The direction this thread is taking is demonstrating one of the many ways a performer's show can be hobbled from the very start.
The question has been asked, "What effect is a good opener?"
Rather than asking this question--a "trick" based question--you must ask yourself, "What am I trying to accomplish with this show. Am I telling a story about myself? Am I trying to demonstrate to the audience the power of "Mind Over Matter" with an eye to self-help? Am I trying to just do comedy and light entertainment? But no matter my aim, what about my on-stage persona? Have I tried to fully define this, because if I have, how I open my show, and where it eventually leads, should start making itself evident."
Before selecting "tricks"--and I know that is a pejorative term when approaching magic and mentalism--you must fully define what you're trying to accomplish on stage. It's similar to writing a mystery novel--how is it going to end. Once that is established, then you build a show that leads to that ending. Along the way, you may discover that you want to change the ending, and this is fine. But at least you're trying to create a "whole show"--with a beginning, a middle, and an end.
A string of tricks "stop"; a well-designed show "comes to a conclusion."
Here's an exercise. When your audience leaves your show, what do you want their top-of-mind thought to be? Is this show going to be all about you, or do you want them to start thinking that the world is a much cooler place than they thought? Do you want them to have a deeper appreciation of the power of influence, and therefore more on their guard in regards to advertising, political messages, and religious beliefs? Are you telling the story of your life, how you were struck by lightening at two years of age and have a special gift?
In other words, why are you standing on stage performing and not sitting in the front row watching, and what do you want the audience to take away from their investment of time, money, and energy?
Constructing an act by assembling a bunch of tricks and then trying to string them together will never go beyond the level of mediocrity and you are doing yourself a disservice by approaching it in this manner.
I suggest taking a long, hard look at what you want to accomplish on stage. Make lists, notes, possible names of the act, ideas you want to communicate. This kind of thought will begin to generate a more complex, and complete, idea of who you are and what you want your show to be. Then, I guarantee you, ideas for effects will flow like a river, and the presentational angels will be new, fresh, and make sense with what you're doing.
Have fun in your new pursuit!