Card Workers: Are you a magician or just good with numbers?

[Matt R]

This article has an interesting perspective on presenting yourself as a magician (or not) from card workers perspective.

http://magicgizmo.com/home/Showmanship/ ... ician.html

[Gord]

Well I'm not sure how one can be a magician and not perform magic. But maybe that's just me.

Gord

[Matthew Field]

To expand on what Gord is saying, ask yourself what you want the audience to experience. Should they experience the wonder of magic, or are you trying to impress them with your skill (ego gratification)?

Matt Field

[mrgoat]

Well I'm not sure how one can be a magician and not perform magic. But maybe that's just me.

Gord

See XCM as an example.

[David Alexander]

The first paragraph is the usual prattle one hears from poorly socialized amateur magicians who claim that nobody wants to admit they want to see magic. Thats just [censored]!

Ive done thousands of stand-up and walk-around gigs and just rarely encountered that problem. It happened once in two and one-half years of restaurant performing in the late 1960s - one time out of thousands of mini-performances at table...and virtually never in the rest of my decades of doing walk-around.

Of course, the amateur who boorishly asks a stranger if they want to see a magic trick will almost often get a negative reaction but not because of the idea of magic, but because they have no idea how to properly interact with people. No one wants to be bothered by a boor or a jerk.

The article details this guys approach which is simply to show how clever he is instead of engaging people in an interesting process done by an interesting personality. He gives himself away when he notes If my captive subject hasn't fallen asleep at this point

They arent captives or subjects. An audience is made up of human beings who must be treated with respect and intelligence.

The most important book any wannabe magician should read is How to Win Friends and Influence People. The article that started this thread is further proof of my opinion and that need.

[Tortuga]

Hear hear!

I for one, am never ashamed to tell people that I am a magician. If you are, I would ask why? Perhaps it is as David said above, it's in your approach.

Michael Skinner was a master at approaching tables, often bypassing some when he could tell that they just weren't up for it. All performers learn this eventually. If it looks like a serious meeting, you don't go there and interrupt. If you approach a table and they give you the cold shoulder you thank them for coming to the restaurant and with a smile, move on.

Why pretend not to be something that you are?

David hit it right on!

[spike]

Ive done thousands of stand-up and walk-around gigs and just rarely encountered that problem. It happened once in two and one-half years of restaurant performing in the late 1960s - one time out of thousands of mini-performances at table...and virtually never in the rest of my decades of doing walk-around.

So, after thousands of gigs, what's your favorite introductory approach to a table in a restaurant, or to a group of people in a walk-around gig?

[Gord]

I'm surprised no one has brought this up, so I will lead.
I have no problems calling what I do "tricks."
Why? Mainly because it's what I get asked to perform.
I never have someone say "Can you perform a routine for me?"
It's always "Can you perform a trick?" (They also say "Can you perform some magic?" but you get the point.)
They say it's a trick, so I perform a trick.
nothing to be embarrassed about.

Gord

[David Alexander]

Different approaches for different gigs.

When I was working for the Trader Vic organization I wore a room captain's jacket. It was from Silverwoods, an expensive men's clothing store back in the 1960s. Today it would cost between $300 and $500 for a similar quality jacket. It was bought especially for me and was mine to gimmick as I pleased. It went home with me after work. I worked two nights a week Friday and Saturday evenings and was paid $25 an hour in the late 1960s. One weekend paid a months apartment rent. By contrast, at the same time the Magic Castle paid $150 for six nights. It should also be remembered that other than the Castle, I believe that at the time I was probably the only working close-up guy at an LA restaurant.

First the selection of the right table at the right time: one never intruded into what was either a business meeting over food (different from having dinner) or a clearly romantic dinner (unless invited).

Having the wait staff on your side was also necessary and they found out within a week or so that I did not diminish their tips. On the contrary, I increased them. So it was not unusual to have a waiter take the guests' order and ask if they'd like to see me. As all the food was cooked to order, there was a time period between the order and the delivery of food. I filled that gap nicely.

As the evening progressed guests would have seen me working other tables, heard the laughter and the applause and that set the proper expectation for me working their table. It would be rare for me to be standing around looking for work during my shift.

I never worked a table before food was ordered nor during the actual eating of the meal. I worked between the order and delivery and over coffee at the end. Often, when I was done performing it would complete their time at the restaurant and they would leave, opening the table for a new set of patrons.

The approach was simple and direct. Good evening. My name is David Alexander and Im the House Magician. Youve always heard that distance lends enchantment and may have thought that if you could just get close to a magician youd see how he did what he did. Well thats what were doing heregetting close.compliments of the management. Or something similar to that.

I never asked if anyone wanted to see anything. I was hired by the restaurant at a good fee and was part of the staff. I was NOT working for tips and that was clearly explained so any anxiety about that was removed immediately.

I should also say that I was not emotionally needy. I was not looking for ego strokes or validation from strangers. I was good at what I did and was sharing those entertainment skills with my audiences. Ive always seen my performing persona either close-up or on stage as a facilitator of the audience having a good time. I took my work seriously, never myself. Self-confidence and competence are attractive and necessary components to an interesting performing persona.

However, I was extremely sensitive to a groups level of interest. My entire repertoire was modular. If their interest flagged at any point I would finish the effect I was performing, thank them for their attention, and leave the table. It didnt happen often, because I made sure I never wore out my welcome. Being modular meant that I might perform at their table for four or five minutes before the food came. When it did, I was done.

Often someone (usually a woman) would say that they felt foolish that they couldnt understand what I was doing. I would stop, tell them with a smile that it was my business to fool them and that they probably could do a dozen things that would be a mystery to me. That always took care of any potentially bruised egos and I was free to continue entertaining.

It should be understood that the restaurant I worked was a quality place with white table cloths and an upper-level clientele. Millionaires, film stars, and LAs power elite ate there. It would not be an unusual evening to find Mark Taper and David Huntington and their families having dinner. Norma Shearer, Ray Milland, James Coburn, Randolph Scott, and lots of others came in all the time.

My repertoire was strong and direct visual stuff. I was crazy for Allerton and Malini material so the opening effect often was the Vanishing Cigarette with a sleeve pull. I never reproduced it and people would watch me walk around the restaurant never catching on fire or obviously ditching the cigarette.

I would do Jarrows Hanky Panky (Stars of Magic) sometimes as the opening effect and then vanish the cigarette in the borrowed handkerchief. This was decades before there was a legal and societal ban on smoking in restaurants.

The Balls and Net would be done from time to time with guests holding a napkin for the balls. A Copper/Silver in their hands, sometimes followed by the filtration through the handkerchief right out of the Vernon bookthe Hindu Yarn as done by Orlando.several direct card effects a card stab down through the top of the deck with the selected card on the bottom of the group stabbed through was strong and three others that came from Jay Ose who taught them to me when I was a teenager. I had a perfect wrist watch steal that Charlie Miller liked and wrote up. I usually closed with Paul Le Pauls Signed Card to Sealed Envelope.the card and the envelope (with my contact info) always left with the guests.

With especially interested groups I would step away, load up, return and perform the Vernon Cups and Balls routine. I never did a Chop Cup, always the full Vernon routine which is easy to follow with no quick moves which made it all the more stunning when the big balls are produced at the end.

All the effects were easy to understand and nothing was dragged out or complicatedalmost everything involved spectator participation in one way or another.

When working walk-around at a party I would almost always wear either an Oxxford tuxedo or an Oxxford blazer and an expensive tie which set me off as better groomed than most in the room. It is important in those situations to carry oneself with an air of competence and success. Looking like you slept in your car is never a good thing.

For cocktail parties I have a magnetic name tag that identifies me as a magician. Sometimes I would use a small green felt-covered table that I carried with me. Most offen I would just work out of my pockets. I never considered working cocktail parties to be particularly hard work as I always approached people in a friendly and open manner with a competent attitude that was never overbearing or intrusive. I always understood that charm was far more important than technique.

For large groups, if I wasnt working with any other magicians, I would do three, perhaps four effects and then move on to another group. I would have a set repertoire of maybe six to eight effects that I would re-cycle throughout the evening.

The attitude of quiet competence, the appearance of success, the name tag and the approach always made doing those sorts of gigs very easy.

[Jim Martin]

Thanks for your very generous and informative post, David.

[Gord]

Thanks David.
A lot of good information.

Gord

[David Alexander]

You're welcome. I hope it answered Spike's question.

[Tortuga]

That post by David should be printed out and reviewed frequently by anyone doing magic in front of the public. In any type of venue.

Another thing to add, and this obviously would have to fit the situation you are working in, but the idea of table tents always impressed me as something that would help break the ice.

John Mendoza has a replica of one that he used on the inside back cover of his Overseas Lecture Notes. It introduces him to the table and helps set the tone. He also had an artist sketch a bust of himself and that is on the tent so that the patrons can recognize him if they see him walking about.

I have also seen magicians 'announced' on a display board at the front waiting area of restaurants. I suppose those are effective as well.

[spike]

Wow, David. That more than answered my question. Thank you!

I have been doing close-up magic for just a couple of years, and although I am both proficient technically and reasonably comfortable once I start performing and interacting with my audience, I am always uncomfortable when I first approach strangers. Your experience and suggestions are truly helpful. Thanks for your generosity.

[David Alexander]

You're welcome, Spike.

Approaching strangers becomes easier with experience and self-confidence.

Self-confidence comes with knowing your material thoroughly. Avoid the mistake of jumping from effect to effect looking for so-called killer tricks. Avoid faddism in magic as it only works against developing skills in performing and entertaining. Learn a dozen effects so thoroughly that you dont need to think about the mechanics of doing them. That will give you a repertoire on which you can build.

Anything that happens in the spectators hands is better than it happening in yours.

If you want material read the effects of great close-up magicians. By that I dont mean guys who win trophies at magic conventions. I mean the repertoires of guys who were paid by lay audiences and were successful at it. Bert Allerton, Max Malini, Jimmy Grippo, Johnny Paul, Nate Leipzig are names that come immediately to mind.

Work towards developing the skill of presenting something that is important. It is difficult to explain, but when I work for lay audiences they have the impression that they are seeing something important, something thats take a lot of time to learn to do. Dont work with a throw-away attitude. There is a fine line between being self-important (which people dont like) and sharing something special (your skill) with them.

Learn to smile and enjoy yourself when you perform. Enthusiasm is contagious as are smiles. If youre not enjoying yourself, why should your audience? Dont overdo it, just have the material learned so thoroughly that you are comfortable presenting it. When you know your stuff youll work slower so the audience can understand the effect and appreciate what youre doing.

Learn three or four card sleights that are adaptable to many effects. For example, when I was a kid Jay Ose, the first Resident Magician at the Magic Castle, taught me the Classic Pass and several effects with it. I still use that material today. The LePaul book is a good source of commercial material as is the original Stars of Magic. My old friend the late Lou Lancaster produced an excellent comb-bound book of solid commercial material. Lou really knew his stuff.

Your technical skills should be good but technical proficiency is less important than social skills and a polished presentation. Ive worked gigs with guys who are far superior to me as technicians, but they had no idea how to entertain lay people. Theyd spent too much time in front of a mirror and not enough time out interacting with real people.

[spike]

Again, thank you, David. Your wisdom and experience is truly welcome to a beginner like me. I already see the value of knowing an effect so well that I can almost do it without thinking, which allows me to relax and interact more naturally with an audience. What surprises me is how long it takes to reach that comfort zone. And I am also surprised that for some routines it takes much longer to get the patter and timing down than to master the various sleights needed.

"Your technical skills should be good but technical proficiency is less important than social skills and a polished presentation. Ive worked gigs with guys who are far superior to me as technicians, but they had no idea how to entertain lay people. Theyd spent too much time in front of a mirror and not enough time out interacting with real people."

I'm afraid that describes me to a T! I hope that improves with experience.

Again, I appreciate your wise consul.

[David Alexander]

What surprises me is how long it takes to reach that comfort zone. And I am also surprised that for some routines it takes much longer to get the patter and timing down than to master the various sleights needed.
I'm afraid that describes me to a T! I hope that improves with experience.

Spike,
Since you understand that, I have every confidence that you will improve with experience.

When you know the material thoroughly and can do the mechanical part, the sleights and such, without thinking, you are free to do the really hard part - making the minute adjustments to the timing and presentation for each audience to get the maximum out of your presentation.

One book I would suggest for study is Jon Racherbaumer's Don Alan's Legacy. Jon disects Don's material and from it you can get insights into timing, one of the hardest things to learn. Don's material is both commercial and artistic, too...a rare combination.