Again, the performer's performing persona is key to your stated goal. Absent the context of someone actually appearing to be doing something, the illusions are simply theatrical puzzles. The illusions must be within a carefully crafted performing context.
A larger-than-life performing stage persona is an absolute necessity. The audience must be in awe of the performer who can work "wonders" before they can be in awe of those wonders. You might think this is a chicken and egg problem, but it isn't.
It begins by establishing the performer's persona in the mind of the public. No easy task for a given individual without a lot of money behind him. Witness the build up to the Keith Barry special recently on CBS. Barry didn't fall out of the sky fully formed. He was a product of years of work, Irish television, lots and lots of shows, and a major management team who helped craft his career. A lot of time and money were spent on Keith before he set foot in the US and a lot more was spent to make sure he showed well in his first US outing.
It begins with setting up expectations.
Years ago I was having a conversation with my friend Ormond McGill. I observed that for a stage hypnotist the hypnotic process began with the hypnotist's poster. Ormond was surprised at this insight as it had never been published. He agreed completely. The poster sets up expectations in the minds of the audience, expectations that, in may cases, could be brought to fruition by the audience member acting on those expectations and volunteering for the hypnotic experience.
That said, as a professional entertainer who uses the medium of magic to interact with my audiences, I have no interest in producing "wonder and awe," although that is, in a small way, a product of what I do. I am hired to entertain an audience, not produce "wonder and awe." That, sometimes, comes about by my competence, but it is neither a goal nor a direction of my performance because, frankly, I think performing with that goal is highly pretentious and potentially boring to today's audiences.
Gone, mostly, are the days when audiences still believed that the performer was in league with "dark powers" to accomplish his ends. Posters showed every major illusionist of the 20s and 30s with imps and the Devil at his shoulder or in silhouette behind him. The implication was clear: Satanic powers fueled this magician.
While there may be some who still believe that, I think the vast majority of American audiences know that what they're seeing is accomplished by theatrical means. (Film makers, wrongly I think, run television specials to explain how they produce their effects, lessening, I think, the movie-going experience.)
Today's audiences may not know the exact methodology, but they know, instinctively, that the girl is not sawn in half, even though the evidence of their eyes tells them that happened. Highly unlikely that a magician would publicly murder an assistant at every show. What they experience is not necessarily the "puzzle" effect, but the experience of a paradox. They know it cannot be happening, but there it is, right in front of them. That, I think, is the best you're going to get unless you wish to tinge your performances with hints of danger to the audience.
If you're looking to infuse "awe" in your work apart from the awe that will naturally flow if you're highly competent at creating the illusion, I think you'll have to add an element of danger and audience fear.
This is not my performing style and the performer who attempts this runs a great risk of self-parody. I could see this being pulled of by the right performer on the stage of a major New York theater, but on the stage of a local high school or college it looses a great deal of credibility.
Again, to return to the major necessary ingredient, the performer's persona, I remember Bob Gunther telling me about the performing style of The Great Raymond. Bob said that Raymond performing "slightly mad," as in crazy, not angry.
This was Bob's take on Raymond. I never had the opportunity to see him, but that might be a clue. If the audience is never quite sure about the performer, if what is carefully planned looks to be impromptu and, perhaps, accidental, then a different dynamic between audience and performer can be created....but, as I said, this would take a high level of acting skills because that sort of persona (or any performing persona that is not simply an enlargement of your own natural persona) is difficult to maintain for a long period of time....the 90 minutes or so that a stage show needs and the off-stage publicity that would be vital.
One other observation: you're not going to accomplish this in your hometown where people already know you.