Originally posted by Dustin Stinett:
David; forgive my ignorance, but what do you mean by "brilliantly unresettable"? Are you referring to the audience's inability to backtrack into how his effects are accomplished?
I'm sorry, I was reaching for a description but couldn't find the right one.
What I meant was that Shoot goes to incredible lengths to fool his audiences, and esp magicians. While other magicians pay a lot of attention to whether or not an effect is "instantly resettable" ("resets in 5 seconds" is a factor you commonly see in a magic review), Shoot pays absolutely no attention to that.
I didn't see the debut of Shoot's parlour show (I was out of town last week), but in his closeup show, one effect comes to mind. Shoot vanishes a volunteer's ring, then goes on to a card effect, where the ring is found inside the correctly found card.
This, of course, is a pocket card, which I originally saw marketed at a lecture by the great San Diego magician Terry Lunceford in the early '90s, but which goes back much further than that. It was a great hit with everyone at the lecture, but [QB]I've never seen anyone else at the Castle use pocket cards in performance![/QB} Why? Because it's so much trouble! First you have to split the cards, which is a feat in itself. Then you have to glue them back together with something inside. Ugh!
But Shoot doesn't care that it takes a lot of time. In fact, he found a way to keep the pocket card partly open so that he could load in a ring during the show. Sometimes, Shoot performs six or seven shows an evening in the Closeup Room, and that's a lot of pocket cards to make up!
When I debuted my new show last May at the Castle, I went to great lengths to produce an astounding signature effect. I also didn't care about reset time. In fact, I regularly show up at the Castle two hours earlier than I used to show up just to set up my prop.
Shoot recently complimented me on that. He told me that it was obvious that I would go to any length to create a great effect.
My good friend Johnny Ace Palmer has one of those effects in his world-championship closeup show. It's his Cups & Balls routine, which ends with final loads of baby chicks.
All other aspects aside, it's a lot of trouble just to acquire those baby chicks. During a week at the Castle, for example, he has to visit the hatchery in South-Central L.A. two or three times because the chicks can't be over three days old; otherwise they'll be too noisy and tend to walk off with the cups. But by going to that trouble, Johnny has a reputation maker. In fact, no one at the Castle regularly has longer lines for his show.
Certainly resettability is a factor in walkaround, and even in more formal shows. But someone who goes to great lengths and efforts to make an effect fantastic fits into a different category.