Yes, do something like the Table of death. But as I said before, do it as a vanish, too.
Example:
You go in a large box, handcuffed, blades hanging over head. You have one minute to escape. You secretly go into the Deceptive Steps, get backstage, and casually jaunt around (heck, even through; just put on a coat and hat) the Tent. The time is up, the blades fall, you are in the audience getting your applause.
I will find a YouTube video for you.
Larry
P.S. Again, what show are you on?

Hey, Larry, thank you for your message.

Next year I'm in the circus, but I can't say at this moment in which because it's top secret at this moment. And the director first wants to see the new show before contact. It's normally so, I think.

Next month, I work again in a revue. Very small, but cool.....it's a nightclub with strip and so. And I'm the star attraction next month.

You think on a escape like Sita's? I must say that I'm a really big fan of the classical Table of Death. But I'll play also with your idea.....

The 'strongest' illusions in your repertoire should be positioned at the beginning and at the end.

Opener:

A more or less quick but astonishing appearance of yourself or assistant. (Example: DC's Elevator, Motorcycle Disappearance and Re-appearance, Shadow Box) I have never seen (OK, it happens once in a while) that a great illusionist just walks out. He either (should, in my opinion) appears (We are magicians, right?...) or rides on stage on a cool motorcycle that leads into the first illusion. Consider that the 'opener' credits and establishes you and your 'abilities' as an illusionist, and is (in my opinion) actually more important than the closer. Why? Because if you floor them right away in the beginning, they (audience) 'believe' your capability as magician for the rest of the show, kind of announcing: "Here I am folks. Iiiiit's magic tiiiiiime." (Don't need to say those words...but you get my point.)

-Then...after a bunch of fillers...yaaawn...'just kidding'...hehe...

-A very impressive closer, or the most stunning illusion from your repertoire, at the end of your show. (Example: DC's Portal, '13') DON'T DO AN APPEARANCE. In my opinion, either a Metamorphosis or incredible disappearance...period. Ever noticed why DC almost always ends with a 'huge', stunning disappearance? That actually was one of the points that marked his career. He even named his company Disappearing, Inc.

Those illusions are the ones your audience will remember the most and talk about. OK...not quite...Copperfield did Flying right after the intermission, but people in the know, know why. Unfortunately, it can't be done at the end (but perhaps as opener, like he did once...) and I think if he could do it as a closer, he would have done it. (Hey, David how about Chris Kenner or Homer performing some close-up while you get ready for the next? ....just an idea. )

And...people still talk about his pencil through 100 dollar bill (Misled). It even amuses him until today how much impact his 'little in-between' tricks have had.

Best,

Silvio

Posted: May 22, 2007 5:35am
P.S. I only used DC's illusions as an example, but I'm not saying you should perform exactly those (his). Personally, I would never copy the works of others, especially working pros who came up with own ideas or hold the copyright.

Just "pretty good"?

I was thinking of some sort of escape/vanish/reappearance too, but I really the Pole Levitation mentioned by Larry and believe it would go over great in your type of venue. A good levitation is hard to top, but I would definitely suggest looking at some of the escapes available.

Rushhour,
Guten Tag! Be prepared to do that Table of Death on solid ground or a super heavy-duty stage. The force of the fall will crush risers and can easily damage normal stages. John Hirakawa does Table of Death regularly in his show in Honolulu and could probably tell you more about this effect. It is very dangerous, even with a "triple safety" built in.

I adore this affect, but am seldom on a stage that would handle such a heavy illuson.
Autumn
PS: I have a magic studio in Bamberg, Germany. Deutschland is just lovely!

I use the Chen Lee Water Suspension as my closer. I do not do it in the conventional way, but the effect is the same. It is small, but plays huge. It really looks impossible.

Hey Rushhour - I vote for Table of Death. I love the effect and have placed it in several shows that I've produced. The only problem is that you can't do it surrounded. I have once used a version that had deceptive stairs (and an audience appearance) however I agree (in my humble opinion) that the classic presentation is best. It's a great closer and is always a sure thing.

Again speaking in my humble opinion, I think the Sub Trunk is waaaayyyy overdone!! They are cheap to build and the market is FLOODED with them. Every school group, scout troop, small assembly show audience, occasional birthday party, etc, etc has already seen it done a closer!

Hey guys remember he is in the middle of the circus ring ring!
EVERYTHING has to be done surrounded!
So the traditional Table of Death can't be done it has to be something like it, with the stairs or something else.

Again RushHour, I like the escape from something dangerous with a surprise appearance in the audience. As a performer I always like to brake the third wall (Ring?) and I think the audiences like it also.
Don't forget to keep us informed on how it is going!

Just,
Larry