Hi. I agree with Jonathan's history lesson approach. Take a look at how Paul Daniels presented a program about Malini. It was a combination of sharing his own insider's appreciation as a magician for Malini, along with some historical and biographical background, and a bit of an impersonation (a vague European accent) while performing some of Malini's tricks. It's on a DVD.
I assume you're going to read numerous books about Houdini.
Holden's Programmes of Famous Magicians lists Houdini's final, full-evening act, which was untypical of Houdini's career.
Bear in mind that Houdini was mainly a headliner turn in vaudeville. My guess is that most of the time he was on stage for 20 minutes, other than for some special challenges. I believe he did a full-evening show at only two periods of his life, and those shows included non-escape illusions, of which he wasn't a good presenter.
I don't think you'll end up replicating a particular act. I think you may end up taking the historical approach: maybe starting with a presentation about his handcuff act, which brought him to fame, followed by his development of challenges like the packing crate, his use of the straitjacket, his development of his own escape devices such as the milk can and water cell, and so on.
Maybe get into his medium exposes, which apparently made for great theater at the time. Also, some of Houdini's most impressive stuff, such as nude jail/cuff escapes, occurred offstage, which is an important point in its own right. Houdini's genius was to appear to be able to do amazing things with real objects in the real world. I don't know how you'll convey that.
We all think of him as a great showman, but Edmund Wilson, who saw him perform, said he was very matter-of-fact and untheatrical onstage. Houdini himself performed his handcuff act as a bit of a history lesson, talking about each make of cuff he was putting on.
I think if you take the historical approach, you can talk about him and his act explicitly, as well as display it through effects. It depends on how deep you want to get into the psychology of the man and the implicit themes of his act. Some people think that sort of thing is guff. Even the biographer William Lindsay Gresham seemed to think that was silly, fancy talk. I think it's why we are still interested in him.
Let me put it this way: Escape acts bore me; Houdini fascinates me.