NO SPECTATORS

One of the maxims I live by is “People support what they help create.”  This holds true in just about any organization, political movement, internet group, club and yes, even in the theatre or at a magic show.   I currently feel that the more audience participation there is in a show, the more successful that show becomes.  If you look at current Las Vegas shows, the ones that have lasted have a lot of audience participation:  Penn & Teller, Mac King, Amazing Jonathan.  Even Criss Angel has taken out most of the Le Cirque music and dance numbers, and replaced them with audience participation routines.

After years of study and professional training,  my personal magic style has evolved to include much more audience participation.  When I first started in magic, I didn’t have good role models.  Many of the magicians that I saw interacting with their audience members made jokes at their participant’s expense.  It was very typical to see magicians using “insult humor” to get quick and easy laughs.   I did not feel comfortable doing this type of comedy; in fact, I wanted to perform dramatic magic, without all the cheap comedy bits.

“Stand on the trap door.”

“Show me your hand, no the clean one.”

“Show the card to your friends… if you have any.”

This kind of humor simply was not what I was looking for.

MODELS AND MENTORS

Early in my career, I did not have teachers to coach me through the process of creating an effective magic show, or to help me design interactive audience participation segments for my show.  It was challenging enough to rehearse and control my own movements and choreography.  The addition of having to manage audience participants on stage was beyond my ability at that time.

Many of the most successful magicians utilize audience participation in their shows.  Before I go any further, I must really differentiate “magic acts” from “magic shows.”  The typical magic act, the kind we see on variety shows, on television or at magic conventions, are very often music-driven and highly visual in nature.  They are usually short, three to twelve minutes—acts like Rudy Coby, Kevin James, and Jerome Murat all come to mind in this category.  Many magicians start with an act, and then develop more repetoire, to create a full “magic show.”

MAGIC ACT OR MAGIC SHOW?

A “magic show” differs from a magic act, in that it is longer, often a full evening experience.  There are usually different styles of magic: dramatic, comedic, solo effects,  grand illusions, smaller close-up effects with video support, and yes, audience participation routines.

SPECTATORS VS. PARTICIPANTS

There is a huge difference between a spectator and a participant.  A spectator spectates, merely watching, witnessing without being directly involved.  A participant is co-creating the experience, and has a role to play in the production of the magic.

When I hear a magician say: “I have the spectator select a card,” I cringe inside.  I am aware that they are not conscious of the words they are using.  The more conscious we are of our words, the more conscious we can become as performers.  Spectators do not pick cards; they watch cards being picked.  Participants pick cards.

A MAGICAL FORMULA: TRANSFORMING LOOKERS INTO DOERS

When designing your show, try to find the times where you can move your audience from being objective witnesses into subjective participants.  Objective witnesses have less responsibility, and do not participate in the action.  A subjective participant is actively engaged in the magic experience.  They support the show by not only applauding at appropriate moments, but also by selecting cards, helping the magician with various tasks and activities like holding ropes or other props on-stage with the performer.

WARNING!

Not everyone wants to participate by coming on-stage!  I have seen many acts get into embarrassing situations by forcing an audience member to come to the stage.  An audience member doesn’t have to come to the stage to participate in the show.  There are many ways to transform individual objective witnesses into a collective of subjective participants.   Even getting the entire audience clapping rhythmically, to the beat of the music, transforms single individual objective witnesses into a group of subjective participants.  When an audience is all clapping rhythmically, you have given them the temporary role of “the drum section,” in the musical accompaniment, and they are helping to create the experience.

MICRO AND MACRO PARTICIPATION

My good friend and mentor, Bob Cassidy, taught me the difference between solo audience participation and mass audience participation.  Micro-participation is when one participant is involved with an effect, such as a book test or a billet reading.  A macro-participation effect is where the entire audience gets to play.  The classic “question and answer act” is a good example; everyone gets a pencil, a question card, and an envelope.  Many magicians have had good success with micro-participation.  The Amazing Jonathan has one person from the audience on stage for much of the show.  Mac King utilizes five or six people during the show, yet, at the end of his show, he has the entire audience chant his name: “Mac King!  Mac King!”  This is an example of macro-participation.

AUDIENCE ENGAGEMENT TECHNIQUES

You can create subjective participants in the audience by having them involved, for instance, by:

• Saying “ladies and gentlemen, by a show of hands, how many people have traveled to Asia?”  Audience members raise their hands, participating in answering the question.  Another way to have people answer a question is by saying, “ladies and gentlemen, by a round of applause, who has traveled to Asia?”  Both ways work to not only create energy and movement in the audience, but also to give them another place to applaud, other than just the ending of an effect.
• Asking everyone in the audience to think of the first person they ever kissed for a prediction effect, and then tossing a ball out into the audience to select a participant is better than getting one person up onstage and then asking them to think of a person’s name.  Simply, more people get to play the “think of a name” game.

Another popular way is to have the audience all do the well-known “arm twist” illusion.  Penn & Teller, at the beginning of their shows, often invite members of the audience to come onstage and sign a special prediction envelope. When a magic theatre-goer steps onto the stage, they are no longer a spectator, they are an involved participant.  In many cases, these participants play the role of the Judge and Jury, to make sure that all the procedures look fair.

I encourage you to study great performers and how they generate excitement, mystery and fun by utilizing effecting audience participation techniques.  Explore ways you can welcome your audience into your magic world, and participate in the magic.  People support what they help create!  If you have ideas to share with me on ways that you engage your participants, email me and let me know!

Originally published for Wittus Witt’s “Magische Welt” magazine in Germany.

It is no secret that many of us have too often seen multiple magic shows with performers reciting the same jokes with the same cliché lines or (the dreaded) performing a piece with someone else’s routine.  We know that this exists today in magic. We often make mention of how troublesome it is to go to a magic convention and see every act in the competition perform another card manipulation act or another linking ring act the same way as it is currently being performed by so many other magicians. Many of us out there become so enthralled in magic, and the magic community, that we often forget that there are other great sources to find inspiration for things like our “magical premises” and our style.  It is very easy to become so wrapped up in our “magical” way of thinking that our shows and performances often suffer. So my question to you is what are your sources of inspiration?  What is it that inspires you?

Are you only modeling your style after the contemporary stars in magic? If so, you should consider that this is not going to advance your career.

I will admit that I, in my younger and more vulnerable years, was heavily inspired by no one other than David Copperfield. His name alone possessed magic and I could recite any piece from his show. But there comes a time when we must outgrow that phase and find a style that is unique to us. For those of you out there who have heard this mentioned before and are wondering how to achieve this, it is to you I speak.

First, take things you do that are non-magic related. Maybe you play an instrument or read books or like to fish. It can be any number of things but finding other interests that you have will allow you to draw from those sources and develop a framework for your magic.

For example I enjoy traveling so I wrote a story for Richard Sanders’ Extreme Burn about going to foreign countries, I tell this all while turning magazine papers into foreign money. But had I not drawn from my experiences of traveling, then the story would have almost certainly been about how amazing I am that “with a wave of the hand” I can turn one dollar bills into $20’s and $100’s.

It is not quite this simple however. This is something that will take conscious effort to achieve.  In my opinion, one thing that cannot be taught is creativity. But perhaps I can help put thinking creatively into perspective for you. We all consider magic to be an art form, right?  One of the best ways to inspire your art is to have other mediums of art as your creative sources.  Perhaps you enjoy movies or books or plays.  I personally watch a lot of movies.  I love the way movies convey a story or message through words and images. There are many movies that, by the end, make me reflect on the exact message I want my audience’s to have after they see me perform. As a result, I am constantly drawing on elements and themes from movies, both current and old, to bring into my magic routines. Sometimes some of the best ideas for a routine exist in sources that are not referenced in today’s culture. I never would have expected to get an idea for a rope routine from a 1945 silent film that I only saw because of my interest in surrealism.  But it is these two interests, film and surrealist art, that have inspired almost all of my routines now.  So if you want to begin finding your own original style, first consider looking for inspiration in your interests outside of magic.

I have come to the conclusion that there are two types of audiences: audiences that come to a show to remember, and audiences that attend a show to forget. It is amazing how different these audiences can be, and how their attention spans differ. An experienced performer can tell the difference between these two audiences and can change their performance style, script and even magic effect selection to best suit the needs and desires of these very different audiences. A performer that is not seasoned enough to respect the differences between these two types of audiences can be in for quite a challenge. Usually one big difference between these two groups is the simple ingredient of alcohol.

First of all, let’s define the difference between them.

“Remembering audiences”
These are the audiences that come to a theatre-style show, and sit in theatre-style seats that face forward, toward the stage. They have come for a specific reason: to see an entertainment or artist that they have bought a ticket to see. They have come with an intention: to witness a piece of theatre. They are often prepared in the proper mind-set to be pre-determined to enjoy this show, and often, they do.

“Forgetting audiences”
These are the type of audiences that go to parties, nightclubs and discos, often sitting at round tables, standing or strolling. Their primary focus is not on the show, but on their friends. Usually, they are drinking alcohol, and this tends to loosen their inhibitions as well as their tongues. They enjoy socializing with friends and may be holding conversations, even during the evening’s entertainments.

Be Aware, Be Prepared
There is nothing wrong with a hard-partying audience. In fact, many of my audiences in Las Vegas and around the world are party-oriented audiences! There is something wrong about a theatrical magician trying to impose theatre-style etiquette on an audience that just wants to forget their cares and have a good time. I have seen experienced performers try to command and demand respect and good behavior from a very well-natured bunch of party-goers and end up having the crowd turn and be disrespectful. Remember to be versatile and to go with the flow of the audience. Just because you have set your intention on delivering a theatre-style magic show, the fact is that you can’t give something to people unless they are willing to receive it.

Eugene’s Epiphany
Once Eugene was hired to perform his award-winning Magic Castle theatre show at a yacht club. When he arrived at the yacht, he was shocked to see that this was not the formal engagement that he thought it was going to be. There was a loud DJ playing rap music; the people were not dressed in formal clothing, like Eugene was. They were in bathing suits; they were sunburned, and they were drunk… very, very drunk. Eugene was silently boiling inside, and could not gain the focus or the attention of the group to even get them to sit down and watch his show. They continued partying, throwing ice cubes and, even worse, making those “Hey, here comes Santa Claus” jokes that Eugene hates. Eugene was having a terrible time trying to force his theatre show on this fun-loving bunch, until he had a realization. In a flash of Zen-like enlightenment, he realized that the only one not having fun on the entire yacht was him! He let go of his agenda, and his formal show, and decided that what these people needed was a friendly strolling magician to amuse them during their party. What they did NOT need was someone to take control of the group and to force them into a formal show. Eugene’s story is a lesson for all of us. Sometimes, the audience’s needs over rules the performer’s personal agenda. Sometimes, the best thing to do is surrender, and be in the moment.

Sizing Up Your Audience
I can tell a lot about an audience as they enter the theatre. Even at the Magic Castle in Hollywood, I often change my show, depending on if it is an “early crowd” or a “late crowd.” The “late crowds” have been drinking longer and harder, and often enter the theatre holding multiple glasses of booze, and sometimes even holding wine bottles that they’re carrying from their tables. I know from experience, that more often than not, these drunks will be very talkative during the show, and my more subtle and artistic pieces will need to be removed from the show, because I personally do not want to handle the interruptions. Instead, I will insert more “night-clubby” comedy-oriented material into the show.

Multiple Scripts
Something I’ve learned from teachers like Eugene, and from my own personal experience, is to have multiple presentations for my effects. For example, I have a cut-and-restored routine that is very theatrical and script-driven, inspired by Eugene’s “Hindu Thread.” If I have an attentive theatre audience, I will offer this scripted version; however, if the audience is loud or the nature of the party doesn’t permit theatrical subtlety, I will perform this very same routine to piece of dynamic music. Even during the course of a show, I can make changes in upcoming material. My friend Lance Burton used a formula like this for his show. He would perform the first half of his show and size up the attention span of the audience, and whether the audience was predominantly English speaking or not. If the audience was comprised mainly of Japanese or foreign audience members, Lance would change the pieces in the second part of the show to be more visual and music-driven. Having this kind of flexibility allowed him to put on the best show possible.

Don’t Forget To Remember!
Different audiences have different needs and expectations. Being able to read your audience and give them what they want will make for a better experience, and hopefully, one that you will want to remember, instead of wanting to forget!

Originally published for Wittus Witt’s “Magische Welt” magazine in Germany.

A few years ago, purely as a personal experiment, I asked myself the following question: In order for a particular piece of magic to make it into my performing repertoire are there any criteria that must be met? What features must this particular piece of magic have – or not have – for it to be something that I would like to perform?

As I thought about it, several criteria did appear. I have noted eight criteria that must be met before I begin performing something professionally. Two years ago I shared these criteria with the teens at the Lance Burton Teen Weekend of the World Magic Seminar. And now I shall share them with you.

The first criteria that must be met before I add a piece of magic to my repertoire is that the magic effect must call to me. It must be a piece of magic that connects with me on some level so that I want to perform it. When I am performing material that gives me joy to perform, the audience “catches” my enthusiasm – just as they might catch chicken pox or any childhood disease. Enthusiasm communicates from the performer to the audience. The great 20th century master of this was certainly Doug Henning. I think that whether a piece of magic calls to me is the most important of the criteria because, if it does not call to me, there is no reason to add it to my repertoire.

The second criteria asks whether this piece of magic fits in my pockets. When I perform at a corporate party, I do not carry my little box; instead, I work completely out of my pockets. So, if this piece of magic I am considering, does not fit in my pockets, it does not make it into my repertoire.

The third criteria asks whether the effect under consideration requires any reset. The truth is that I have enough magic in my present repertoire that requires reset and I really do not need any more.

Fourth, to perform this effect do a need a table. Again, I have enough material that does require a table and I would rather not be burdened with more.

The fifth criterion asks if the plot of the effect is simple. There is so much magic that isn’t simple to follow and, as Vernon always said, magic is not confusion. I personally want simple, easy to follow and memorable plots.

Sixth, is the action of this effect up by my face? If I have any hope of appearing on television this is where the action is best. I am selling myself not my belt! I want myself – that is, my face — in the action. It’s simply better theater.

Seventh, if I add this piece of magic to my repertoire will I need to check luggage on flights? I am now in the enviable situation where I can go to Europe for a month, often with material to sell, without needing to check luggage. Frankly, I would rather not trust my magic props (or clothes for that matter!) with the airlines. And there is nothing better than getting off an airplane and, without stopping and waiting for luggage, to go directly to a taxi.

Eighth and finally, how many people can be in the audience for this effect? The fact is that I want a balance in my repertoire. I want material that is intimate and best performable for two or three people; but I also want material that I can perform for a thousand people. Before any effect enters my repertoire, I asks myself how many people can be in the audience.

These, then, are the criteria that I use when selecting material for my own repertoire. I am offering them for your reflection. I am certainly not suggesting that these criteria are perfect for you. No, on the contrary, they are but signposts on a path – the path to better magic.

Have you ever asked yourself how you go about adding material to your repertoire? If you do ask this question – if you ask it honestly – you might be surprised at the answer.

Imagine you are reading the trick section of one the magic magazines:

The Effect: You have a magic experience that is profoundly transformational. Afterward, the world looks different to you, filled with fresh possibilities. Whereas before, your forward path was cloudy and unclear, you now feel inspired by new ideas, great, new performance material, and new friends.

The Secret:

. . . . Well, before sharing the secret, let me tell you that we have been performing this particular piece of magic for many years and we know from countless participants that it truly blows their minds. Magic doesn’t get much stronger than this. Imagine: a magic experience that lingers for days, weeks, and even months afterward!

The secret method behind this wonderful effect is simple: attend the Magic and Meaning Conference in Las Vegas this coming October 19-22, 2011.

As magicians, you may read the secret and think, “Oh, it’s only that” or “I already know how that works.” But trust me: if you haven’t ever tried this secret method, you can’t really know how powerful is this effect. Over and over, participants tell us, “I had no idea! If I had known what this really was, I would have come years ago.”

This is exactly why I think the Magic and Meaning Conference is one of the best-kept secrets in magic: it is right there, out in the open, but the transformational effects cannot be “known in the head.” Like so many of the best things in life—such as love, art, or a wonderful meal—you have to plunge in to feel the rush. And that is not for everyone.

But it may be for you. Here are some things about the 2011 Magic and Meaning Conference that might inspire you to take the plunge:

• The experience is not a convention; it is a genuine conference. Alongside shows and performances by conference attendees, the long weekend features over 15 twenty-minute presentations by attendees and faculty on a variety of topics relating to the powerful, effective performance of magic. There is nothing else like it in contemporary magic.
• There is great magic being performed and taught everywhere you look. The Conference is intentionally timed to overlap with one of Jeff McBride’s smash-hit Wonderground experiences, and there will be many small-group and one-on-one magic learning opportunities.
• You have the opportunity to share your knowledge and/or perform for the group. It is easy to make a proposal for a presentation or performance at the Conference; for details, please consult the Call for Presentations and Performances.
• You will get to spend face-to-face, high-quality time with world-leading magicians and teachers, including Jeff McBride, Eugene Burger, Bob Neale, Tobias Beckwith, Bryce Kuhlman, George Parker, Kenton Knepper, and (ahem) me.
• Last year we inaugurated a special show by “The Nealists”—featuring performances of Bob Neale’s magic by Jeff McBride, Eugene Burger, Larry, Hass, George Parker, and Barry Fernelius. This show, followed by an energizing conversation with Bob Neale himself, was such a hit that we are creating another Nealist show this year, featuring performances by you.
  

  The Nealists, Magic & Meaning 2010

• This year we will actively celebrate the 20^th Anniversary of the McBride Magic & Mystery School: “Twenty Years of the World’s Most Progressive Magic Events.” This look at the Past, Present, and Future of the School—including the early Mystery Schools themselves—is not to be missed.
• Special Bonus Reason from Marjorie Hass: “This is the one magic event I make it a point to attend with Larry every year. It is the best magic event for partners and spouses of magicians, and a great community for creative people of all sorts. The Conference is also especially welcoming to women—performers and non-performers alike.”

If you are reading this, I suspect that you are already standing at the edge of the diving board, thinking hard about taking the plunge. I know that making this kind of decision and investment can be complicated. But the simple fact is that the Magic and Meaning Conference is one of the very best things going on in contemporary magic, and we really hope you will come and join us.

Please go back and read the effect: that is what the Magic and Meaning Conference is all about.

For more information about the conference and to register, please visit the website.