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plainman007 Special user 630 Posts |
Hi everyone,
I was looking at ideas for the flow and structure of a good illusion show. In simpler terms. How many large scale illusions (like shadow box, things that go bump etc) should be on the show to give the audience a feel of largeness. And yet how many intimate segments should there be. (like close up interludes floating rose, linking ring, etc) What's the perfect mix for a proper commercial show which is ticketed. Whats the ideal duration for a sophisticated evenings entertainment. Please advise keeping in mind not to over explode the transport element. So please keep equipment slim yet without compromise. Thanks. |
TinMan4 New user 58 Posts |
Well my show consists of 13-14 effects on average. 8 of those being larger scale effects. The remainder being in one spots such as Hospitality, Floating Rose, etc.
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rtgreen Inner circle Portland, Oregon 1322 Posts |
I once read that the true purpose of a good piece of theater is to "not bore people for two hours." Even though its kind of sarcastic, it is really true when you think of it.
Historically, "in one" pieces were placed in a show to allow the stage crew to change sets. But to set a specific number of large-scale to in one would be difficult today. Ricky Jay's entire show is in one, but the point of his presentation is to showcase his personality as opposed to his tricks. David Copperfield, on the other hand, has only a couple of in one pieces, but his show is more about the amazing effects than his personality. One thing you will find with every great magician is a consistancy in character/theme througout the show. Think hard about the character you want to present to your audience and that will determine how much time you will spend in one talking with your audience and how much time you will be dazzling them with large scale illusions. I structure my acts into nine themed sections. Each section may contain a mumber of actual effects, but each section builds to a single climax. I also treat each group of three sections as a single act. Also, I include at least one large scale effect in each act. There are lots of great writings on playwriting, story structure and dramatic theory that could keep you busy and confused for the rest of your life, but a good place to start are Dan Harlan's Quicker than the Eye lecture notes. Of course they tell only one way out of an infinite number of options, but they give a very workable formula for structuring acts. Try a few his way and you will start to see more clearly the options you have available to you. Good luck, Richard |
Jeff Hayden New user 88 Posts |
This is a good question and one that is subject to many differing opinions.
It really comes down to your style and your audience and their expectations. What Richard said is very true, don't bore them! If your customers leave feeling entertained then your show was a success no matter how many large-scale illusions you had (or didn't have). Personally, I open with a 4 minute sequence of several large-scale illusions tied together (in a pretty cool sequence). This sets the tone of the show, and establishes my credibility with the audience. Just like a good movie, you need to hook them at the very beginning right away. Don't walk out and start talking - hit them hard right away. Then quickly take time to get intimate with the audience after your opening hard-hitting sequence. You will find that even the dullest of effects can seem wonderful if the audience feels like they know you - and even the grandest of illusions can be flat if the audience cannot identify with you (if you are just a person on stage). The personal connection is the link that makes Copperfield so popular and his effects so stunning, every performer needs that. So take time right after your opening effect (which in my opinion should knock their socks off) - take time right after your opening effect to perform a few effects that let them get to know you a bit. Slow it down, make it intimate, maybe make them chuckle a bit and with any luck they will be thinking to themselves "Hey, I really like this guy." Now You Got 'em and they are going to have a great time! You came right out and blew them away thus establishing yourself as a skilled Illusionist. Next, you slowed down to allow them to connect with you. If you did those two things right, they have already decided in their mind that they had a great time. I also end with two big illusions one right after the other. Kind of a double barrel climax that leaves them in awe. Time frame is dependent on the situation. But I would say 1.5 to 2 hours max. About an hour and a half is about right in my opinion. The proper mix of grand illusion and "smaller" segments is any mixture that yields a thoroughly entertained audience. -Jeff Hayden
Did you see that?
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David Charvet Special user www.charvetmagic.com 501 Posts |
Having worked with Stan Kramien (one of the great performers who has done every illusion imaginable) and as his stage manager for years, our cardinal rule was "NEVER more than 90 minute - including the intermission."
As Stan's is a traditional-style illusion show performed mostly in theaters the format was usually a fast 5 minute opening of flashy silent "hit-em-in-the-head" visual magic; followed by a talking "get to know you" piece in-one, then into a full stage illusion; then an in-one piece so the full stage can be re-set; then an illusion; in-one piece, etc. This alternating of in-one and full-stage is almost a must, if you use any sort of production or scenery as it gets awfully boring for the audience to watch you simply push illusions on and off stage. Part of the anticipation with the audience (what keeps their interest throughout the show) is not knowing what to expect when the curtain opens. The first half of the show ran about 45 minutes (closed the first-half with the AGA levitation with Stan's original finish where the girl changed into a huge 6 foot rose bush (without any props on stage) at the end of the routine. This kept them talking and made them want to see the second half of the show. The intermiission gave us time to re-set, pack the first half and sell coloring books, the Wonder Mouse, or other souvenir item. The second half of the show was no more than 30 minutes. Closing was usually "Things That Go Bump In The Night" with a modern cabinet and Stan appearing in the middle of the audience for the final bow. This format worked well for him (and me.) Stan's book "Illusion Show Business" talks about routining a show. And, the venerable Tarbell Course has a section about routining a show that is very good. Remember to vary the pace and the mood. Don't do two or three audience participation tricks in a row. Give them something to look at and ALWAYS GIVE THEM THEIR MONEY'S WORTH. |
chmara Inner circle Tucson, AZ 1911 Posts |
Dave answers the question of show management pretty well -- and his style allows you to keep in step with both old and new audiences. Stan's wonderful work always gives me the feeling of the big-top coming to town featuring a world class magician.
That said, however -- I have watched too many shows try to get big too fast -- or conversely pack small and play big -- with stuff not quite big enough OR UNIQUE ENOUGH to capture the imagination of anyone over the age of -- 13. A well presented 1 hour show that leaves them gasping for breath will be rebooked in the same locaation next year much faster than a flashy--but draggy 2 hour parade of boxes. With the MTV generation -- burning through tricks can be a temptation, leading a show looking like Stan's first five minutes. Short attentikon spans, however, do not need more tricks -- they need to focus on something interesting. That is why advertisers come up with commercials that are often more entertaining than the sitcoms that surround them. KEEP THE AUDIENCE IN ITS SEAT UNTIL INTERMISSION -- wanting to buy something at the booth or stabd yoiu control or get a share of -- and then get them back into and then onto the edge of their seat with a close that is tight and meaningful. Fourty minutes up front is 10 minutes more than today's sitcoms -- a 15 minute break - and a 20 minute powerful close. AAha -- oh yes -- when you close - make it a routine so daring, so exausting that when you make a curtain call -- you can be coaxed into "just one more" encore piece of magic. Something intimate and revealing of your humanity. Something astounding and crating a common bond with the audience through your wanting to give your all for their enjoyment -- they will never forget they coaxed you into doing that one special piece. It is a great piece of theater -- learned from seeing the applied skills of performers who are or were tremendous audience managers -- Judy Garland, Bobby Darren, Wayne Newton, Barbra Streisand, Luciano Pavroti and some guy named Copperfield -- an up and coming kid from New jersey. GC PS -- Learn to ACT exausted and exhilirated by your reception...it will get you a reputation of giving your all WITHOUT having to hop around the stage with a bass strapped to your nether parts.
Gregg (C. H. Mara) Chmara
Commercial Operations, LLC Tucson, AZ C. H. Mara Illusion & Psychic Entertainments |
Dr.Maya Baalaamurugaan Regular user 163 Posts |
It depends on how long the show is and the theme of the show.
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paulajayne Inner circle London England 1160 Posts |
Hi
The show should have a beginning, middle and end. The maxim “save your best to last” is very good, they will go away remembering that. You second best should be your first effect and should in its self have a very strong beginning middle and end. Do not think about just the illusion – the sound, lighting and SFX have to be perfect. If you have an interval the effect before it should be strong and make them want to come back and see more. Paula
Paula Jay - Magic to Remember -
--------------------------------- I once wrote a book on elephants, I think paper would have been better. ---- |
MichaelKent Special user 560 Posts |
Check out "Magic & Showmanship" by Henning Nelms.
It's not addressing illusion shows specifically, but he graphs out some interesting ideas on building momentum in your show. |
George Ledo Magic Café Columnist SF Bay Area 3042 Posts |
Good advise so far. Check out Fitzkee's "Showmanship for Magicians" if you can find a copy. He has a whole article on how to structure a show, based on the old vaudeville system -- which, interestingly, is still used by a lot of stage entertainers. A LOT of the material in the book is very dated, of course, but the general principles are still very much applicable.
As far as showing enthusiasm till the end -- I saw Tina Turner on stage a few years ago, and her energy level was unbeliable until her last exit. She carried the audience with her every second, and the response was a very long standing ovation.
That's our departed buddy Burt, aka The Great Burtini, doing his famous Cups and Mice routine
www.georgefledo.net Latest column: "Sorry about the photos in my posts here" |
Doug Higley 1942 - 2022 7152 Posts |
Bringing up Tina Turner is a good point. Back in the 80's when I saw her show I experienced that same energy level, involvement and near exaustion at the end. One of her secrets at the time was the Back Beat NEVER stopped. That poor drummer didn't get a second of relief time. It was amazing then and I guess from the above post it is still knockin' 'em in the isles. Work your show. Let your assistants flow. But you work it.
At the risk of being accused of self promotion here (which I have really tried to avoid on the Café) consider your pre show set up with a strong professional VO Introduction. Also some of your Illusions can be 'set up' with a brief bit of voice over narration and story telling combined with the proper music to fill the gaps and create expectation and anticipation. Excellent question and answers folks! Doug
Higley's Giant Flea Pocket Zibit
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David Charvet Special user www.charvetmagic.com 501 Posts |
Greg's point, above is 100% correct about "trying to get too big, too fast."
Many young illusionists want to beg, borrow or steal the money (or have Mom & Dad finance it) so they can build their Giant Super Show in one fell-swoop. Believe me, it won't work. You must crawl before you can walk. Get experience performing a stand-up style club act that you can be comfortable with in any conceivable situation (parties, fairs, indoors, outdoors, etc.) Once you have done the same routines dozens (or hopefully, hundreds) of times, they will become second-nature. Also, these smaller routines will form the backbone of your larger show, as it grows. Then in time, add ONE illusion. The show will grow by itself, as the bookings demand. Stan used to call his smaller tricks, "old friends," because he knew that he could do them any place, anytime and not worry about the technique, but about entertaining the audience. Another thing Stan and I used to joke about (but it is really true) is the magicians with what we called the "one more illusion syndrome." Meaning the thought than many have of "if I only had this one more illusion, I'll be a star!" Again, WRONG! Never forget that YOU are the magician - not the prop. If you don't want to look like a furniture mover pushing all of those boxes around on stage you need to study and learn (from experience in front of many audiences) how to talk and entertain - not just write checks to magic buiders. (I'll get down off my soap box now, thank you) |
hugmagic Inner circle 7655 Posts |
David,
Having worked backstage a little bit also and knowing the work, I do appreciate your words. I remember managing the stage of a guy doing a big show. He spent $15,000 to appear a CEO in a track excavator, hung big scenery, and other big illusions (including 2 big buck snow machine I absolutely hate). And what got the best reaction from the audience? (mainly families)...hippety hop Santa. Watching the circus magicians and performers (like Stan) has taught me much more than any other stage performer about making the money and entertaining. Most people forget, magicians such as Jack Gywene, Ken Griffin, Stan, Dante, and even Houdini, all worked the circus. To me that is the only 100% true performance area left. The rest are all quasi theater production. Save room on the soap box for me!
Richard E. Hughes, Hughes Magic Inc., 352 N. Prospect St., Ravenna, OH 44266 (330)296-4023
www.hughesmagic.com email-hugmagic@raex.com Write direct as I will be turning off my PM's. |
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