioning is, like many acting methodologies, related to Stanislavski. When I
spoke to Maria Calderone she commented that 'the action is a tactic to help
achieve the objective'. Thus any action you choose must fall in line with the
objective and help you accomplish it.

A simple line such as 'hold your hand palm up' could reveal very different
intentions when connected to any ofthe following verbs; seduce, excite, welcome,
dominate, befriend, warn, manipulate. Your choice ofthe appropriate verb would
depend on your objective for the routine, or the super-objective fonhe whole
act. Ifyour objective was 'I want to relax the audience in order to gain their trust',
you might choose welcome.

To check that your word is an active, playable action, you should fit it inro the
following sentence:

'I ......you'

So, 'I welcome you' would work. This format applieswhenyouare doing the
action to something, someone, or somethingimagined Ifyou do the action to
yourselfit becomes:

'1 ...... myself

Check that the action makes sense, and it's something you could acrually do.
Then, mark it on the script next to the appropriate line.

Ifwe applied actions to the close-up script I showed earlier, it might look like
this:

Good evening, is it ok if I squeeze between you to entertain the table?

Thanks. [You will get the best view ofeveryone.] -I inform you

Sonic add1·esses the whole table.

Co/ou1· 191
 Good evening ladies and gentlemen. -I welcome you

Mild responsefrom the audience.

Pany animals we'll try that again! -I provoke you

Good evening ladies and gentlemen! -I excite you

Better responsefrom the audience.

Thank you. -I educate you

My name is Sonic and I am your magician tonight.- I captivate you

In this instance, all ofthe actions lead towards the achievement ofmy first
objective: 'I need to gain control ofthe situation in order to earn the audience's
respect'. Notice that in both these cases the objective is articulated as a need,
not a want. It is vitally important that I have control overthe situation, or my act
won't be successful. I can't think 'I want to gain control ofthe situation',
because there is too much at stake ifl am unsuccessful. Either the audience will
listen and respond, and I have control, or they will continue talking and I will
look stupid. Ifthis is the first table at a close-up gig, and I fail, it would be much
harder to gain control at the next table.

Actioning is a sure-fire method ofbringing colour and life to the words you
speak-whether you are on stage, or working close-up. Maria Calderone offers
the following treatise on actioningin her book:

The ActioningMantl"a
One thought. One sentence. One breath. One action...

- We choose an action for each whole thought.

- A whole thought is comprised within a whole sentence.

- This sentence should be spoken with one breath.

- And each breath should contain one action.

... One thought. One sentence. One breath. One action27•

192
One ofthe huge benefits ofusing actions is that it forces you out of
generalisation, and into articulating a series ofpsychological steps. It helps
make the journey ofyour act clearer for you, and the audience. It ensures that
each moment is active and engaging.

However, it is possible to 'over action' your script. By adding actions to every

single sentence, you can actually kill its effectiveness and make the process
tedious for yourself. Here you must use your intuition to decide whetheryou
need to action something or not. Perhaps you may choose to action a section
ifit lacks interest, pace and vitality, or maybe just a select few sentences in
order to make them stand out from the rest. Once again, the audience should
be yourbenchmark. What would make the story clearer or more interesting
forthem?

" Calderone, pxx

Ccnour 193
 Rehearsal

Rehearsal is the most important part ofyour preparation for performance.

Good thorough rehearsal, executed in the right way, gives you confidence.
Too many magicians perform something before it is ready. It is irresponsible to
perform an effect before you have sufficiently mastered the sleight ofhand and
accompanying presentation. The name of'magician' is tarnished everywhere as
a result. What you must remember is that whether you have been a magician for
one week or fonwentyyears full time, the public puts the same stamp on all of
us. Ifthey see a bad performance, they automatically assume that all magicians
are like that. People don't see magic every day, it's rare for them, and so they
label us all similarly. How often have you performed and a spectator says
something like; 'I know someone who's a magician! He's a member ofThe
Magic Circle!' They assume that being a member ofThe Magic Circle means
that they are a good performer, when in fact the society comprises a whole
range ofamateurs and professionals- some ofwho perform and some who
don't. I know several performers who are not associated with The Magic Circle
at all, and are among the highest paid and most successful magicians in the UK.

Askyourselfhow your magic would live up to the title of'professional

magician'. Would the audience assume you are a professional having seen
your act? I am not saying that everyone should be a professional magician, but
everyone should aim for a professional standard in their performance ofmagic.
You might ask 'what is a professional standard?' Well you answer that. Watch
other entertainers and think about what makes them appear professional or
not. I would suggest that the following things come into it:

- how comfortable they appear on stage

- how well they assert themselves in space
- how well they use their body and their voice
- how sharp and economic their act is
- how well their energy is maintained throughout their act

194
- the reactions they get from the audience
- the originality oftheir act
- the overall smoothness oftheir act

All ofthis comes down to good solid preparation. When an act is under
rehearsed, you get problems on stage; blips, gaps that need filling, technical
faults etc. A good act doesn't have these problems because they have been
ironed out through repetition, development and audience testing. The end
product should seem, from the audience's perspective, to flow effortlessly.
It should feel easy, even when it is technically complex. The last thing you want
the audience to think is 'he seems to be struggling with everything... I hope he
makes it to the end'. You must give the audience confidence and lead them.
They should not be worried for you. This is not to say that you shouldn't
express effort- that is a necessary part ofarticulating a journey forthe audience
-the problem arises when effort becomesvisible as a result ofyou trying to
keep control ofeverything. You will know when the act is ready or not because
it will start to feel easier and more instinctive. Ifit is hard work remembering
everything, executing moves, oryou find things get in the way, then it's not
ready. When you start finding a degree offluidity, then it's probably getting
there. When you don't have to think about the mechanics or script at all, and
you can simply focus on delivery, then you know it needs an audience.

There are two important points you should remember about rehearsal and
performance. The first one is:

- Know your act inside out

When you think your act is ready to perform, think again. Ifsomebodywoke
you up at 4 o'clock in the morning when you were ill in bed, and shone a bright
light in your eyes, could you do your act? Would you snuggle to remember, or
could you force yourselfstraight into performance mode? Could you easily
start your performance at any point? By doing your act in harder conditions,
and testing yourselfin different ways, you can make it easier to perform the
show. One examplewould be rehearsing manipulations outside in the cold.
Ifyou can do it well when your hands are freezing, then you can certainly
do it in a heated auditorium.

Rehearsal 195
The second point is:

- 90% preparation for 10% performance

You must do as much preparation as you can to ensure a good performance.

A high level can only be reached on a foundation ofstrong detailed work. It
will take infinitely longer to prepare a show than to actually deliver it, but the
quality ofpreparation is instantly apparent when a magician performs. You can
tell within seconds how much work they have put in. That 10% is the tip ofthe
iceberg. When you have planned and rehearsed thoroughlyyourworkwill
shine through in performance, but ifyou haven't given it enough time and
practice, that will showas well.

The rehearsal process

So howdoyougoabourrebearsing an act effectively?

Process overview
I have crearedareheatsal.system based on common theatre practice and my
own experienceas aprofessional magician. These thineen steps will take you
fromS£3ItingreheaiSalsthrough to first performance. With the exception of
step twelve, thisprocessis equally useful for close-up performers:

1. Source props
2. Master specific sieights
3· Re-create the performance space
4 Work through individual routines a minimum of3 times
5· Create a pocket plan, and orpre-show checklist
6. Audience test individual routines
7· Staggered run
8. Re-rehearse any sections orjoins as necessary
9· Full runs (at least 2)
10. Speed run
n. Top & Tail run and other checking techniques
12. Technical rehearsals
13. Dress rehearsal

Part 3: PERFORMANCE
1. Sourcing props
Ifyour act is complex, create a list ofall the props you need, and tick them off
as you get them. This should include any normal items as well as magic ones.
For a stage show, where there are many elements, this is particularly necessary,
and will help you keep on top ofyour progress. Ifyou have a stage manager,
they will assist you.

2. Mastering specific sleights

Before you start putting the act together, you must practice anynewsleights in
isolation, so that they become second narure. At this early stage, you may wish
to use a three-way mirror to check your angles, and a video camera to watch
yourselfback. Practice until you don't need to think about it any more.

3· Recreating the performance space

There are a few differences between rehearsing a close-up and stage act.
With close-up, you can rehearse by yourselfat home. With a stage act, unless
you have a large empty room, you should hire somewhere that is similarin size
and shape to your performance space. Whether you are a close-up or stage
magician, you should set up your rehearsal space so that it simulatesyour
performance environment. Ifyou practice a routine at a desk sitting down, then
perform it standing at a·round table often people, adjusting from one situation
to the other will be difficult. Your sleight ofhand may be at thewrongangle,
your timing may be offand other.elements could feel awkward. Ifyou practice
at home with a table and two chairs either side ofyou, simulatingpeople seated
left and right, your act will translate much better. Similarlywith a stage act, you
must set up everything correctly so you become accustomed to me size ofthe
stage, and the distance between various elements. Make sure you can reach
certain objects with ease, but don't let them get in the way. You don't want to
crash into your props.

In the theatre industry, the stage manager will createwhatis known as a 'mark
up' in the rehearsal room. This means that the stage dimensions are taped on
the floor, and any items ofset are marked also. The last thing you want is to start
performing and realise that you haven't got enough room, or that there is a
pillar in the way. A mark up helps you to see potential problems in advance. In
some cases, height is very important. Can you imagine practicing the sub-trunk,
and finding out in the show, when you stand on top ofthe box, that your head

Rehear.;a/ 197
hits the ceiling, or lighting grid? For all number ofreasons, it is important that
you set up the space correctly. Ifyou don't, I can guarantee that something will
take you by surprise.

When you are ready to start rehearsal, make sure you have any necessary bits
ofcostume available to wear. It is important to practice using the jacket that
you will use on the night, or something very similar. Use the clothing you will
actually perform in. You wouldn't want to be on stage when you discover that
your performance jacket doesn't have a pocket in the same place as the clothes
you wore in rehearsal!

4- Work through individual routines a minimum of3 times

It is important to give yourselfenough rehearsal. I have found that at least three
rehearsals ofeach routine, preferably four, are needed before you can feel
comfortable. It is also imporrantto give yourself time between each rehearsal
to allow a routine to settle in your body and subconscious. When we finish
rehearsing something. ourmind doesn't stop; it revisits the parts we found
difficult, solves problems, and solidifies the events.

Within each rehearsal session, you should aim to go through the whole routine
from start: to finish three to four times. You will, ofcourse, encounter problems
on the way, sran: and srop and so on, but by the time you get to the fourth run
through ofthe first rehearsal, you should start: to feel you have got the hang ofit.
This is what I call 'establishing the right neurological pathways'. On the first,
second and third goes, you are teaching your brain and body whatto do in what
order. You are processing and storing what it feels like to move from one
section to another. You will find that when you return to rehearse the routine
again, and put your body into an established position, you can move
instinctively to the next bit. Some people might call this 'muscle memory', but
it goes much further. Abody position can trigger a state ofmind, speech, or
emotional state. Your body reminds your brain ofwhat to do. Sometimes
people say 'I don't lmow how actors remember all their lines'. Well, they don't
memorise them like a pledge; they attach their words to objectives, intentions
and actions, so that when the mind and body are in a certain place, a line comes
naturally. You must do the same. Attach words to actions and objectives in your
routine. Then, when you focus on the physical journey through your act, and
what you are doing to the audience, your lines will come out naturally as well.
Ifyou are having trouble remembering a routine in rehearsal, it ~an help to
think ofit in terms ofa series ofpicrures that tell a story. Identify each step
as a different picture. For example, let's say I am strugglingwith a bill to lemon
routine. I might split it into the following pictures:

a) I show a bowl offruit.

b) I show a deck ofcards.
c) Aspectator chooses a card.
d) I rip a corner offfor them to keep.
e) I burn the card.
f) I cut open a lemon to reveal their card.
g) The spectator matches their corner.

As a quick exercise, I could physically create each ofthose picrures with my

body -like a series offreeze-frames. Returning to rehearse the routine, it would
then be easier to remember each step, having already identified them dearly in
my mind. Splitting a section oftext into manageable chunks and srage picrures
is something that actors do when working on a script. They break up a scene
into different sections known as 'units'. The process ofuniting38 a script is part
ofthe Stanislavski system.

Make sure that when you rehearse you get into the habit ofmoving and
speaking as ifyou were actually performing. It's easy to forger to project your
voice, articulate your words, and communicate with feeling and engagement,
because there is no audience. However, ifyou teach yourselfto perform in a
subdued fashion with low energy and audibility, then that is what you will end
up with in your show. It's difficult to jump to a level ofhigh energy and intensity
ifyou haven't practiced it. Think about when you have seen an actor or singer
reach an electrifying moment. It is not something that just happens - it is
rehearsed, practiced and prepared for. Feeding offthe audience can push you
to a higher level, but only ifyou are ready for it. You must train yoursel£ Work
through your routines and draw up energy, emotion and intensity each time
you reach the high point.

When you rehearse, it's not just about learning your act; it's also about working
things through logistically:

'"Stanislavsld,pmAnActcrPrepans

199
- Where does everything come from and go to?

Everything you use in your act must get on stage somehow, or be preset,
and some ofthose elements will need to be got rid ofduring performance.
The same problem faces close-up performers. Where do the sponge balls come
from? Where do you ditch them? What happens at the end ofthe routine? If
you're not careful, you can accidentally put things back in places where they
hinder a future move. Imagine your surprise when you go to steal a gimmick
coin later in the act, and find your pocket full ofsponge balls. What do you do
then? Fumble for ages, or skip the effect? Make sure you find all this out
in rehearsal. ·

FigC

200 Part 3: PERFORMANCE

5· Create pocket plan, and or pre-show checklist
In theatre, stage management create what is known as a 'personals' list. ·
This means a list ofall the props that an actortakes care ofthemselves during
a show. Usuallythis refers to hand held items, or those which are in a pocket at
the start ofa scene. For magic, the co-ordination and management ofpersonal
props is ofparamount importance. You don't want to be searching for an item
duringyourroutine- you should have already planned where it is going to be.

Fig C above is a simple pocket plan that I take with me when perfonning close-
up. I can remember where everything goes now, but I always have this with me
just in case I need to cross check something. When working on Chris Dugdale's
stage shows, a personals list is created that states exacdywhere each prop
starts at the opening ofAct 1. Another list is created for Act 2. The stage
manager goes through this with Chris and ticks offeach item before he walks on
stage. Having this system in place allows you to focus on the performance you
are about to give- rather than on whetheryou might have forgotten something.

Chris Du.gdale Act 1 Pe1·sonals

In and Around Suit:
Wooden Box- Left Jacket Pocket
Numbers Wallet- Left Inner Pocket
£2 Coin- Right Jacket Pocket
2X Small Sponge Balls- Right Jacket Pocket
1x Large Sponge Ball- Left Trouser Pocket
Dog Cards - Right Back Trouser Pocket
Normal Cards- Left Jacket Pocket
2X Sharpies- Left Inner Pocket
Rope- Right Trouser Pocket
Signature- Right Trouser Pocket
Wallet- Left InnerJacket Pocket
Xsrream- Left Trouser Pocket
Right Trouser Pocket
Left Back Trouser Pocket
Card (4 Spades) -Top Left Pocket

Rememberto collectwallet from audience

Rehearsal 201
The other benefit ofa personals listis the ability to remind yourselfofsomething
important before you start. In this case, Chris needed to remember to take a
wallet back, having given it to an audience member at the start ofthe show.

Ifyou do a stage show, you should also create a pre-show checklist that relates
to the stage set up for the start ofeach act. Before you open the hous&9, either
you or your stage manager should walk on stage with the list and check that
everything is where it should be. Having both a personal and pre-show
checklist in place ensures that you won't miss anything, and it speeds
up your set up time.

Act 2 pre-slzo1v c1zecklist

Onstagef Audit01ium

Bring in PulleySysrem-Chest on floor

Cleaned White Board USL:
440nback
Shop Sign 'Closed' onback
Pen and Cloth attached
5 Books on legs:
Dictionary
Sudoku
Book 1, 2 and 3
Spider Table CS:
Box ofProofunder table, Inside: iPod,
2x Pencils, Tissue, Nwnbered Cards,
Post-itWallet
Beach Ball in between legs
3XChairsCS
Table MSR with Magic Pad and Magic Pen

In the above example, taken from a past magic show, the stage manager clears
Act 1 first, then resets for Act 2. The abbreviations USL, CS, MSR referto
positions on the stage.

., Aterm meaning letting the audience into the auditorium. The stage manager will inform the company lhat the
'house is open'.
JO USL-Upstage left, CS- centre stage, MSR-Mldstage right. The terms upstage and downstage refer to when stages
were raked. Upstaging someone meant standingfunher up lhe stage, where you would be higher.

202 Part3: PERFORMANCE

Ifyou create a pocket plan and pre-show checklist, you can have them to hand
in rehearsal and make amendments as necessary when you discover that
something is out ofplace. By the end ofthe rehearsal process, you will have
accurate checklists that you can rely on for your perfmmances.

6. Audience test individual routines

After three to four rehearsals on a routine, you should audience test it. Go out
and perform it in a low pressure environment. Doing this will help you confinn
whether your sleights are deceptive enough, whether your timing is correct,
whether your lines come naturally, and anything else that you might not have
fully considered. Things seem to change when you go from rehearsal to
performance; suddenly that steal is harderthan you expected, somethinggets
in the way, you haven't got enough time for a switch, and so on. I once
performed a close-up routine with a PK ring in my jacket pocket.As I moved
round a restaurant table it stuck to a chair's metal frame. Nobod.ynorlced, and
I managed to remove it surreptitiously, but it's those kind oftb.ingsyoudon't
anticipate in rehearsal. There is a lot ofpressure to get everytbingrightwhen
the whole act has never been performed before.lfyou can audience test: it in
sections or routines, then you will feel much more comfortable andrelaxed
when it comes to the first full performance. For close-up worlc, it's obviously
much easierto audience test material. You can show family, friends and so on.
With stage performance, quite often there isn't anywhere to ay ourbig
illusions. I would suggest that you find a local event such as a town festival or
charity fundraiser, and offer to perform the illusion for them free ofchazge or
for a reduced fee. The key thing is to perform your act in chunks to give yourself
confidence, rather than pile all the pressure on at once.

Another important benefit ofaudience testing is gauging reactions. You may

find that an effect doesn't get the response you want, inwhich caseyou need
to work out why, or cut it from the act Make sure that all the material you use
has a strong impact. You may even find thatyougetreactionsin places that you
didn't expect. Depending on the effect, and what you are going for, this may be
good or bad. You may want to take advantage ofthe new opportunity, or change
your actions accordingly.

7· Staggered run
Having sufficiently rehearsed and audience tested each routine, it's time to put
it all together. The first time you do this, I suggest a 'staggered run'. This means

Rehearsal 203
a full run ofthe show from stan to finish, where you can stop to adjust or
change things. How many times you stop doesn't matter, but it is important
to pick up where you left off, and go through the whole act. The function ofa
staggered run is two fold; firstly to allow you to correct mistakes, and secondly
to get a feel for how the whole thing fits together.

8. Re-rehearse any sections or joins as necessary

Having completed a staggered run, there may be particularbits that you know
need work. At this stage, it's a good idea to go back to problematic sections or
links from one section to the next, and rehearse them independently. You need
to remind your brain and body ofthe right way ofdoing something. Ifyou don't,
you will further ingrain the mistake.

9· Full runs (atleast2)

Once you have mastered the sleight ofhand, rehearsed, prepared your
checklists, audience tested your material, completed a staggered run and
ironed out any problems; you should set everything up for a full run.

It is important to run the act right through from the top, without stopping.

Ifyou encounter problems, you should keep going and deal with them as ifyou
were doing a live show. Then, at the end, look back over anything that went
wrong and make notes. Ifyou are working with a director, they should take
notes during the rrm and give you feed back at the end.

During the run, if something goes wrong, it might sit at the back ofyour mind
through the whole act- 'ifonly I hadn't messed up that false shuffle', for
example. Learn to forgive yourself when something goes awry, deal with it and
move on. The more full runs you do, the bener you will get at coping with
problems, and the more confident you will become.

You may wish to film your full runs and watch them back. I have learnt an awful
lot from doing this. Sometimes, things you think work dramatically, or
magically, aren't that effective. By seeing how it looks from the audience's
perspective, you can quickly assess, and make changes.

Ifyou get chance to film any sections when audience testing, then the following
questions are useful when watching footage back:

204
a) How good is the audience reaction?
b) How good is the effect or routine from the audience's perspective?
c) Are there any unnecessary gaps or delays?
d) Where is the routine least dramatically engaging?

Video also lets you see bad habits, such as not giving enough colour to your
voice, speaking too fast, telegraphinga steal, and so on. As a general rule, I
would recommend filming as much ofyour work as possible. These days, you
can get very small HD cameras, such as the 'Flip'31, which you can fit into your
pocket and take almost anywhere·. Such technology is a great resource for
developing your act and performance style.

10. Speed run

When you think you lmow your act, a good technique to checkhow familiar
you are, or consolidate what you know, is a 'speed run'. This literallymeans
going through the act as fast as possible- as if it were in fastforward Ifthe
running time is one hour, you should aim to do the whole thingin under ten
minutes. Ifit's ten minutes, you should do it in under one minure. It's an
exercise in helping your brain to link quickly from one thing to the nexr..Make
sure you keep the pace up, so that it doesn't rum into a full run at normal speed
-it's easy to fall back into a regular rhythm. Obviously, going at speed means
you won't necessarily be able to complete everything as you wouldinrealiry.
If something won't work that fast, mime the necessary bit, and make sure any
props ere end up as they would at the end ofit, so it doesn'taifecctherest ofthe
act. The speed run is there mainly to remind you ofthe physicaljoin from one
bit to the next. Even though it is fast, you should enter into everythingfully with
your body and your voice.

A speed run can be a useful technique ifyou haven't performed the act fora
little while, and need a briefrecap. Actors frequendy do a speed run on set to
remind themselves ifthere has been a gap since theirlast show.

11. Top &: tail run and other checking techniques

A'top and tail' run is another way ofgoing through your act quickly, but it is
done at normal speed. It is called 'top & tail' because it refers to the beginnings
and ends of sections. You start at the beginning ofa section, then skip to the
11 The 'Flip' camera is completely self-contained, allows you to view footage back immediately and connects quickly
and easily via USB to a computer. There are other pocket sizecamcorderson the market as well

Rehear!al 205
end, go through the transition into the next routine, skip to the end, and so
on. You miss out the bulk ofthe routine. As with the other techniques, it is
done in sequence.

I would suggest that you include any other complex technical or logistical
moments in the top & tail run also.

Anothertechnique to check your familiarity with the act is starting at any point.
Ifyou can pick up the moves and lines instantaneously, without having to go
back to the begirming to remember what to do, then you know it properly. If
you don't know what follows on instinctively, you may need to do more full
runs.

12. Technical rehearsals

Technical rehearsals are specific to working on stage in theatre.

As the name suggests, they are sessions in which to nm through the technical
and logistical aspects ofthe show. When going into technicals, the performer
should know everything they have to do, and where they should be at any given
moment. It is not a rehearsal in which to start questioning the order of events,
or the artistic content ofthe show. It is for the technical team to do their work.
Often tech sessions will feel more like top & tail runs fonhe performer. The
stage manager will onlybe interested in moments where there are a complex
number ofcues involving lights, sound, flying, or other special effects. When
working on magic shows in the past, the stage manager has stopped a routine
and said 'thanks- can we skip to the end ofthat please'. There is no need to go
through sections where the performer knows exacrlywha~ they are doing, and
there are no cues.

13. Dress rehearsal

Dress rehearsals are imperative for stage performers, but they can also be
useful for close-up workers. Make sure you have every prop, every item of
clothing, and all technical elements set up exactly as they will be for your first
performance. This is an exercise in making the act as close to show conditions
as it can possibly be. Treat it as the real thing, and don't stop once you have
staned. Deal with any problems as you would ifit were live. Ifyou are working
in a theatre, the deputy stage manager and technical team will need the dress

206
rehearsal as much as you, in order to run all the cues in sequence. It may help
to invite a few people to watch, so you have a small audience. In theatre, they
sometimes have open dress rehearsals where the public can attend. This gives
the actors a feel for audience reaction. Ifyou do have an audience, make sure
that they are not all magicians! Magicians don't react like lay people. I would
suggest inviting a mixture ofguests including a magician whose opinion you
trust and a director. Ask selected people to give you notes afterwards. Ifyou
have a close-up act, why not consider doing a gig in a low risk environment, and
invite a fellow performer to watch you and give notes? Remember though, that
the dress rehearsal itselfis not the time to make changes. It should be identical
to your first performance. Any notes you receive should onlybe
accommodated ifit is easy to do so, and doesn't jeopardise your flow and
familiarity. Remember that you don't have to do everything thac others suggest.
It is often better to absorb the comments for a while and then decide what
changes you are going to make, rather than be too hasty.

Rehearsal 207
 Presen,ce

Some people have presence. They walk into a room and others notice them.
Something about them attracts attention, like an invisible magnetic force.
An intangible, indefinable quality exudes from their whole person.
Lucky are the very few who naturally have presence.

iNhere do they get it from? Are they charismatic in private too, or is it

something they put on? Does it come from selfconfidence? Aprestigious job?
Away oflooking at life? Certainty? Success? Or, perhaps, a deep interest in what
they do? Were they always like that? Did they always have presence?

I think in the majority ofcases, presence is something you develop through

your life. It comes from how you choose to live and what you believe. The good
news is it isn't something reserved solelyforthe fortunate few. You can create
and nurture it within yourself. It is possible to learn stage presence.

What makes you notice a person and pay attention to them? What makes them
compelling? Is it sex appeal? Not always. Is it something quirky? Is it the way
they move? The way they speak? The way they interact? The way others react
to them? The way they are dressed? The truth is, all these things tell you
something about a person. Through your look, body posture, movement and
interaction, you communicate things about yourself. You tell people what your
status is, what is important to you and what kind oflife you lead.

Imagine sitting in a bar. In the corner there is an old man with a pint ofbeer,
shabby clothes, unshaven, alone and not talking to anyone. In comes a shrewd
lookingymmg man with a sharp suit and broad smile. He is immediately
greeted by the bar man and strikes up a conversation. Someone else nearby also
greets him. What do you think about these two people? Well, you probably
won't spend much time focussing on the old man. He looks weathered and
depressed, like life's troubles are too much for him. He wants to disappear into
the corner and not be bothered by anyone. The young man on the other hand

208 Purt3: PERFORMANCE

looks intelligent, with it, interested in life, and full ofenergy. He looks fulfilled.
Judging from others reactions, he is respected and well liked. The main
difference between the two is that the young man enjoys who he is, what he's
doing, and being with other people. Everything about him communicates
warmth. We notice him.

Now imagineyourselfwalkinginto the same bar.

How do you look? What would other people think ofyou? What assumptions
would they make?

How do you fair against the old man and the young man?

When you start to analyse what gives somebody presence, rather than
regarding it as something intangible, only possessed by the narurallytalented,
it throws up a lot about non-verbal communication. We communicare things
about ourselves consciously and unconsciously all the time. Some ofthese
things have been ingrained over years, others only affect us today. The
important thing to realise is that you communicate things about yourself From
your attitude, energy and interaction, people pick up how you feel about
yourself, others and your work. You are in control ofyour relationship to those
things. Ifyou are naturally apologetic, anxious, or nervous, you can choose to
become more confident and selfassured. You can instigate change.. Remember
when we talked about what parr ofyourself you would like to showthe
audience more ofin Part 1? You can choose to be more generous, more excited
by your prospects and more interested in other people. It maynotbe natural to
you, but you can practice.

The next time you leave a social occasion ask yourself; how manypeople do I
know the names of? What do they do? What are theyimerestedin? Ifyou can't
even remember anyone's name, having spent all eveningin the same room with
them, perhaps you don't make an effort to communicate enough. Perhaps you
focus too much on your own problems. Do you think otherswon'tbe
interesting to you? Do you think they won't be interested in what you have to
offer them? You are a magician after all.

Presence 209
Presence has something to do with engaging directly with the environment you
are in and the people who are in it. You may be a really interesting person, but if
you never communicate your passion to others, and show an interest in them,
why should they take an interest in you?

The life coach Tony Robbins says:

'Ifyou don't believe thatyou're creatingyourworlcl, whether it beyoursuccess or

yourfailures, thenyou're at the mercy ofthe circumstances.'32

He believes that ifyou aren't in control ofthe things going on around you, if
you are not shaping the elements in your life, then they are in control ofyou.
Perhaps this is too black and white, but it is cenainly true that you can control
how and what you communicate. Your relationship to external elements is
picked up by other people. You can look in control ofyour life, or controlled
by it.

There are several factors that I believe contribute significantly to somebody

having presence. They are:

1) Passion-that comes from being interested and excited by what they do.
2) Happiness-coming from theirrelationship with themselves, and the ability
to extend warmth to others.
3) Cenainty-a feeling that they know what they are doing.
4) Energy- an internal drive that pushes them along.

When someone has presence you can sense the drive and enthusiasm within
them. What we are going to examine in this section ofthe book is how to create
presence by doing things internally and externally to ourselves. This work
crosses further into acting methodology, but I feel it is invaluable to magicians
wishing to develop their presence in close-up, cabaret or on stage. What I offer
next is a series ofconcrete techniques to help you towards that supposedly
intangible quality ofpresence.

,. Robbins, P76

210 Part 3: PERFORMANCE

Control

In teaching, ifyou are not in control ofthe class- and that means everybody-
then you are not in control at all. When one student steps out ofline it affects
the whole environment, and before you know it, no one is listening anyrnore.
The same is true in performance. You must have everybody's attention. When
you do, you will have presence, because all the energy in the room is focussed
towards you.

This gives us our first rule ofpresence:

RULE 1: Presence comes from receiving the attention ofothers.

You can gain presence not onlythrough what you communicate outwardly,
but from the energyyou receive from those around you. It is a two way process.
We will consider techniques ofgaining and maintaining audience attention
in the later section on audience management There are, in fact, a lot of
similarities between that and classroom management Sometimes the
techniques are bold, and other times they are subtle. The main 4ifference, of
course, is that you can't speak to adults like they are children. You must manage
your audience without being condescending or patronising. For the moment,
it is suffice to say that ifeverybody is focussed on you, you are in conrrol ofthe
situation, and you will have attained presence. So- think aboutwhacyou can
do verbally and non-verbally, that will gain attention and establish orreinforce
the performer-audience relationship in your act

Present

Presence is inherently about awareness: awareness ofyourselfand the

surrounding environment. The word 'presence' is very closely associated with
the word 'present', which brings us to our second rule:

RULE 2: Be present to have presence.

Being present with your audience is essential. You need to be open, responsive
and reactive- not distracted, distant orpreoccupied. Actors are often given the

vPresence 211
note 'stay present', when theyloose focus and engagement in a scene. .After
you have performed an act many times, it's easy to go into autopilot. Remember
that it's the first time the audience have seen you, and quite possibly the first
time they have seen a magician. Remember what it felt like when you first saw
a great piece ofmagic. Try to impart some element ofthat. Always rryto
perform your act as iffor the first time: with freshness and spontaneity. It's so
easy to forget that magic should be magical. Don't get complacent. Be sensitive
to your audience and stay 'in the moment' when you perform.

Focus & commitment to each movement in turn.

Think about howyou move. Do your actions command attention and

communicate a sense ofconrrol or certainty? Do you commit, in the present,
to each movementyou make?

RULE 3= Everyaction must be alive.

To have presence you must invest every movement ofyour body with energy
and passion.You must communicate srrength and vitality through your
physical action.

Magicians lack presence when they aren't aware or in control ofwhat they are
doing from moment to moment. As well as gaining presence, you can also lose
it. Bad signals that reduce presence and communicate a lack ofcontrol are:

- performing too fast

- only halfcommitting to actions
- movement that is un-centred
- shadowmovements

We have already discussed the importance ofspeed when performing, and

that going too fast can leave the audience running to catch up. You must make
everything clear and simple forthem.

Only halfcommitting to your actions, vocally and physically, gives the

impression that you aren't that certain about them yourself Spectators like to

212 Purt 3: PERFORMANCE

see a performer who knows what they're doing. By not committing, you
undermine that assurance, and people will stan to question your abilities
and status. It also makes it difficult for them to know how to react.

Byun-centred movement, I mean physical action that undermines the

impression that the performer is in control ofthemselves. 'Centred' refers to
the centre ofyour body, and your balance. Someone who is cenrred holds a
good stable posture, and movement radiates out from their core. They are
aware oftheir balance, their centre ofgravity, and the shape oftheir spine.

In Fig D, you can see that wh~n I keep my spine tall and long, from the tailbone
right up to the top ofthe skull-it gives a feeling ofbeing stable andin control.
Notice also how my chest opens naturally as my arms come out. An open,
forward chest gives a sense ofstrength and security. Conversely, a stmken
withdrawn chest communicates vulnerability, as in Fig E.

Ifyou were to draw a vertical line from the top ofthe head to the bottom
ofthe picture in both Fig D and E, you can see how balance is essential fora
commanding presence. Fig Dis almost entirely symmetrical. Cenrred energy,
balance and visible confidence go almost hand in hand. In Fig E, the dropped
shoulders, sunken chest, and lack ofdecision combine to create a feeling of
insecurity. Notice also the eye contact in both pictures and the position ofthe
head. Direct, welcoming eye contact gives confidence. Avoiding engagement
does not. Many magicians make the mistake oflooking too much at their hands
and props when performing and not at the audience. You must keep looking at
the audience to hold their attention and re-assert your presence. Ifyou don't,
your whole act will look like Fig E- because when you alter one pan ofyour
spine, it affects the rest ofyour body position. Suddenly everything becomes
hunched over. It also impacts on the projection ofyour voice. Ifyou watched
an entertainer give a performance with their head down, mumbling the whole
time, would you lose interest? I think so.

Shadow movements are actions we make unconsciously that reveal

nervousness. They include things like touching your nose, clearing your throat,
adjusting your tie, swinging your arms, sniffing and coughing when you don't
need to. You must try to stop these occurring when you perform by
concentrating on the physical and vocal actions you intend to do. Shadow

213
FigD

movements appear most often when the performer doesn't really know what
they are doing. The more confident you are with your act, the fewer shadow
moves will occur. Funny habits and nervous twitches don't communicate 'top
class performer to your audience. Watch video footage ofyour shows and see
ifyou can SJX>t any shadow moves you aren't aware of.

Bringing these elements together gives us our fourth rule:

RULE 4= Presence comes from visible confidence.

When you perform, give focus and commitment to everything you do. Don't
rush, and don't go too slow. Enter fully into every moment and don't pre-empt
the next Remember it's you that tells the audience how important each
movement or action is. It's all about storytelling... and you must tell the right
story. Even ifyou are nervous as hell, you must do everything in your power to
emit a presence of control, coolness and confidence.

214 Part 3: PERFORMANCE

FigE

Energy

Energy is a major component ofpresence. It is something you ttansmitto your

audience when you perform. Successful performance needs energy. It has to
be generated and expelled by the performer. Where does it come from?

In Kung Fu training, martial artists talk about 'raising their fire'. They imagine
a fierce, powerful heat building up internally, which can be brought to the
surface when they fight. Ifyou are brimming with energy it affects your
opponent psychologically. In a sparring match, those with energy overpower
those without. The image ofa fire growing inside your core is a useful
visualisation technique that any performer can use to help increase their
presence. You have to raise your game when you perform. You have to draw
energy from deep inside yourself and pump it out to the audience.

RULEs: Presence comes from strong internal energy.

Presence 215
However, there is a difference between 'energy' and 'effort'. Energy is
somethingyou emit; something that vibrates through your whole body. Effort
is what we see when you push against something external. The energy you
create from within should have a feeling ofease about it. It is created in your
core where there is no resistance- nothing you need to push against. It should
feel natural. Your internal energy, is, in essence the purest form ofyou. It is you
in 'spirit'- calm, ever present and untouched by the world's troubles. You must
discover how to strip away the noise and commotion ofthe world and find that
inner sense ofself: you as pure energy. The more you practice creating and
building that energy, the easierit will become-to the poimwhere you can
bring it to the surface at will. Connect with it, nUrture it and let it flow through
you when you perform.

To help you develop internal energy, I have included the following visualisation
exercise based on Yoga and the work ofStanislavski.

The ball oflight

Find a private space where you won't be disturbed.

Stand with your feet shoulder width apart, your arms by your sides, shoulders
relaxed and head upright.

Close your eyes.

Imagine that your stomach is like a balloon. Take a deep breath in that goes
right down and fills up the balloon. Hold it for five seconds and then blow all
the air out gradually until there isn't a scrap left. Take a deep breath in again and
repeat the process another three times.

Revert back to normal breathing.

Working from the head right down to the tips ofthe toes, you are going to tense
different areas ofyour body in turn, and then release all the tension.

Tense the muscles inyour face, then release, the neck, then release, the
shoulders, then release, the upper chest, then release, the stomach, the
buttocks, the thighs, the calves, the feet and the toes, all in turn.

216 Part3: PERFORMANCE

Repeat this process from head to toe once more.

Now, breathing naturally, imagine that there is a very small ball oflight in your
stomach. Just a dot, but it's there. As you become aware ofit, it begins to
brighten. It feeds offyourawareness.

After a while, it grows a little more. The ball expands large enough to
comfortably warm the inside ofyour stomach, all the way round. Rays oflight
extend out from the ball, rutting your stomach wall.

After a while the rays become stronger. They become so powerful that they
travel through your stomach. Rays ofheat and light bounce all over the place
inside your body trying to get out; forwards, backwards, up, down and even
diagonally.

Eventually the light gets so srrong it pours through your skin in all directions
and travels out into the space around you, three hundred and sixty degrees. It
hits the walls, the floor, the ceiling, the furniture, the door and so on. Radiating
from your core, the strength ofthis light pulses out, throwing your energy
into space.

Soon, the walls ofthe room cannot withstand the power ofthe light anymore.
The rays push through into the outdoorworld; forwards, backwards, up and
down from your centre right out into space. The energy wipes out everything
in its path.

At this point in the exercise, when you feel the energy is at its srrongest and
brightest, open your eyes. Feel the energy flowing out from you, obliterating
everything in its path with its pure bright light. Close your eyes again.
Imagine the light receding a little now. The strength is there, but the light
no longer reaches as far as it did.

After a while, the light recedes further. It is contained within the room
once more.

After a little longer, the light doesn't reach as far into the space around you.

oooo o u ooooouo ooonuooooooo·o•o•oooouuoooouoooououono•oooooooouooouoooooooo•o o oo o o oooooo o ooo oooou•• •••••••••• • •• • ••••••••u•o•oo..oooooooo.o ooouno • ooooo•••••••••

Presence 217
Now it is contained within your body once more, bouncing forward, back,
up and down.

Eventually the light is just contained within your stomach. Gradually, it reduces
in size, until it is just one dot oflight again. Then, finally, it vanishes.

Open your eyes.

At the end ofthis exercise note how you feel.

Do you feel stronger and more focussed? Do you feel more centred in space?
Are you more aware ofyour body and the surrounding environment?
You can revisit this exercise again and again to build internal energy. After
enough repetition, you will discover how to create that feeling ofpower and
energy in a matter ofseconds-just like raising your fire in a Kung Fu match.

Marinade
Before you perform, you need to bring yourselfinto a state ofhigh energy and
awareness. You should be buzzing inside and ready to go. As you work through
the show-or in the case of close-up, the reception and tables - you throw that
energy out to your audience.

Back in 2003, I was reviewed for a magic & illusion show I directed called
IMPACTJ4. The review said 'bursting with youthful vigour'. That vigour came
from the internal energypumped out by the performers on stage.

When you perform, the audience picks up and responds to the energy you give
them. Whilst it is possible to bring yourselfinto that state instantaneously, it
can sometimes be hard when you are tired, unwell, or 'just not feeling it'.

However, generating energy is something you can do as a preparation exercise

before a gig. You can give yourself a 'marinade' that starts the river ofenergy
flowing inside. Once it's there, it's easier to bring itto the surface when you
need it. You should personalise the marinade to suit you. I often use specific
stimuli that give me a feel good factor, such as playing my favourite music, the
ball oflight exercise, orvisualising audience reaction. You will discover what
works best for you. Once you have found it, you can create a pre-gig routine that
ll Reviewed by Perer Robens MBE, former secretary ofthe Leicester Magic Circle.

218 Part3: PERFORMANCE

takes you from daily activity into high energy performance mode. Once you
have used it enough, the triggers will kickyourmind and body into action as
you go through each step, even when you are under the weather.

Move your mind 10j1oths, but your body J/loths

The Nob actor Zeami Motokiyo gave this as an instruction to actors. Your heart
should be moved fully, but the physical action expressing your emotion should
only be 7/Ioths. In other words, 3/lOths should be held back from the audience.
In this instance, a physical action is a condensed expression ofsomething
internal. Now you may be thinking; 'what use is that to me as a magician?', but I
see it as a valuable performance tool. You can pump your actions full ofenergy,
but throwing it all out at once might actually lose effect and impact. Consider
using fewer actions and expressing just what you need to concisely, and with a
greater energy hidden behind them. It will make your movements, strong,
potent, and powerful. Every action you do will be meaningfuL Ifyou only show
7/loths and hold 3/lOths back from the audience, they will sense something
that you aren't showing them. Remember films like Psycho? What we don't see
is just as powerful, ifnot more powerful, than what we do see. You don't have to
show your audience one hundred percent ofeverything all the time. Ironically,
your status as a magician may go up as a result ofdoing less. When people know
you are a magician, they want you to do magic all the time. It is not always the
best idea to fulfill request after request. Ifyou decide to do one simple thing,
and nothing more, it could have far more power than a great long string ofcard
effects. Remember the extract from Close-Up Success in Part 1, where PhilJay
vanished a coin? Less is more. By the time you have worked up the audience's
anticipation, you only need do one small thing and they will fly across the
room.

'Acting is reacting'

This is an old cliche, but like many cliches it's true.

You must be there with your audience, ready to react, in a state of

responsiveness. Your act is not just a one-way process where you lecture the

Preseuce 219
audience. You should feed offtheir reactions and encourage them. Ifsomeone
makes a comment during your performance, a joke, asks a question, or offers
anything at all; you should regard it as an opportunity to build rapport, unless
it is intentionally disruptive. Even when an inteljection appears challenging, it
is often possible to rum it to your advantage. Becoming flexible and responsive
is a skill you must nUrture and develop. This gives us our sixth rule:

RULE 6: Presence comes from a state ofresponsiveness.

We are all met with questions like 'can you make money appear?' or ttlow
did you get into magic?' Instead ofshunning these enquiries, use them to your
advantage. You might be bored ofhearing the same things again and again,
but more often than not these inteljections occur out ofgenuine interest and
curiosity. Respond to them. Remember that most people don't meet a magician
every day. It's a good idea to develop a bank ofreplies for re-occurring
situations so that you can turn an awkward or irritating question into an
opportunity to build your status and prestige.

One ofthe signs of a good performer is someone who connects with their
audience just as much as with the material they present. Interaction should
be of equal importance to the effects. You must establish and maintain
contact with the audience. Make them feel that you are giving them a unique
experience- even ifyou have done the same thing many times before.
Every audience will give you something different- use it to keep your
performance fresh.

Relaxation

The best way to be responsive and reactive is to be relaxed when you perform.
You can't communicate fully or openly when you are tense, anxious or
pre-occupied. You can't listen properly unless you are in a state of
receptiveness. So how do you help yourselfrelax in performance?

I believe there are several steps. The first and most important is:

- have confidence in the material you are going to perform

220 PartJ: P£!!FORMANCE

Ifyou are tmsure about your routines, or haven't practiced your sleight ofhand
until it is second nature, then you won't be relaxed. Ifthere is any niggling
doubt in your mind, it will be amplified when you perform. You must be one
hundred percent happy with everything you are doing.
The second step is:

- realise that you need to be relaxed

Ifyou get nervous, you need to remind yourselfhow you should feel when you
perform. There is no point dwelling on anything that will undermine your
confidence or increase your anxiety. For example, having set up foryouract,
don't keep checking things. The third step is:

- do something that \vill help you relax and put you into a state of
receptiveness

This could be the ball oflight exercise, a slow breathing exercise, or anything
else that works for you. When you are doing a stage show, you may have a
private dressing room or rehearsal room to warm up in where you won't be
disturbed. Ifyou perform close-up, I would suggest using an internal exercise
that puts you into the right state, which you can do almost anywhere without
drawing attention to yourself. The following is an exercise I sometimes use
when sitting a hotel lounge before a gig.

Circles ofattention
In chapter five ofAn Actor Prepar&4, Stanislavski talks about 'circles of
attention'. He believed that shifting attention between specific areas could
help a performerbecome more focussed and relaxed. I use this teclmique to
improve my overall awareness before I perform. The exercise is simply this:

1. Become aware ofwhat immediately surrounds you; the furniture you are
sitting on, the objects you are holding and what you are wearing. Notice the
colours, the shapes, the feelings and the textures. Also notice any ambient
sound within that circle ofattention.

JA Stanislavski,AnActor Preparrs, P75

Presence 221
2. Expand the circle and become aware ofeverything that is happening in your
surrounding environment; the people sitting next to you, the doorjust
behind you, the light above you, and so on. Notice the colours, the shapes,
the movements and the sounds.

3· Expand the circle again and become aware ofthings happening further away
from you; a taxi passing outside the window, someone answering the
telephone at the other end ofthe room, a distant siren and so on. Again,
notice the colours, the shapes, the movements and the sol.lllds.

4 Shift your attention between the three circles.

The great thing about this exercise is that it can be done anywhere. It forces
you to be focussed and receptive for a short period and allows you to see tWngs
with fresh eyes.

It helps you to become more present and aware.

Ifyou perform on stage, a physical and vocal wann-up are, in myview,

essential. You don't want to be gearing up during your first routine. You should
start with full commitment, having prepared yourselfphysically, vocally and
mentally. Here is a warm-up you can use to relax and help you feel'in your
body' before you walk on stage. Remember that your body and voice are like
instruments, so you need to tune them up before you begin.

Freeing physical & vocal warm-up

1. Roll your shoulders forwards and backwards repeatedly.

A lot oftension is held in this area, so make the movements big and indulgent.

2. Lift your shoulders to your ears, shake your body left and right, and drop
them suddenly with a big out breath. Repeat several times.

This helps to release upper body tension.

3· Gently rotate your head, and every so often, drop your chin to your chest.

222
This helps to 1;elease the neck muscles

4 Draw big circles with your arms going forwards. Take some deep breaths as
you do this.

This starts tofree the back muscles, andfurther loosens the shoulders.

s. Twist yourtorso to the left and right repeatedly, whilst standing on the spot.

This helps to getyow· spine wo1·king and ine1·easesyout range ofmovemetzt.

6. Pull a really big face, then bunch everything up into a small face. Repeat
several times.

This activates the muscles in yourface. In theatre this exet·cise is k1Zown as 'bigface:
littleface'.

7. Massage your face. Make an extended 'arrmrr' sound as you do this.

Thisfrees theface muscles, but also p1·eparesyour skull as a resonatorfor

yourvoice.

8. Rotate your elbows, rotate your wrists, and flex yourfingers.

This is an isolation exercise to help you become more aware ofspedficparts

ofyoU1· body.

9· Rotate your knees and ankles

This helps prevents injmy.

10. Imagine you have a piece ofreally sticky toffee in your mouth and chew it
for about a minute.

Thisfreesyow·jaw muscles and p1·epa1·esyour lips and tongue, so you can speak
and articulate more cleady.

Presence 223
11. Lift your shoulders and produce a 'hub!' sound as you drop them.
Repeat several times.

This helps to free your voice and body together.

12. Hum over an extended period oftime going up and down in pitch.

This prepares and protectsyom·voice. It also opens up yourvocalmnge- a bit like

stretching elastic.

13. Produce consonant soWlds such as b, c, g ('buh, 'cub', tguh')

Gradually increase in volwne.

This gets the back ofyour mouth a11d throat working.

14 Have a really good srrerch and produce an extended sound moving through
the vowels (aaaaa-eeeeee-iiiiliiii-ooooo-uuuuuu).

This engages and.frees the body and voice together.

15. Finally, run through a few lines ofyour show focus sing on the colour ofyour
voice, and thewayin which you move.

This laststage brings togetheryounvann-up and pe1fonnance material. Ifyou m·e

in a theatre,you maywish to do this onset

Most types ofperformers-actors, singers, dancers, etc. -do some form

ofwann up before their shows. So, equally, magicians- particularly stage
magicians-should do something to get themselves into the right physical and
mental place before a show. I have never seen a magician give a great
performance when they weren't ready. It doesn't have to be a full bodyworkout
-it depends on your act and what it demands from you. Do whatever prepares
you best. The processes I have suggested are simply a means ofgearing yourself
up and helping you to step into your performance 'shell'.

Part3: PERFORMANCE
In your body

A major benefit ofdoing a warm up is that you feel much more in nmewith
your body and voice. This brings us to our seventh and final rule:

RULE 7: Presence comes from feeling comfortable in your own body.

It is important to feel happy in your own skin when you perform.

When you go to the gym and work out, or do a physical activity you enjoy;
you leave feeling good in yourself You feel connected to your body. Ifyou sit in
front ofa computer and slouch all day, you don't. Awarm up leaves you feeling
ready, reactive and physically aware. Those who exercise or stretch in the
morning have better energy and posture throughout the day.

When we see someone who is comfortable in themselves, and enjoys their

body, we feel drawn to them. You must learn to like yourself Realise rhe range
ofexpression that you are uniquely capable of. Own the space around you. If
you have confidence in your physical presence, others will recognise it.

Attention, awareness, dynamic

At the very start ofthis book, when talking about theaoicallanguage,

I mentioned three words: 'attention', 'awareness' and 'dynamic'. I will now
clarify what I mean by these terms, and how they relate to stagepresence.

Attention
Listen to the audience and remain in a state of responsiveness when you
perform. React to their impulses. Aperformance is a conversationbetween
the performer and the audience. Keep on top ofyour material so that you are
free to have a dialogue.

Attention also tells the audience where to look, and what is important.
By shifting attention from object to object, from object to audience or from
audience to performer, you are specifyingwhere the focus is at any given
moment. Controlling focus is a fundamental part ofmisdirection and

Pn?sence 225
stagecraft. One playing card can gain huge significance ifyou give it full
attention. Drawing in and opening out focus can build audience reaction.
Focus is an important dramatic tool.

Remember that you are a storyteller. What is the most important part of
the story? What do you want people to focus on? When you perform, your
attention acts as a guide. What you find interesting, the audience finds
interesting. What you discount, the audience discounts. Be aware ofthis,
and use it wisely.

Awareness
On the surface, attention and awareness might appear similar or the
same. Both are keyingredients in creating a theatrical state. Both are about
receptiveness and sensitivity.. However, they refer to different aspects of
theatricality. Attention is something you give directly. For example: you watch
someone,youlisten to a response, or you focus on an object. Awareness
is a more generalform ofattention It is diffused. You are aware ofyour
environment,body and audience, as one. Awareness involves soaking up the
whole picrure,:rarherthanbeingspeci.ficallyfocussed on one thing. In theatre
this is often known as 'soft focus'.

Imagine, foramomenr, that you are on a crowded station platform where

there are lots ofpeople moving around you, trains coming and going,
announcements being made and so on. Puttingyourselfin a receptive state
where you can absorb everything at once is only possible in 'soft focus'. You
can'tlookdirecdyat every element simultaneously, but you can be aware ofthe
totality ofyoursurroundings. Ifyou choose to focus on something specific in
that environment, you give it your attention. Attention shifts from one specific
thing to thenext. You notice a woman with a red top, you see a man order a
cappuccino, you listen to the information about a late departure, and so on.

When you perform, you should think about shifting clearlybetween

awareness and attention. For example: just before you make something
disappear, you focus all ofyour attention in that area in orderto draw the
audience's focus and build up suspense. As the reaction breaks and you rake
your applause, you shift from closed down attention to soft focus awareness
to absorb everybody's response.

226 Part3: PERFORMANCE

Dynamic
A dynamic is a theatrical action or movement.

Imagine when you perform that the space around you is like a fluid.
A purposeful gesrure that cuts through space draws people's interest.
A dynamic is an assertive, decisive gesture with a tangible quality that speaks
greatervolumes than a daily, real world action.

For an actor or dancer, a dynamic could be a gesture with the hands, anangular
movement with part ofthe body, an undulation of the spine and so on.Almost
anything can become a theatrical dynamic. It is the performance ofa
movement or gesture that shows the audience its importance.

However, crucially, a dynamic must have a relationship with the space aroWld
it. It can glide through space, float through space, or thrust through space.
Adynamic is a physical expression that connects with the surrounding
environment and the air around it.

As a magician, you can choose to turn a moment in your act into a rheanical
dynamic. You might highlight the way you move your hand overan object, the
moment somethingvanishes, the way you pick up a prop and so on. You can
give attention to the quality ofthose moments. Often a dynamic seems to
contain a hidden, unspoken power. For example, the way you spread the cards
towards a spectator can communicate something exciting and mysterious.
It is the execution ofthe action, and the attention you give it, which makes it
dynamic. It often helps to think ofa dynamic as ifit were a striking snapshot
taken with a camera. What picture do you want to show the audience, and what
effect do you want it to have on them?

Lab an

The theatre and dance practitioner Rudolph Laban spenthis life investigating
human movement3S. He was particularly noted for breaking down and
categorising different types ofaction.

11 See Laban, The Mastery ofMovanent, and other books on Laban's worldn the bibliography.

Presence 227
I think it is important for magicians to have an understanding ofmovement
and how it relates to their performance, in order to increase their physical
vocabulary. As we have discussed throughout this book, everything you do
communicates something, and a good act should be full ofvariation and
change. Laban's theories offer a way ofincreasing variety and interest, and will
make you more aware ofhow physicality affects your performance. Phy$icality
and presence are inextricablylinked.

Planes ofspace
Laban believed that any physical action occurs within a 'plane' ofspace,
and that space can be divided up into three separate areas: the table plane
(horizontal), the door plane (vertical), and the wheel plane36 (forwards and
backwards). Awareness ofthese different planes ofspace is useful for a
magician because they present choices about how to move. A clearly defined
movement, which sculpts the space around you, communicates presence.

The table plane is so called because an action within it occurs horizontally.

Imagine you are standing in a swimming pool with the water up to your waist.
When you reach in any direction to touch the surface ofthe water, your gesture
occurs in the table plane. Real world actions in this plane might include
brushing dust offa surface or sliding something along a shelf. Magic related
actions might include spreading a deck ofcards onto a table or reversing a
spread using one card. Explore elements that have a horizontal dynamic in
your act, and consider the way they use space theatrically.

The door plane is so called because any action within it occurs vertically.
Imagine standing in front ofa closed door and touching it up with paint.
Any contact with the surface is vertical. Real world actions in this plane could
include reaching for something on a shelf, picking an object up from the floor
and so on. Magic related actions might include writing a prediction on a board
or the moment when a guillotine blade is released. What movements or
sequences explore space vertically in your act?

The wheel plane refers to any action that goes forwards and backwards in
space. Many action.s are circular or semi-circular, for example throwing a stone.
This plane includes actions that are both curved and straight. Real world

J1i Also known as the sagittal plane.

228 Part3: PERFORM/.NCE

 The three dimensional planes

1
Table Door Wheel

FigF

actions might include catching a ball or opening a drawer. Magic related

actions might include offering the cards towards a spectator, orpushing a card
into the deck.

Now that you are aware of these three different dynamics in space, go through
your act and consider each action in turn. Which plane do you use at anygiven
time? Remember that woolly and non-specific performances are not conducive
to stage presence. You must make everything you do specific, clear and defined
in order to hold your audience's interest and tell the right story.

Do you vary the use ofplanes in your act, or do you find yourselfperforming
almost exclusively in one? Alot ofcard magic is executed on t:he table plane.

Presence 229
Would it help the flow and interest ofyour act ifyou used other planes?
Perhaps you could perform a set with cards exploring space horizontally,
vertically, forwards and backwards? For example: begin with a nitunph routine
(horizontal spreading ofthe cards), move into an ambitious routine (vertical
rising ofthe card) and finish with a 'cards to pocket' routine (exploring
forwards and backwards movement). This could be more interesting in terms
ofphysical dynamics than just residing in the table plane all the time.
Remember that you need to keep things engaging for the audience. They need
change and difference. Ofcourse that change must have a reason- you don't
want to vary the planes every few seconds just for the sake ofit. It's up to you to
find the justification. Planes are simply a means ofconnecting your magic with
the space around you.

When you are aware ofyour body movement and the physical possibilities
within the three planes, a whole world ofoptions is opened up. Once you find
where a movement shifts from one plane to the next, you can stan to enjoy the
physical journey ofyour performance. From moment to moment you can make
everything you do dramatic and watchable. Laban's planes of space can help
you move with clarity and presence.

Motion factors
Laban believed that every single human movement can be defined in terms
ofthree motion factors: space, time and weight. No action can exist without

SPACE TliVIE WEIGHT

I
Direct or Fle,.:'ible
\
Light 01· Heavy

Quick ol· Sustained

FigG

Part3: PERfoRMANCE
one ofthese elements. For example, you can't pick up an object without
physically describing its weight, or hammer a nail without articulating your
movement through space. Similarly, you can't vanish an object without
involving time. It's impossible. Every physical action you do, whether you like it
or not, commwlicates something to the audience. Therefore, to make your
performance stronger, you should define these components in your mind. You
can't sit on the fence when you perform. Decide. What action occurs when and
where? What is the quality ofthat action? How does it engage the audience?
You must articulate your actions clearly, or your performance will be weak.

According to Laban, an action in space can be either direct or flexible. For

example: brushing something offyourjacket is a flexible action, but pushing
stop on a cassette player is a direct action. In magic, waving a magic wand is
flexible, but pushing a coin through the bottom ofa bottle is direct. You will
find, however, that some actions can be either flexible or direct, depending
on how you choose to articulate them. One thing is certain though; an action
cannot be direct and flexible at the same time. It is either one orthe other.

Time can be either quick or sustained. Quickmeans fast and SUS[3ined means
continued or drawn oUt. For example: slamming a door is quick, but carrying
a full glass ofwater to a table, without spilling anyofthe conrems. would be
sustained. Once again, some actions can be eirberquickorsustained, but not
both at the same time. In magic, you could spread a deck ofcards quickly or
gradually. Similarly, you could make something disappearquicklyorgradually.
The decisions are down to you, but each choice communicates something
specific to the audience.

Weight can be either light or heavy. Although an object obviouslyhas weight,

so does an action. I could tap someone lightly, or I could thump someone hard.
In magic, when you push a coin through a table, it couldbe a light action or a
heavy action. It depends on how difficult you want to make it feel. Does a coin
penetrate the surface easily, or does it require some force? Once again your
choices should emerge from the storyyou intend to tell the audience.

Presence
The eight effort actions

Direct + Heavy + Quick :: PUNCH

Direct + Heavy + Sustained = PRESS
Direct + Light + Sustained = GLIDE
Direct + Light + Quick = DAB
Flexible + Heavy + Quick = SLASH
Flexible + Heavy + Sustained = WRING
Flexible + Light + Quick = FLICK
Flexible + Light + Sustained = FLOAT

FigH

Byworking out the various permutations involving one element from each of
the three motion factors, Laban came up with eight definitive physical actions.
These are known as the 'effon actions' or 'effons'.

Anything that is direct, heavy and quick is called a punch. A punch could
be a literal punch, or anything that has that quality, such as slamming a door.
I would say that this effon occurs quite frequently in magic. The point at which
something magical happens, such as an appearance or vanish, is often a punch.
Revealing a prediction can be a punch, although in this case, it is psychological
rather than physical. Anything that is direct, heavy and quick- physically,
vocally or magically- is a punch. As soon as one ofthese elements changes, the
effort action changes. Ifthe action is direct, quick, and light (rather than heavy),
then it becomes a 'dab'. Remember the example I gave oftouching up paint on a
door? That's a dabbing action. The vanish of a coin is usually a dab. So is a
colour change.

As you can see from the chan, other combinations ofspace, weight and time
create different actions. Most ofthese are selfexplanatory; a press usually feels
like a long, slow push, a wringing action involves continued twisting -like
wringing out a wet towel, and so on. As a performer, you can embody any one
ofthese efforts. Efforts define the physical quality ofan action. You can dab
when backpalming cards, to give each vanish a feeling oflighmess, orwring
when turning ahead twister, to show the effort involved in manipulating your
assistant's head. It is up to you to decide what each moment in your act is
supposed to feel like, and how the audience should read it

Using the efforts

Everyphysical action has an effort quality, for example; a wring occurs
when you twist a door knob, and a dab when you click your computer mouse.
However, an effort can also be an internal force that drives your physical
behaviour. Ifyour attitude when perfonn.ing is light, optimistic and carefree,
then you are using the float as an internal effort. However, ifyou perform
viscously and sporadically, you will be using the slash as an internal effort
Believe it or not, everybody exists predominately in one effort action most
ofthe time. Do you know someone who is a 'miss sunshine' type character?
Their residual effort is the glide. Do you know someone who is always
depressed? Their residual effort is the wring.

An effort action, as an internal state, affects outward physicality. We behave a

certain way because ofhowwe feel inside. Every effort action is connected with
an emotion. For example: a slash is an angry, uncontrolled action, and wringing
is often the manifestation ofanxiety. The internal and external are inextricably
linked. How we feel affects ourbehaviour and action. Also, vice versa, by doing
particular physical actions we can cause ourselves to feel a certain way inside.
This is a useful tool. We can use physicality to show the audience how we feel
about something, or, by performing an action in a certain way, we can find our
way into an emotional state. This can help to give an element of 'truth' to our
performances. Remember that magic needs to connect with the audience in
some way on an emotional or sensory level in order to gain a reaction. You
need your spectators to become involved in the experience.

As a magician you can use efforts to control what you want the audience to
interpret, and articulate the emotional arc ofyour performance. You might
begin a 'cheat the gallows' illusion in a state ofwringing; showing your concern
about the danger ofthe effect, but finish in a state ofgliding; expressing your
elation at having cheated death. You might also choose to give specific
moments an effort action as well- such as a pressing quality when the noose
is put around your neck. Ifthe audience identifies with the journey, you are far
more likely to gain the reaction you want. Too many magicians rush their
performances. They don't allow their routines space to breathe. Let the

Presence 233
audience in to what you are doing and allow them to experience how it feels.
Awareness ofhow and where efforts are applied might leadyou to consider
other options. Could you use an effort or motion factorto assist in smoothing
over a difficult moment in your show? Absolutely. You could apply a glide or
flick to disguise a crucial sleight. Bytreating something lighdy, suspicion is less
likely to be aroused.

You could watch your performances back and consider the efforts you are
already using. Are you aware ofthem? Are they the right choices? Could any
moments be improved by the application ofa differe~t effort?

Free flow and bound flow

Laban makes an important differentiation regarding the flow ofphysical action.
A movement can be either'free' or 'bound'. By free, he means something that is
released. Jumping into a swimming poolis a free flowing action because it can't
be stopped once ithas begun. Bybound, he means something that is controlled
or held back-an action that can be stopped. For example: drawing a sword
from a scabbard is a bound action because it can be halted at any point. In
magic, the use ofa pull, or the execution of a retention vanish are free flowing
actions, but a glide or cull are bound flow.

Any movement that your audience sees is either bound or free.

However, free and bound also refeno the feel ofan action. In a number
ofcases, you can choose whetherto make a movement feel bound or free,
regardless ofwhether it is or not. So the question is, when you look back at
your act; how free or bom1d are your actions generally? Should you try to free
yourselfup a bit? Do you perform actions in a bom1d way that draws attention
to the sleight ofhand? Magicians often tense up during the vital moments ofan
effect, particularly when they are unsure oftheirtechnical ability. The result is
a strange moment ofbound flow within an otherwise free flow routine. Rather
than lettingyour anxiety or nerves get the better ofyou, you should practice
giving such moments a free flowing quality. Remember; ifthe audience thinks
they have seen something, then, in their mind, they have worked it out.
Regardless ofthe difficulty or pressure ofa certain move, you should strive to
make it feel free, so that the audience will accept it without question. Can you

234 Part3: PERFORMANCE

make a cull feel free flow, even though it isn't? Yes. Concentrate on the gesture
ofspreading the cards, not the move. Make the oveniding action feel as open
and unrestricted as possible.

In many ways, a free flowing quality is better for the performer and audience
than bound flow. Bound flow can feel tight, held in and anxious. Most ofthe
time, that is not what you want to communicate on stage. Ifyou are free, the
audience will feel free, ifyou are tense or concerned, you will lose the
audience's confidence. Bound flow is best reserved for moments in the show
when you want to build anticipation and suspense.

One final thought: when you are free, you are spontaneous and reactive.
As I have said before, you need to be there with the audience, feeding offtheir
energy and interjections. To listen effectively and respond easily.you need to
be free in yourself. When you are bound you are less able to reacr.

Action and intention

Ifyou are finding it difficult to take in and apply all this information about
physicality and movement, or are unsure why you need to studyit as a
magician, then remember this simple fact: action is inseparable from intention.
Agood performance shows intention at every moment. This doesn'tjust apply
to actors, but also to magicians who must execute sieights and misdirection
effectivelywhilst entertaining the audience. The ability to entenainis
absolutely key, and that requires the ability to communicate effectivelywith
your voice and body. Ifyou don't master these skills, you won'tbe able to
connect with the audience and your magic will be lost.

Clearly defined action is a key ingredient in controlling focus andgaining

presence. Give an action intention, and it will become watchable.

Laban's first words in his book The Mastery ofMovement are:

'Man moves in order to satisfy a need'37

:s~ Laban,p1

Presence 235
This ties in directly with Stanislavski's work on objectives. You take action to
achieve something. 1I want to... in orderto...'. Every conscious movement that
we make happens because we want or need something. It comes from an
internal drive. No movement exists without an intention of some kind. You
don't move for no reason. This is important magically and dramatically. Those
who have an aversion to using their body physically are usually concerned that
theatrical movement will look srrange or staged, and they will feel
uncomfortable doing it. They may also think that movement isn't their
strength, they don't move well, or that they aren't interesting to Watch. The
truth is; you can free yourselfup to explore yourphysicality, without feeling
self-conscious, when you focus on an intention. An action with intention has
purpose, and therefore movement is justified. For example: I levitate an object
with a slow sustained gesture ofmy hands, or I pull a cloth away sharply to
reveal my assistanthas vanished. These are physical actions linked to
something specific. There is nothing extraneous about them. The same is true
for non-magical actions in your performance. For example: I walk to the front
ofthe stage to greet a member ofthe audience, or I hold something in the air so
it is visible. Such gestures are clearly linked to a need or want ofsome kind.
Having identified a definite action and linked it to an intention, I would work
on making its existence more distinct within a certain plane ofspace. The
clearer it is, the more watchable it is for the audience. When levitating an
object, for example, I might focus my action in the door plane, or when
showing a tube empty, I might focus it in the wheel plane.

To conclude then; ifyouractionhas intention it will be watchable. Intention is

like a magnet for the audience. Ifyour actions are interesting, you will have
presence. Develop physical action from your intentions first, ifyou can. Or, go
through your act systematically and attach intentions to any actions that
appear to have no dramatic purpose.

Can'"iage

The way you carry your bodywhen you perform is vitally important. You must
be aware and in control ofyour physical communication. This goes right back
to the way you stand and hold yoursel£ Look back at Fig D. Balance, a tall spine,
the way you hold your head and awareness ofyour upper chest are all

....................................................,.............................................................................................................................
Part3: PERfORMANCE
contributing factors. Try to notice the bad habits you accumulate on a daily
basis -such as slouching- and make a conscious effort to change those things
when you perform. It is easy not to recognise bad habits because they become
unconscious. That is where watching yourselfback on video is a useful
exercise. You will notice imbalance, tension, stooping and so on. When we get
used to bad habits, they become our 'normal' posture. Alexander Technique is
often a part ofdrama school training because it reminds actors where their
body should be. It corrects their posture. Often, we teach ourselves the wrong
way to stand or sit, and that becomes normal to us.

I would suggest that from now on, you allow yourself to become more aware of
your posture, so that you can begin to notice when things are out of alignment.
Someone who carries themselves smoothly, gracefully and in balance has
presence. They have presence because they are in control oftheir body, and
their physical attitude. An audience instantly picks this up.

The following are theatre exercises you can do in private to improve your
posture, or as part ofa warm-up before you go on stage. The second ofthe two
exercises is taken from the work ofAmerican director Arme Bogart.

The piece ofstring

Stand up straight with yourfeet: shoulderwidth apart, your shoulders relaxed,
and your anns by yoursides.

Become aware ofyourbodyin space.

Imagine that you have a pieceofsoing connected to the top ofyour head,
which goes straight up ro the ceiling. Your entire skeleton hangs from that piece
ofstring. It is the only thing thatis holdingyou up. Feel what it is like to be
suspended from one point. Release any tension from yourbody. Let your
shoulders relax, your jaw drop, and your knees soften a little.

In a moment, the string will snap. Whenit does, flop down from your waist so
that your whole upper body hangs completely loose; head, neck, shoulders,
arms, face, fingers, and chest.

Imagine the stringsnapping.

Presence 237
Enjoythe feeling ofletting go and relax.
Hang there for a short while.

Gradually, vertebra by vertebra, roll back up so that your spine is tall again.
Don't rush this process. Take your time to realign your body.

Repeat the process twice more.

Light head and strong roots

Stand, as before, in balance, with your feet shoulder width apart and hands
byyour sides.

Imagine a gold band oflight around the top ofyour head Q.ike a halo).

The light warms your head and lifts it gently up towards the ceiling, helping
your spine become taller.

Now, feel the contact ofyour feet with the floor.

Notice how balanced you are.

Imagine that the soles ofyour feet grow down into the floor like tree roots. The
longeryourernainin contact with the floor, th~ deeper the roots go. They make
your legs and lowerbody stronger.

Imagine the band oflight pulling you up and the roots ofyour feet pulling you
down.

Being on stage
I want to rerum, briefly, to the work ofthe British director Declan Donnellan.
In Part 1, we discussed the question:

'what is blocking mefrom myself?'

Donnellan asks, 'what is blocking the actor from being truthfully in the
moment?' This question refers to working on a dramatic scene. However,
magicians could ask themselves a similar question:

F\lrt3: PERFORMANCE
 What is stoppingmefrom shining in front ofan audience?'

What are the causes of'blocking' oneself? What stops us being who we should
be when we entertain? What stops us being free and spontaneous? In Part 1,
I gave a short list:

- monitoring oneself
- not accepting onese]f
- worrying what other people think
- showing a false face to please the world
- trying too hard

All ofthese are caused by self-conscious processes. It is our ownpreoccupation

with how we look that causes us to become bound, instead offree. You need
to concentrate one hundred percent on what you are doing to rhe audience.
Ifyour focus is self-reflective, or you are pre-occupied in anyway. itwillhinder
your performance.

In Part 1, I skipped over the point about monitoring oneself, because it is

more relevant to this section ofthe book. Monitoring literallymeans: aying
to checkyoursel£ When performing, you can become split between
concentrating on your act, moment to moment, and guessing whatitlooks like
from the audience's perspective. When you start nying to second guess, you are
no longer in your performance. This is dangerous and counterproductive. We
all do it from time to time, but you need to train yourselfto Stop doingit. It's
impossible to know exactly what the audience is seeing and thinking. You need
an outside eye (a director) to tell you that When I work with inexperienced
actors, monitoring is a frequent problem. You can almost see a barometer in
their head which says 'Looking good... looking good.... not so good... looking
terrible...' Monitoring is a self-fulfilling prophecy. As soon as youstarr thinking
it's not working, it sparks a downward spiral, and it gets worse. Youfocus more
and more negatively, rather than on the objective ofthe routine, or the
intention ofan action. It becomes all about the performer, rather than what's
happening between the performer and the audience. Youmusr focus externally
to prevent yourselfbecorning self-reflective. Analyse your performance after
your show, not during it. ·

Presence 239
Declan Donnellan suggests that to stop a performer blocking themselves, you
need to remove the 'block'. When you analyse your performance, this could be
a useful thing to consider. What is stopping somethlng from working? What is
in the way? The block could be something physical, or it couldbe something
self-conscious. In a lot ofcases, you are what's blocking the performance,
because you are getting in the way ofyourself. Recognise whether there actually
is a problem, orwhether you are making something into a problem. Often it's
a good idea just to chill out, and revisit your act when you have a clearhead.

The seven rules ofpresence

Before we move on, just to recap, here are the seven rules ofpresence together.

RULE 1: Presence comes from receiving the attention of others.

RULE 2: Be present to have presence. ·
RULE 3: Every action must be alive.
RULE 4= Presence comes from visible confidence.
RULEs: Presence comes from strong internal energy.
RULE 6: Presence comes from a state ofresponsiveness.
RULE 7: Presence comes from feeling comfortable in your own body.

Less is 1nore

To finish this section on presence, remember that old saying 'less is more'.
Like many cliches and proverbs, it's true. The less you move, the more
important it becomes when you do move. I have seen many performers who
just can't keep still on stage, whether it be out ofhabit, neiVousness, or because
they think it looks good. Stillness is just as effective, ifnot more effective, than
movement. Ifyou move around all the time, your energy is constantly being
dispersed and scattered. It doesn't usually make things clearer for the
audience, and in some cases you may make them feel sea sick!

Make everythingyou do count.

240 Part3: PERFoRMANCE

When Michael Jackson appeared at The Wembley Arena in London in 1992,
at the start, he was shot up onto stage via a hydraulic lift and stood completely
still. No music, no movement-nothing. The crowd went wild. He didn't move
an inch for one whole minute. Then, he turned his head sharply to the left. The
crowd went bananas. After another twenty seconds ofstillness, he removed his
sunglasses with a very direct, sustained gesture. Still the crowdwere screaming
and shouting. He performed two very precise actions in two minutes, and had
complete control over the audience. He made those actions important by
doing nothing else. Silence and stillness are very powerful tools. Ofcourse,
Michael Jackson could get away with this because ofhis fame- but he was
nevertheless a very talented performer who understood the importance of
movement in space.

Go back to your act now and consider what could be made clearer, and what
could be taken away, to make your performance stronger.

Presence 241
 Key skills

Having looked in detail at colour, rehearsal and presence, it is important that

we return to basic stagecraft. There are certain fundamental skills you should
have in your arsenal as an entertainer.

In this section we will look at basic stage practice and the fundamentals
ofaudience management. I will then follow this with a pictorial study of
reactions, and a list ofcommon mistakes made bymagicians.

First of all though, a brieflook at common terminology for those who

work on stage.

Here a few technical terms that you should be familiar with...

Te1'1rz.inology
Blocking The performer's movement on stage agreed with
the director in rehearsal.

Centre stage (CS) 38 The middle ofthe stage: the strongest place to
stand dramatically.

Stage 1ight /left (SR/SL) That's your right or left when standing on stage in
front ofan audience.

Midstage (MS) The middle ofthe stage.

Downstage (DS) The front ofthe stage (closest to the audience).

Upstage (US) The back ofthe stage (furthest from the

audience).

ll CS- An abbreviation ofCentre Stage. Typically, you will see directions Indicating left and right as well as depth;
MSR (Midstage Right), DSL (Downstage Left), and soon.

Rut3: PERFORMANCE
 '\tVings The space offstage left and right.

Soft masking flegs Black stage drapes hung from a bar (used at the
sides ofthe stage to create wing space).

Hard masking Black material stretched over a wooden frame.

LX Lighting.

LX bar Lightingbar (for hanging lights).

Lante1-n I source A Light.

Gel Coloured hearproofplastic that goes overthe

front ofa light to colour the beam.

Gelframe Holds the gel in place.

G clamp Clamp attached to a lantern that hooks onto a LX

bar. It's in the shape ofa G- hence the name.

Get in The time at which everything is brought into the

venue.

Rigging The putting up oflanterns, sound equipment and

other technical elements.

Focus A session in which the lanterns are pointed and

focussed.

Plotting The recording ofLX or sound stares into the desk.

Tech The technical rehearsal.

Get out The session when everything is de-rigged and

taken out ofthe venue.

Key skills 243

 Mark up A plan ofthe stage and set taped onto the floor of
the rehearsal room.

Cue Something the stage manager hears or sees which

uiggers a LX, SFX or AV effect. In theatre, cues are
usually linked to words in the script.

Visual cue A cue taken from something that is seen on stage

- often a moment involving the performer.

SFX Sound.

AV Audio-visual.

ASM Assistant Stage Manager.

DSM Deputy Stage Manager.

FOR From OfHouse

Flys I fly tawer Refers to the flying space above the stage.

'Heads!' Something is being dropped from above the

stage.

The half Thirty-five minutes before performance.

Call Arequest made by the stage managerto a

performer. For example: 'Mr. (the performers
name), this is your call'. This usually refers to an
entrance on stage.

Call sheet Primed sheet indicating the timings for

performers to be present at the next rehearsal or
performance.

Stand by Ready to begin. All departments (lighting, sound,

etc.) are asked to 'stand by at the start ofa show.
................................................................................................................................................t································-
 Beginners callj1Jeginners' The call for performers to standby at the start of
a show. Usually the stage manager will say 'Mr 'X',
this is your Act 1 beginners call'. The same
procedure occurs at the beginning ofAct 2.

Clearance The front ofhouse manager notifies the stage

manager that they have 'clearance'- meaning
they can begin the show. The stage managerwill
then start the performance as soon as possible.

Ifyou work in theatre, knowing basic terminology will help you realise what
technicians, stage managers, etc, are referring to. It will often be asswned that
you know these abbreviations and technical terms. It is essential chat you have
an overall understanding of standard theatre practice, and what is expected
ofyou, ifyou work in that field.

Basic stage practice

Whether you work on stage, in cabaret, or close-up, there are basic meatrical
principles that you must adhere to. Ifyou don't, your performance will fail, no
matter how creative or original your material. Therefore, I strongly~est: you
build your act with these rules in mind. Understanding and using basic srage
principles can make the difference between looking like you knowwhat you're
doing, and looking like you don't.

Perform to the back ofthe room

Ifyou are working on stage, remember that the people at the back ofthe
audience are just as important as the people at the front. Ifyou ~e under
theatre lights, you probablywon't be able to see past the fust few rows, but this
doesn't mean that you should only perform to those closest to you. I have seen
magicians who only perform to those nearest, and consequendy, me rest of
audience loses interest. Ifyou are a close-up magician, you may find it difficult
making the transition from performing for a small audience, to performing on a
big stage. What you must remember is that although you can't see the audience,
they can see you. You must make everyone feel a part ofyour performance.All
your actions must be as visible to the person at the back ofthe room, as to those
on the front row.

Keyskills 245
Imagine, when you are standing on stage with the lights in your eyes, that you
can see the people at the back ofthe auditorium. When you are creating your
act, find points at which you can engage different parts ofthe audience. For
example; as you show an envelope, you focus towards the back ofthe room,
then as you put in on a table and continue talking, you throw focus to stage right
ofthe auditorium. Identify different areas ofaudience, and return to them with
your gaze periodically. You could even associate certain specific actions with
different audience areas, or relate back to one single person in the audience
as a repeated running gag. However you do it, it's important that everyone feels
engaged by you. Even though you may perform an action and see nothing, you
must make the audience feel as if'that bit was for them'.

Don't turn your back

One ofthose long established rules in theatre is that you musm't turn your back
to the audience. I would dispute this. I think you can rum your back, provided
that you don't do it for long, and only ifyou have good reason. Ninety percent of
the time, there will be a better solution than turning your back, but occasionally
it is necessary-just consider other options before you commit to that choice.
Remember that facial contact with the audience, whether you are front on,
slightly turned, or in profile, commands attention. Psychologically, it is rude
not to engage with someone who is looking at you. When you turn your back
completely, the audience doesn't see your face anymore. Because you are
looking upstage, you may not be heard adequately either; unless you are using
a microphone. Therefore, something else must strongly command attention.
Agesture such as reaching up for something, orwalking from downstage to
upstage must be made as definite and dynamic as possible. When you are using
your open voice, you should speak louder when facing awayfrom the audience
so that the sound bounces back to them offa nearby surface. Loss offacial
contact and inaudibility for any length oftime will cause the audience to lose
interest in your performance. Make a conscious effort to face the front, or
partially to the front, at every point in the act. In rehearsal, consider whether
you are giving your audience the best picture to look at. Ask your director, or
watch yourselfback on video. Think: is this engaging enough?

During training at drama school, actors work with masks and learn very quickly
that to make them work, you must be at least halffacing your audience at all
tirnes. These exercises show very quickly that it is possible to stand in profile,
or turn partially away, but keep the face front on.

Part 3: PERfORMANCE
So long as the face is seen, engagement is maintained.

Turn your back at your peril.

For close-up magicians, turning your back is still something that can occur
at certain moments-for example; when a spectator shows a card to the rest
ofthe audience. In these instances, consider options such as showing the card
around yourselfbefore it is returned to the deck. This will prevent a dip in pace,
and save you from anything else happening whilst your back is turned.

Sight lines
Don't overlook what the audience can and can't see. It's easyto assume that
because you can see, the audience can too. More often, it's berreno make sure
the audience can see, even ifyou can't. Where possible, your director should
check the sightlines, but it always helps to have an instincrual awareness of this
yourself. Simple errors can stop you getting a good response to an effect,
because it isn't clear what has happened to the audience. Consequently, you
might think that people aren't appreciative ofyour magic. that the routine isn't
any good, or that you flashed something at the wrong moment. Consider basic
things like the height ofa table: ifthe audience is sitting down, and the table is
higher up, they might not be able to see the surface. In ~t case, you should
pick up an object and show it clearly before somethinghappens. Remember;
you must be clear in your storytelling. Ifthe audience doesn't understand what
has occurred, how can you expect them to respond?

Another common problem is objects or perfonners blockingthe vision of

the audience. You can guarantee that no marrer how carefully you work things
out, there will always be one bad seat, or one bad angle to view the performance
from- even ifit is only for a short period oftime. Youbave to nyand make the
performance as satisfactory from all angles as possible. Often, a major
difference between being seen as 'professional' or 'amateur' comes down to
clarity and simplicity in staging your performance. Those that come across
more professionally have usually considered sightline issues in advance. Those
whose shows appear more amateur often stumble into problems due to a lack
ofplanning.

AB magicians, we can also use awareness ofsightlines to purposefully hide

things from the audience. This can be very useful. However, there are other

Key skills 247

 times when clarity and continuity are more important. Ifyou put yourself
between the audience and an object, at a vital moment in a routine,
intentionally or unintentionally, you may arouse suspicion. People might
.think you have done something sneaky when you haven't, or they might
rnisllllderstand the flow ofevents because their vision was cut off.

Making sure the audience can see even when you can't is an important rule that
impacts not just on stage presentation, but in close-up magic as well. You might
think that sightlines are only an issue for the stage performer, but it is important
for any type ofmagician. Ifyou change one card into another, the audience
needs to see it first, otherwise the ending won't make sense to them. Consider
angles on your sleights as well. Ifyou are doing a double lift, and you show the
card to yourself, you will be convinced by the illusion, but all the audience sees
is the double edge! Tip it so it looks correct from their angle. Otherwise, the
story won't be clear, and you will be exposing the method!

To turn things on their head; Phil Jay created a routine called Standing Ovation
Sponge Ball39. Just before the climax, when a snooker ball disappears, Phil
purposefully moves his hands forward, so his actions become masked by the
flower display at the centre ofthe table. Consequently, the audience sitting on
the opposite side, who can't see, stand up to get a benerview. As Phil opens his
hands to reveal that the ball has disappeared, they applaud. Others rise to their
feet to join them-hence the name ofthe routine. In this instance, knowledge
ofsightlines is used against the audience in an ingenious way.

Worldngwith volunteers
The main thing to realise about volllllteers, particularly when working on stage,
is that they don't have any stagecraft. They don't know how to look good in
front ofan audience, they don't know about sightlines, they don't know how to
stand, they don't know how to speak clearly, and so on. The stage is a foreign
place for them. When working with a volllllteer, you need to make them look
good. This can be done in two ways:

1. Make them feel comfortable.

2. Planyour act so that all their involvement works dramatically.

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Part3: PERFORMANCE
In a close-up situation, people are very willing to be involved, but in stage work,
they have to pluck up a lot ofcourage to leave their seat and put their trust in
you. So the first and most important thing is that you reassure them. The
following, used individually or in combination, are effective in making a
volunteer feel comfortable:

- repeated use oftheir first name

- repeated non-threatening body contact
- showing an interest in them (where they come from, their hobbies, etc.)
- looking aftertheirneeds
- guiding them through every step
- continual reassurance

Using someone's first name repeatedly shows that you haven't forgotten who
they are, and makes their involvement more personal.

Non-threatening body contact includes actions like hand shakes, purring a

hand on their shoulder (briefly), bringing their hand forward, orguiding them
gently to a certain position. All these movements help the volunr.eerfeel more
comfortable and cared for. None of them are unnecessary, inausive. orhave the
possibility ofbeing misinterpreted as flirtatious.

When you show interest in a volunteer, it immediately breaks the ice, and
demonstrates to the rest ofthe audience that you are considerareand.
courteous. You may also find that some amusing byplay results from
discovering information about them.

Looking after the volunteer reassures them, and the whole audience, that you
are sensitive to the needs of others, and also shows that you are in control ofthe
situation. Check ifthey need reading glasses before you invite them out oftheir
seat- don't ask when they are on stage so they have to go back and fetch them.
Not only will the audience feel more comfortable ifyou pay this level of
attention, but you can prevent accidents and discover problems before it's too
late. You can ensure that the flow ofyour act isn't interrupted. You wouldn't
want to invite someone on stage who has stability problems, or ask someone to
read a number offa bank note who can't see. It pays to spot people early on who
you may choose to use as volunteers and check their suitability. You could
!,..
't !'
I
l
Key skills l

:(
---··- _.,. - ·---·- ·- -· --.. u
build simple moments into your act that allow you to quickly deduce whether
someone would be a good assistant ornot. This could be as simple as asking
a question, and listening carefully for their response, or asking a spectator to
perform a simple task without leaving their seat. For example, you could ask
an audience member in the front row to stand, ortake something from you and
give it to someone else. Then, having made your assessment, invite them on
stage a little later. Buildingin early check points makes it quick and easy to
switch volunteers, whereas later on, when you have committed to using
someone specific, it's psychologically difficult to send them back. It can also
be embarrassing and time consuming. On one occasion, I asked an audience
member to hold out their right hand, and they didn't have one. They were an
amputee. It pays to check that someone can fulfill certain tasks before making
them your assistant. Like anything though, experience is the greatest teacher.
You deal with situations as they occur, and then try not to make the same
mistake twice.

You should plan your act so there is room to guide the volunteer through
every step. In rehearsal, it's easy to forget just how much guidance they need.
It is always better to air on the side ofcaution. Clear guidance ensures that the
volunteer is less likely to do something that you don't want them to. Ifthey
make a mistake, correcting them disturbs the flow ofyour act. Ifthey
accidentally expose the method, orbreak something, it couldbe disastrous.
Therefore, it pays to consider everything that could go wrong as soon as you
use a volunteer. Put protective measures in place. For example: help them on
stage to avoid the possibility oftripping on the steps, guide them to their
position so that they don't look awkward and tell them what they have to do
clearly. Keep them away from anything important and check up regularly to
make sure they haven't deviated from your instructions.

Continually reassure the volunreer, and relate back to them frequently. Let
them know when they are doingthlngs correctly. This will give them confidence.

Remember the work on responsiveness earlier on, and don't be too rigid when
working with a volunteer. React to what they give you, rather than pushing them
around in a cold manner. Often, the volunteer makes the routine. Their
enjoyment and spontaneous response to what is going on throws fresh energy

2$0
into the performance, and tells the audience how to react. When you get these
moments, don't try to squash or suppress them. Use them. Acknowledging and
building on a volunteer's response can lift your performance from good to
outstanding. Remember that performance is a shared experience-not a
lecrure, and not a demonstration.

Audience attention
For a performance to be successful, you must have all ofthe audience's attention.
This is absolutelyfundamentai. Never start a performance until everyone is
listening, because otherwise you will be fighting a battle for focus. One person
who doesn't playball can throw everybody else into chaos. There can onlybe
one show- and it isyour show. You cangain attention quite simplyby:

- telling everyone the performance is about to start

or

- waiting for the audience to focus on you

This applies equally to stage and close-up performance. Onsrage. the music
level drops, or the lights go down-signalling that the showis about to StalL
Entering, with presence, and waiting until you have all the audience focus
before speaking, is an effective way to begin. Remember the scriptofmy
close-up act from earlier on? I use both these principles:

Holding a deck ofred backed Carta Mundi playing cards in his left hand, Sonic puts
his hands on the shoulders ojtt.vo diners at the table.

As they look up, he addresses them.

Good evening, is it ok ifI squeeze between you to entertain the table?

Thanks. [You will get the best view of everyone.]

Sonic addresses the whole table.

Good evening ladies and gentlemen.

Key skills
I place myselfbetween the two diners and prepare them for the performance.
In doing so, many others are alerted to my presence, and become aware that
something is about to happen. I then wait until I have everyone's attention
before saying 1good evening...'

Waiting and telling are very strong tools.

Just as important as gaining attention at the start is making sure you maintain
it during the act. I have seen many magicians who get attention, but lose it
completely by the end because their performance is too long, boring or
confusing. Your routines should be dynamite, and your delivery razor sharp.
Make sure you constantly relate to the audience, engage them, and find a way
ofhooking their attention over time. This comes down to good dramatic
strUctUring, and being present in the moment.

Ifyou lose some ofthe audience, you must get them back immediately. Ifyou
don't, others will follow, and you will quickly be left with no one to perform to
at all. I have found the best rescue method is to engage a disinterested spectator
directly. In close-up, this could be making a card change on their hand.
Whatever the action, it must give them focus straight away, and make them part
ofthe performance. More often than not, people lose interest when they don't
feel involved. So, when they are involved, you have their attention. There are
two main types ofinvolvement. They are:

- direct involvement
- communal involvement

Direct involvement could be making someone an assistant, using a person's

hand in a close-up routine, or asking a member ofthe audience to hold a
prediction. It is the type ofinvolvement that cannot be ignored orrefused
without appearing purposefully rude or disruptive.

Communal involvement is anything that requires the participation ofthe whole

audience. This could be carrying out a group fustruction, repeating a chant
back to the performer, and so on. In Chris Dugdale: An Evening ofMagic &
Mindreading, we had a beach ball thrown into the audience and passedbetween
different people to generate a random playing card. This was a combination

252 Part 3: PERfoRMANCE

ofcommunal involvement (passing the ball), and direct involvement
(individuals choosing different elements ofthe card).

Involving the audience makes the experience more personal. It allows them
to walk away with the feeling that they helped to achieve something. They had
a direct impact on the show.

Vocal clarity
Everything you say must be heard and understood by the audience. Make sw-e
you speak at the right speed; not so fast that people struggle to catch up, but not
so slow that your performance drags.

Push from your diaphragm when you speak, not from your upper chest.
This will give your voice more depth, resonance and power. Remembenhe
ball oflight exercise and the image ofblowing up your stomach like a balloon?
Imagine speaking by expelling the air from the pit ofyour stomach. Thiswill
engage your diaphragm and relax: your upper chest. It's importanrto keep your
throat open and relaxed, and not to force anything when you speak. Instead,
imagine the vibration ofyour voice passing through your body to the audience.
Your body acts as a resonator. Ifsomeone were to put their hand onyourback,
they should be able to feel the vibration when you speak. Allowingyourvoice to
resonate through your body fully is a skill that can be developed through
practice and awareness.

Aniculate your words clearly. Diction is important in terms ofoverall

clarity. Give a little more weight to consonants than you wouldinnormal
conversation. The letter 't', in particular, is one that is droppedfrequendywhen
someone is lazy. 'Right' instead of'righ', 'that' instead of'tba'.All this makes a
difference to how professional you come across.

Above all, make sure that you can be heard. The audience will quicklylose
interest ifthey can't hear or understand you. Ifyou have a weak voice, consider
taking up singing, and spend time working on tongue twisters. Thevoice is a
muscle that can be improved with practice. Themoreyou use it, the stronger
and more resonant it will become.

Key skills 253

The approach
Your start to a performance must be committed. When I watch other
performers, I can usually tell within the first few seconds, before they have
even opened their mouth, how good their act is going to be. Everything we have
discussed about character, attitude and presence in this book is visible in those
first few seconds when you walk on stage, or approach a group to perform
close-up magic. The approach to your performance is very telling indeed.
Some magicians act as ifthey are not on stage until their first interaction
with the audience. Big mistake.

Consider these two approaches to a stage performance:

- The performer enters the stage casually, returns to get a prop, coughs,
shuffles to the microphone stand, adjusts it, adjusts his tie, and clears
his throat. 'Good evening ladies and gentlemen'.

- The performer walks in a straight line, swiftly and economically, from the
wings to centre stage. His body is in balance, and his chest held high. He
stops in the spotlight, just in front ofthe microphone, looks directly at the
audience, waits a beat, and says 'good evening ladies and gentlemen'.

Which act do you think is going to be better?

The first approach reveals a lack ofdynamism and commitment.

It communicates that the performer isn't ready or sufficiently rehearsed
because he goes back to fetch a prop, and adjusts the microphone. He isn't
familiar with the stage set up, and he is probably nervous (given away by
shadow movements such as clearing his throat and adjusting his tie). This
performer has a lack ofpresence, and has not invested in the theatricality
ofthe space before he enters. The second performer communicates focus,
confidence, energy, and understands the impact ofhis movement on stage.
Nothing is unnecessary and everything is decisive. His walk to the spotlight
cuts through space like a razor blade. He knows what he's doing, and how
it will be received by the audience.

I would be willing to bet that the second performer's show is going to be

significantly better than the first.

254
Consider your approach to performance.

In theatre, you must begin by establishing your relationship to the stage. The
way you engage with it articulates its importance for the audience. You must
invest the space with theatricality. Put yourselfin the right state ofmind, open
the river of energy, and walk on with commitment and intention. The audience
must sense your purpose as soon as you come into view. Engage with your
performance space decisively and economically.

In close-up, you must also create a theatrical space for your magic, but in
addition, establish the rules, and initiate the performer-audience relationship.

Your physical approach to a table can be treated with the same conviction as an
entrance on stage. Cutting through space to arrive with focus and presence will
have a positive impact on your audience. Ifyour approach is sheepish and
apologetic, you will find it difficult to gain respect and attention. Nothing is
worse than your future audience watching you pluck up the courage to
approach them. Once I start, I don't expect to have to stop, and I move fluidly
from one table to the next. Ifi can't approach a table for whateverreason,
because they are still on their main course for example, I exit the space
altogether. I don't stand around and look awkward. Ifyou are visible, someone
will be watching and judging you, always.

Audience management

The mark ofa good performer is someone that can effectively control an
audience and build up their reactions. Every magician should know how to do
this, but actually, very few know or use audience management effectively.

The key thing to realise is that audiences need decisive leadership. They don't
know what to do, what to think, or how to respond unlessyou tell them. There
are no rules, unless you impose them. The performer needs to guide the
audience and shape theirbehaviour to maintain controL Ifyou are not leading,
the audience is, and that's a very dangerous position to be in. Apilot wouldn't
let the passengers fly the aircraft, because it would end in disaster. So similarly,
you must be in charge ofyour performance.

Keyskills 255
The following are proven methods for shaping audience behaviour in magic.
They are the closely guarded secrets oftop working pros, and worth twenty
times the price of any effect you will everybuy from a magic shop.
Use them wisely...

Conditioning response
In order to get a good reaction, you first need to let the audience know that
they can respond. This might sound obvious, but many magicians fail at the
first hurdle because they don't really allow their audience to react. Some even
cut reactions offtoo soon. In effect, this conditions the audience not to
respond. From that point on, their magic is met with silence, or at best, mild
response. To get your audience to react, you need to show them how, and
reward them when they do it. In my close-up act, I sometimes say 'wow!' or
react with surprise at the exact moment I want the audience to respond. In
otherwords, I let them know that they are supposed to react this way. Then at
other moments, I reward the audience when they react by encouraging their
response. Sometimes I even tell them how they are going to react before the
moment arrives. I might say:

'You will feel a weird sensation when the card changes colour. In fact, it will
completely freak you out. Ready?...'

The card changes, and it does freak them out.

Building response
Once you have got the reaction you want, build on it. By developing the
audience's response throughoUt your act, you can take them from mild
response to total astonishment. A good example ofthis is a well routined
ambitious card sequence. You can condition response on the first revelation,
then reward responses to subsequent revelations. You should match this by
increasing the impossibility ofthe effect each time. Increasing the impact, and
encouraging response will result in real, open, raw reactions from the audience.

We have mentioned some ofthe tools for building response at different points
in this book already, but I would like to bring them together here for reference.

They are:

Part3: Pl!RFORMANCE
- React as you want the audience to react
- Mirror the audience's response
- Mirror the audience's facial expression
- Increase the excitement

You can show the audience how to react with your voice, as in the 'wow'
example I mentioned, orwith your facial expression. You could showwonder,
shock, amazement etc., or even teach the audience how to react physically. For
example: jolt sharply away when a moment occurs as ifin surprise. As this is a
natural human response to something sudden and unexpected, the audience
will often copy your reaction.

Mirroring is literally copying a person's response in real time-as though

looking in a mirror. Ifthey laugh and roll their eyes, so do you. This increases
rapport and encourages their reaction further. You can mirror the audience
physically, vocally, or facially. Copying their facial expression often helps ro
maintain the reaction for longer.

Increasing the excitement ofan effect, having already gotgood reactions, is a

sure-fire way ofgenerating an even better response. Up the stakes, up rhe tension,
and you will up the impact. Remember that something is onlyasimpornmr as you
make it Make the effect count for the audience, and then go furthet.

Maintaining attention
As I mentioned when talking about audience attention, it is impommt ro keep
spectators involved in your act This can be done directly or communally. One
ofthe best ways to keep people interested is to give them jobs rofulfil. This
works very well for close-up magic. Ifyou give someone the end ofa rope to
hold, and pass the opposite end to another audience member, focus is
maintained across the table or group. Something cuts through that space,
directly involving two people. Those participants can't lose interest and drop
the rope without appearing extremely rude. However, iftheyweren'c directly
involved, and you didn't make regular eye contact, ic would be much easier for
them to get distracted.

Look for new ways to maintain attention at different points in your act. Don't
assume that the audience will continue to watch and listen oftheir own accord.

KeyskU/s 257
Some may, but some won't. Particularly in close-up, distractions such as
canapes can take focus away from you in an instant.

Dealing with volunteers

We haven't yet talked about the different types ofpeople you can get in the
audience, and particularly, those that cause problems. Of course, the more
experience you have, the fewer surprises you get, and the more you come to
recognise different character types and their agendas.

- the alpha-male
- the quiet mouse
- the sceptic
- therarara
- thegigglygirl
- the heckler

The alpha-males ofthis world think they are 'it', and don'tlike the wool
pulled over their eyes. In many ways, they are difficult people to handle.
Do you remember Phi! Jay's method for keeping a spectator quiet in Part 1? He
purposefully acts as ifhe is palming a card, so that they will say 'hey-what's in
your hand?', but just before they do, he opens it to show nothing. This makes
them think; 'I'm glad I didn't say anything then, or I would have looked like an
idiot'. It conditions the spectatorto shut up. Dealing with alpha-males requires
you to think a step ahead and consider how you can condition the right sort of
behaviour. Turn their bravado into audience reaction that tells others how good
you are. The other piece ofadvice I can give is to mirror them a little, so that
they will feel more comfortable, and see you as less of an outsider. Remember
that alpha-males like to look good and be the centre ofattention. You can give
them some ofthis, but don't let them take control ofyour act.

The quiet mouse is the kind ofperson who hardly reactS at all, and doesn't say
much. Most ofthe time, this person is shy and lower down on the social ladder.
They probably don't enjoy parties that much, and feel overpowered by others
around them. This could be a teenage girl, who is dealing with all the difficulties
ofgrowing up Qack ofconfidence, selfconsciousness etc.), or it could be
someone older, perhaps intellectual, who keeps themselves to themselves.
Both men and women can be quiet mice. Either way, their behaviour shows a
certainlack ofcomfortabilitywith social occasions. My advice would be

Pal13: Pf!IFORMANCE
to nurture reactions from them gently, and draw them into the proceedings.
They will thank you for helping them feel more relaxed and for increasing their
interaction with others. Ifyou are lucky, they could be someone who is well
connected and keeps quiet for good reason. They might be the person that gets
you your next job! Ifyou are working on stage, others will notice how
sensitively you have dealt with them.

The sceptic is a different type ofperson to the quiet mouse. They will often put
up a front to your magic, and look at you stone faced, as ifto say: 'your not going
to fool me'. Usually my response is to confront that attitude in a light hearred
way. I say something like; 'I can see you're really sceptical about this!' More
often than not, others react to that, because they know how grumpy the person
in question can be! I joke about their inflexible attitude, and use it as a feature
ofmy act. In laterroutines, I might say things like; 'this one's for the sceptic', or
'but ofcourse the sceptic would never believe it's possible', all slightlytongue-
in-cheek. Gradually this breaks down the barriers, and before long they are
enjoying the act as much as everyone else.

The ra ra ra is the kind ofupper-class buffoon that you find at champagne

receptions. They say things like 'it's extraordinary!' or 'bloody marvellous!'
Though they may be unnecessarily loud and full ofthemselves, in close-up
magic they can be your greatest ally. They are the one who calls others overto
look at your act, stirs up the crowd and may be well offenough to book you for
their next parry. Use this person to get the atmosphere going.

The giggly girl is the type ofperson that can either ruin your act, or fuel the
reaction ofthe rest ofyour audience. If they are giggly and shy, I wouldn't
involve them too much, because they don't like being the cenrre ofattention,
and can't control themselves. Ifthey are giggly and outgoing, you definitely
want to involve them, because their reaction will tell·everybody else how to
respond. At a close-up function, you can usually spot this kind quite easilyby
watching the tables before you start. More often than not, and this is going to
sound really bad (but it's true), they are large fat women. For some reason,
larger women have a greater tendency to laugh than slim women. So before you
start, scan the tables for large women who are enjoying themselves. Perform
your act next to them, so they can be directly involved in the effects. Their
reactions will get everyone else going.

Ko/skills 259
The heckler is the most destructive audience member out there and must be
dealt with immediately. However, I wouldn't suggest that you meet them with
Clever retorts or confrontation, because this will only encourage their
behaviour. They want you ro fight so they can look good. Most ofthe time, I find
the most effective way ofdealing with hecklers is direct, positive involvement
in the magic. Usually, they are the kind ofperson who wants to be the centre of
attention, and when that becomes the magician, they see it as a threat. So the
best thing you can do is grant them their wish. Make the card change on their
hand, or give them an important prop to hold. Make them feel good and put
them in the lime-light. Ifyou handle them wen, they could be the person that
starts your standing ovation. In my experience, only rarely can a heckler nor
be turned to your side. On those few occasions, it is often better to stop the
performance altogether, rather than engage in conflict. Calmly announce that
you will not continue, leave, and let the rest ofthe audience shift the blame
onto the heckler.

Maintaining relationships
I have mentioned the power ofusing someone's name to connect with them.
Maintaining direct contact with different audience members throughout your
act, particularly ifyou perform close-up, is essential. Here are several methods
that are effective in achieving this:

- repeated use ofdifferent spectator's first names

- associatingjobs with different spectators
- use ofremembered information about selected spectators
- running gags involving spectators

Don't just remember one person's name and perform only to them. Many
magicians make this mistake, and lose the rest oftheir audience as a result.
Instead, cry to remember several people's names, and keep relating back to
them at regular intervals in your show. The audience will respond to your
efforts to include everyone. Ifyou are working close-up, and it is appropriate
to do so, you could thank everyone for helping at the end, mentioning each of
their names in turn; (thank you Lisa,John and Sarah'. They will be impressed
that you can remember who they all are, and appreciative that you have taken
an interest in them.

26o Part3: PERFORMANCE

Associatingjobs with specific spectators is something I like to do, firstly to ensure
I have their full attention, and secondly to rum them from passive audience into
active participants. What's more, ifyou are working a difficult group, allocating
certain tasks will stop them from causing rrouble. It is a way ofcontrolling
behaviour. Ifyou say 'John, I'd like you to check the card box for me, and Julie,
would you sign one ofthe cards', their minds will be occupiedby the job.
Similarly to the principle ofgiving people two ends ofa rope to hold, a simple
inStrUction stops them being disrracted. It also stops them thinking too far ahead
in magic terms. You can steer them away from sleights and preparations.

It pays to remember things about your spectators. Ifsomeone throws you a

funny comment, or reveals something about one ofthe others, don't just ignore
it- use it! For example, ifyou discover someone is an accountant, you could
refer back to them when doing anything involving numbers or money. This
could be tongue-in-cheek, like a running gag. 'Ladies and gentlemen, we need
to write down the serial number ofthis bank note. Mark, as our resident
accountant would you do the honours?' It may get you a laugh and shows you
are listening and responding.

Remember you are entertaining an audience made up ofunique individuals.

Ifyou start identifying with the people that make up the group, you will get a far
better response than ifyou just regard them as one mass. Hold the whole
audience at once, but pinpoint and relate to people within it.

These crowd control techniques are bold and strong. Ifyour magic and
routiningis good, you may only need to use a few ofthese methods. It is
possible to overdo it. Depending on your circumStances, you may need to use
more or less audience management. As I have said, in close-up you create the
theatre and tell the audience the rules. On stage, you can afford to make them
listen more, as they have alreadypaid to see you. Ifyou find that you have to use
too much crowd control, consider whether your magic and rourining are strong
enough. These methods should be there to support your effecrs, not overpower
them. After the initial phases ofyour act, the magic should speak for itself.
Let the audience become sucked in to what you're doing. Hold them in the
palm ofyour hand. Just a gentle push should cause the reactions you want.

Key skills 261

 A pictorial study ofreactions

FigI

Fig I

FigK

262 Part 3: PERFORMANCE

Fig I
Chris Dugdale creates an applause cue by lifting his hand vertically at a
moment ofrevelation in a sponge ball routine. Applause cues can be created in
a variety ofways. Any spreading or opening out offocus, usually with the hands,
after a contained moment, initiates reactions and applause. It is up to you to be
creative. Find strong ways to gain response early on, and then more subtle ways
ofincorporatingthose signals at later stages.

FigJ
Sonic breaks down the barriers ofpoliteness with his positive energy and
enthusiasm. Having caused the first proper reaction, he builds on the response
with subsequent routines. This photograph shows the imponant moment of
change, which allows him to lead the audience in the direction he wants them
to go. At a close-up ftmction, you often have to break through the audience's
protective barrier ofguardedness and reserve. You have to encourage them ro
react genuinely. This can often take a bit of convincing at the scan, but once you
have them on side, and they trust you, you're away.

FigK
Sonic shows the audience how to react with his facial expression. Notice
that both audience members are reacting similarly. This is an example of
conditioning emotional response. The audience copies the performer. Once
established, this reaction can be triggered later on by other moments ofmagic.
It can also be increased as the revelations become more impressive.

Apidotialstudyofreadions
FigL

Fig M

Part3: PERFORMANCE
FigL
In Fig L, Sonic draws in attention by focussing on a vohmteer's hand. The
sensation oftouch is used as an anchor fonhe effect, and the participant tells
the rest ofthe audience what they can feel. Notice how this draws everyone in,
and how their emotions are engaged. Everyone is intrigued. Focussing on one
point helps to build tension and anticipation. This can now be unleashed with
the revelation ofthe playing card.

Fig M
A wedding reception at a private estate in Rome. On this occasion, the client
asked that Sonic attend the wedding ceremonybefore entenaining the guests.
Sonic draws focus to the Kennedy mystery box, which he places in the centre
ofthe group. This gives it the strongest dramatic positioning. He keeps it there
to maintain focus and build up anticipation. The use ofa single object, invested
with imponance, creates intrigue and excitement. At this stage he also explains
what is going to happen to increase the impossibility ofthe events in the
audience's mind.

'I'm going to do something that you shouldn'treallydo._ I'm going to tell you
the ending ofthis next bit before it happens... In a shortwhile, your signed card
will end up in here under impossible conditions.'

Apictorial study ofreactions

FigN

FigO

. ... . .... ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . .

266
~~~:·~=~=~~
FigN
Fig M shows another applause cue. This time it is a downward stroke with
the right hand finishing in a very natural position. Chris Dugdale executes this
action as he steps back. This gives a feeling ofbreaking away. The release of
focus, combined with the cue, causes the applause. Notice how his facial
expression at this moment shows the audience how they should feel.

FigO
Chris Dugdale combines the use offacial expression with a single hand
applause cue. This is a more definite action than the one in FigM The
spectator to Chris' right unconsciously copies his expression and begins
clapping. Others then follow. Notice how clearly the gesture and expression
read to the audience at the other side ofthe table. Chris' delivezy ofthe cue
is strong, bold and confident. Notice that although the moment is directed
at a certain audience member, everyone is involved.

A pictorialstudy ofreactions
FigP

FigQ

268
FigP
Sonic spreads his arms into an applause cue position at the conclusion ofa
routine at Blenheim Palace. This opening, conclusive gesture, executed whilst
lookingback at the audience, invites applause. The longer he holds his hands
there, the longer the applause lasts. He revisits this cue at later points in the act
to generate further response. ·

FigQ
Phil Jay draws in focus by bringing the audience as close to a playing card as
possible. This moment shows him building up dramatic tension in preparation
for the revelation. As we discussed in Part 2, having the audience so close and
unleashing a piece ofmagic within such proximity can generate an incredible
response. It's like setting a bomb offin a contained space. What's more, the
body language ofthe whole group- being held spellbound and then suddenly
recoiling- speaks volumes to others in the room. Ifyou create an amazing
response as a close-up magician, others will want to know when you will be
coming to see them.

Acard changing is such a simple effect, and there probably isn't a single
magician who doesn't know how to do it. But how many magicians use the
dramatic device ofclosing in and opening out focus to make that an incredible
moment ofmagic for the audience?

Apictorialstudy ofreactiotls
FigR

FigS

270 Part3: PERFORMANCE

FigR
An example ofmirroring. PhilJay copies the expression ofthe bride as she
reacts to a moment ofmagic.

Educating the audience how to feel and react is vitally important. It can pave
the way to a great reception. However ifyou don't lead people in the right way,
your performance may receive little or no response. In this instance, the bride
almost falls offher chair.

FigS
Sonic appears at a private event in Oxfordshire. He increases audience
reaction at the climax ofa routine by raising his arms from a natural applause
cue position to his head level. The longer his hands are in the air, the longer
the applause lasts. The higher his hands travel, the more the response builds.
This unconscious conditioning, established earlier in the act, reaches its
pinnacle at this moment.

Apictorial studyofmu:timzs
 Performance pitfalls

To help bring everything together, I have created a checklist ofcommon

performance pitfalls, which can be used for quick, easy reference.

Performing is always harder than it looks, and it's very easy to fall into simple
traps. Smoothness and sliclmess come with experience, but even well seasoned
professionals make mistakes. The best thing is to be aware ofthe pitfalls that
await you, and try to avoid them with careful planning. You will get things
wrong, and you can't beat yourself up about it, but knowing about common
errors can fast track you to more successful performances in the future.
Use this as a checklist when analysing your act. Compare each point to your
show in turn. I would also recommend looking back at any footage ofpast
performances with this to hand.

The pe1fonnance pitfall checklist

The act is too long
Have you seen a show where your attention
wandered, or you switched offtowards the end?
Remember that old saying 'keep them wanting
more'. Although you might enjoy performing, the
audience only has a limited attention span. Don't
bore them!

Too long before any Don't waste time. Hit them hard and fast to
magic happens get their attention and gain their respect. People
won't wait arolllld to be impressed, and will soon
switch offifnothing's happening.

Part3; PERFORMANCE
Not enough variation Vary your effects.
Check that you don't stay in one tempo for
too long.
Keep changing the pace and rhythm ofyour act.
Keep it moving forwards
Don't let it stagnate.

Not enough colour Remember that magic is about storytelling and

sharing an experience with the audience.
Don't forget to build an emotional arc to your
performance, and pepper it with different
attirudes to maintain interest.

No build You must build up your effects to generate a

reaction. Ifyou don't create suspense and
anticipation, you won't get the pay off.

No climax You must finish the act with a climax, preferably

a big one. This can be followed by an encore.
However, the act will feel incomplete ifthere isn't
a proper finish, and the audience will feel
cheated. You also need it dramatically to tell the
audience you have reached the end.
You may think this mistake is too obvious to
make, but I have seen it done...

The magic is not This is a common error, and often audiences

deceptive enough are too polite to let you know. Check your angles
for every sleight or steal and the misdirection
which accompanies it. Check you are far enough
ahead ofyour audience. Don't let them catch up.
You can usually tell how deceptive your magic is
by the reactions you earn. Ifthis starts to
decrease, start questioning why...

The magic is not Again, audience reaction is your indicator.

srrong enough How much response are you getting? Ifit's not
enough, change what you're doing.

Performancepitfalls 273
No audience Ifyou don't tell the audience what to think
conditioning and feel, and build on it, your act won't be
successful.

No hook Does your act hold the audience's interest

effectively? Why should they pay attention?

No applause cues You need to tell the audience they can applaud. If
you don't build in applause cues, and reward
their response, you will be left with awkward gaps
and silences.

Not enough time Ifyou get applause, don't cut it off. For some
for applause reason, many magicians boycott their
performance in this way. This has the effect of
conditioning the audience not to react!

No eye contact Eye contact is essential throughout.

with the audience Don't just look at your props. The audience
should be the primary focus. Many magicians
make the mistake ofperforming with their head
down all the time.

Focus on the puzzle Remember to focus on astonishment and

rather than the magic wonder. Make what you do magical, not an
exercise in working things out.

Not clear enough Make sure your audience understands everything

you need them too. One reason for a lack of
response is that the audience just didn't get it.
This applies equally to your voice and body.
Speak and move with clarity.

274 Part 3: PfRf'ORMANCE

 Co11ti11'uing work

Once you have performed your act once, your work doesn't stop. You should
continue to think about making it better. In my experience, the first show is just
the beginning. In the past it has taken me many performances before I could
really begin to feel comfortable. Top professionals only become slick through
constant work on their act over an extended period of time. You can't get there
in five minutes. Even now, I walk away from a show I have been doing for years,
still not completely satisfied. You should keep thinking between performances.
It's healthy for things to change and evolve.

The following are teclmiques that can help you with analysis and development
once your show is up and running.

Pe~formance notes

In theatre, the director may give notes to actors after a show. Usually they will
give notes from opening night to press night, and then on one off dates during
the run. Ifyou can find someone you crust to give you notes every so often, it
can be very usefuL It's difficult to be objective about your act, and other people
will notice things that you are unaware of.

Noting yourself
You can do a certain amount of'self-noting' by analysing your performance at
the end ofthe night. I would recommend doing this regularly. Make notes on
the following, and revisit them before your next show:

- What received a good response?

- What received the best response?
- What received the least response?
- What didn't receive a good response that should have?
- Were there any unexpected responses?
- What mistakes did you make?

Continuing work 275

Observing what went down well orbadlywill help you make quick progress.
The audience response will indicate what needs more work, what is already
working, and what needs to be cut. Prune your act over time, l.llltil you get
continually favourable responses.

Keep listening
It is not just the moment when the audience applauds orlaughs that is
important. You must also listen to what they say to you, and each other, during
and after the performance. Make notes on the following:

- What did the audience talk about most?

- Was there anything they didn't like, and why?

Listen to the responses that filter back to you after the event, and notice what
people remember after a gap ofa day or so.

You may not get honest responses when you are at the gig, but you can create
ingenious methods for finding out what people really thought. Phil Jay suggests
'toilet training' your act in Close-Up Succes~

Watch yourselfback
Wherever you can, record your performances and watch them back. Make
notes as though you were the director ofthe show:

- Was the action clear?

- Was it audible?
- Was it entertaining?
- What could be cut?
- What could be simplified?
- What could be made more of?

Look carefully at your posture and bodylanguage. Look at how you move and
speak. What do you comml.lllicate to the audience? Is that what you would wish
to communicate? What movements or mannerisms could you get rid of?
Careful and detailed viewing ofyour past performances is always beneficial,
both magically and dramatically. You can see how well things read, how you

~ Dugdale&.Jay,p90.

Part3: PERFORMANCE
come across, whether your sleight ofhand looks good, whether your
misdirection is successful, and so on.

Things are never perfect, and old habits can creep back. Often, the way
you think youlook isn't how you actually appear. In the past, I have made an
entrance on stage which I thought was great, but looking back at the footage it
wasn't as good as I had expected. Try to film yourself regularly so you can see
how things look from the outside, and check up on your progress.

Ongoing pruning
AB a result ofmaking your own notes, listening to others, and watching
yourselfback, you will find many things that need improvement There is
always something to be worked on. To keep progressing forward, I would
suggest you consider the ~oilowing:

- remove unnecessary gaps and pauses

- eliminate, improve, or replace weak effects

Work out what is working for you, and get rid ofthe rest. Cut down on logistical
actions, such as locking an assistant in a box using lots ofpadlocks, and rry to
focus on making routines tighter, more economic and more enterrairring. There
is no need to spend ages building up an illusion in an excruciating manner. Get
to the point, and keep the audience with you.

Ifthings aren't working orjust don't get the response that they should,
cut them. There is no point being precious.

Often, you will find there is a better, cleaner and more effective version of
what you are already doing. Ifso, replace that bit in your show. I have learnt to
be ruthless with my act, and it has changed vastly over time; so much so that it
bears only a loose resemblance to the original performance. Let things evolve.
Progress is good. You may look back at past performances and think 'was I
really doing that- that's awful', but don't forget we all have to start somewhere.
It's only by doing it and building on the experience that you get: better. You can
only raise the bar once you have put it there in the first place.

Co11tinui11gwm·k 277
 Concl11tsion

The intention ofthis book has been to offer magicians a thorough, concrete
guide to creating an act, and improving performance. I sincerely hope I have
succeeded in delivering that. Performing is an art, but it is also a craft. The
ability to perform is not just an intangible gift; it has rules and techniques that
need to be mastered in order to improve. True, some have more natural talent
than others, but every performer becomes better through experience, and by
learningwhat works. The knowledge and wisdom in this book, passed to me by
experienced directors, actors, theatre practitioners and magicians, will, I hope,
provide you with a fast track to achieving better performance.

I have always felt that magicians lack a benchmark; something to measure

themselves against, or a mentorto guide them on their way. There is no
industry standard for magicians. You can't get a degree or professional training
in the same way an actor, singer, or dancer can. Most pick up their skills along
the way through interaction with others at their local magic club, by buying
effects, DVD's, and so on. That's all fine, but it is often difficult to sift the wheat
from the chaff. Who and what should you listen to? What is actually worth
holding on to? I hope that this book will be a useful reference point for any
magician trying to improve their performance, whether they are an amateur
enthusiast, or a well-seasoned pro.

One key message I have tried to impart is that you should judge magic effects by
theirrelevance to you, and how strong they are for lay people. Forget magicians.
You are not performing magic for them, unless you choose to become a dealer,
lecturer or enter competitions. You are performing for real people, and you
should consider their perspective first when watching any magic routine.
Question whether an effect would be interesting or entertaining enough
ifyou weren't a magician.

In Part 1, I placed emphasis on the need to cmmect your magic with the
circumstance ofyour performance. To help you assess the validity or potential

Condus(on
ofa magic effect, you should always connect it with reality. Where can you
do it? When? How often? Is it practical, or does it reqttire a complex set up?
Does it pack enough punch for a lay audience? Is it simple to understand? Is it
quick and to the point? No matter how amazing the effect might seem to you as
a magician, the situation will determine how good it really is. Just think about
any strong effect: The Omni-Deck, The Invisible Deck, and so on. They are
simple and practical.

We considered the importance ofcharacter in guiding your decisions about

performance and material. You should focus on who you are, and what kind
ofshowyou are trying to create, ratherthangettoo excited aboutaneweffect
that has just been released to the magician's market. Just because an effect
looks good on a promotional video, it doesn't mean that it is good for you,
orthat it is practical. By continually referring back to your persona, and your
act, you can put things in perspective. We all get carried away at times, just
learn how to bring it back to the important thing: you.

Finally in Part 1, we considered the importance ofobjectives. Having an

objective for a routine, and a super objective for your act, keeps your
performance meaningful, coherent, and active. Focussing on something simple
that you need to achieve keeps your performance external. It puts the emphasis
on what you are doing to the audience, rather than on the magic effect per se.
Remember that your act is a conversation between perfonner and audience.
The objective is a useful tool to return to when things get complicated or hazy.

Simplicity is key.

In Part 2, we looked at the importance of structure, and how you might go

about creating an act from scratch. We considered the magical knowledge you
already have, and the different ways you could apply it to come up with original
routines. One of the most important things to realise is that you can't copy
others ifyou wish to achieve a higher level. Almost everybody does the
ambitious card and the sponge balls. How will you make it different? How will
you distinguish yourself? Work on creating an original, memorable act. Don't
be a copy-car. This doesn't mean you need to create a new magic principle, but
you need to create a new piece ofmagic in the layman's eyes. Hopefully the
techniques imparted in Part 2 will fuel your creative process and help you think

Conclusion 279
in new ways when you get stuck. The section on structural tools can be
a useful reference point when you create or update your magic. A strong
effect is only strong when it works dramatically, as well as magically. Don't
underestimate the power ofdramatic technique, and make sure that it
underpins your routines.

In Part 3, we investigated performance itself We looked at rehearsal, and how

important it is that you prepare in the right way. I highlighted how audience-
testing different sections ofyour act can further strengthen the whole, and give
you more confidence when you perform it in its entirety. I also stressed the
need to achieve a professional standard with the performance and execution
ofyour magic. We looked in detail at stage presence, rigorously analysing what
makes someone watchable. Some people naturally have charisma and
presence, but equally, it can be nurtured and learnt. Developing it is part ofthe
performer's craft. We then looked at basic rules ofstage practice and audience
management. These principles have been tried and tested over years, and they
can make the difference between your act looking slick and professional or
under-rehearsed. Most ofthe time, magic involves dealing with people, and
therefore understanding and applying audience management is essential.

Bringing this all together, you now have a skill set you can draw upon to create
an original persona, an original act, and develop yourselfas a performer and
entertainer. But; it is up to you to take action. You are the only one who can
decide to become better, to challenge yourself, and achieve a higher standard.

Now that you have this book- this guide-you can refer back to it in times
ofneed. When you are having trouble with part ofyour act, when you aren't
achieving your best in performance, orwhen you are stuck trying to create
something, flick back through these pages. Allow one idea, one comment, or
one technique to revitalise you. These techniques are your safety net, and they
are there to facilitate you creatively. One tool can help set you back on the
right course again.

Trust your instincts. Technique, at the end ofthe day, is only a method; a
starting point. You will feel when things are right, and when they are wrong.
Once you have applied or used a principle ortool, let your intuition show you
the way. Everyone has their own individual creative and artistic process. You

280 CondzlSion
must find yours, and discover your unique working method. It is important that
you have a methodology; an approach. The ability to work in a structured way
will help you achieve more in the future. A structure is only a skeleton. It is a
coat hangerro put the clothes on. Use it as a back- bone and flesh out from it.

So as this book comes to an end, I give you my last piece ofadvice ...

Rememberwhat first excited you about magic, and how you felt when you first
experienceda really srrong effect. Try to impart something ofthat experience
when you perform for someone else. In many cases, itwill be the first time they
have seenanymmg like it. Make it a good experience for them; something they
will remember with fondness and wonder. Don't get complacent with your
magic. It's easy to forget how amazing something is when you perform it over
and overag<$1.

Abov~~_thot;~gh, magic isn't about 'tricks'; it's about sharing an experience

wim oiliei:people.

-.-·: .
.

-:.~'-• . -

. • - ;t:: ' •-··••••-uMoooo...ooo u•••u••••••••••oooooouuooooooouoooouuuouououuuuooououuouu ooouoouoouoooouoouo•••••u••ouooou u oooo

~--. 2.81
 Bibliography

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Viewpoints and Composition, NewYork: Theatre Communications Group

Brook, P (1968) The Empty Space, London: Penguin Group

Burger, E, & Neal, R (2009) Magic & Meaning Expanded Edition, Seattle:
Hermetic Press Inc.

Calderone, M (2004) Actions: The Actor's Thesaurus, London: Nick Hem Books

Donnellan, D (2005) TheAdor and the Target, London: Nick Hem Books

Dugdale, C (1996) Psychological Applicationsfor Magicians Volume 1, Windsor:

SelfPublished

Dugdale, C (2001) PsychologicalApplicationsfor Magicians Volume 2, Windsor:

SelfPublished

Houdin, R, (2004) The Secrets ofConjuring E-Book: www.lybrary.com

Jay, P (1997) Climbing the Ladder to Successful Close-Up Magic, Swansea: Self
Published

Jay, P and Dugdale, C (2006) Close-.Up Success, Windsor: Magic Matters Ltd.

Laban, R (1960) The Mastery ofMovement, London: Macdonald & Evans Ltd.

Lecoq, J, (2000) The Moving Body, trans. D. Braby, London: Methuen

Publishing

Maskelyne, Nand Devant, D (1911) Our Magic, London: E. P. Dutton &

282 Bibliography
Mei==, S~::-.: L=-.:.•--il!.D (1987) SanfordMeisner: On Acting, New York and
Canada-ltwthalbr;e

Newlove.1 ('1993)I.alllmforActors and Dancers, London: Nick Hem Books

Nehns.l\(1969)~curd Showmanship, Canada: General Publishing

Companj

O~D~ (t994.)SinmgMagic: Creative Showmanship for the Close Up Magician,

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Robbios,A(J:989) Unlimited Power, London: Pocket Books

StanisJavsti.C (1980) An Actor Prepares, trans. E. Reynolds Hapgood, London:

MetbuenPnbJisbing

Stallis1avsti. C (1968) Buildinga Character, trans. E Reynolds Hapgood,

Londoo;Merbuen Publishing

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MerhuenPublishing

Tamariz.J (1988) The Five Points in Magic, Seattle: Hermetic Press

H~ U (1973) Respectfor Acting, New York: Wiley Publishing

Webel; K(2003) Maximum Entertainment, New York: Ken Weber Productions

 'Ifyou are serious about performing magic, you can't afford
not to have this on your shelf.'
DAVID BERGLAS

'This book is a thorough, step-by-step guide that will help you

create original magic, and discover who you are as a performer.
Whether you are a close-up magician, stage magician or cabaret magician,
ifyou apply the techniques and information in these pages, your
performance
.
of magic will improve.'
.
JEFF McBRIDE

'The things that matter in magic aren't what magicians

think offirst. Success isn't about being smart, looking cool or.
fooling other people. It's about... well Tony Middleton knows
and he's written a great book about it. Everyone who wants to
work and keep working should read it three times in the first
week and then once a month after that'
GEOFPREY DURHAM

'Very few are born with it. It takes years to perfect.

This book tells you and shows you how to do it.'
MICHAEL FINNEY

'Mr. Middleton offers priceless tips and information about

real world magic. This is a must read for any magician.'
DAVIDSTONE