Hi Marc,

I have seen, and appreciated your contest act(s). Could you talk a little about routining? I think audiences really appreciate an act that flows - one that seems like a continuous piece of magic rather than a series of "for my next trick…"

Mike

Great question Mike. When routining a competition act, I really try to create something with a throughline. There is a unifying concept that ties everyting together. A good example is my last competition act. The theme was time and laid the basis for some wonderful variety of effects. There are several other effects that I have plugged in and out of that act over the years and It's a great framework.

I've always loved theme acts, based on an object or category of objects. I was very influenced by Marvyn Roy as a kid. I did a stage act with a dice theme at FISM in 1979. I also took 2nd place at SAM that year with the act. It was fun getting that act together and doing it, but ultimately it was too limiting.

The unified theme is the better way to go. See how one effect locigally flows into another. You can group several effects of a like theme together, then create a segue into another theme that may have a common element. You can also use one prop to introduce another.

Marc

Hi Marc,
Years ago at MAES (my first convention) I saw you perform among other things "Alice Thru The Windowpane." I thought it was one of the best routines ever.. So, Since this is a thread on routining, I was wondering if you could talk a bit about your process of scripting your routines.

Thanks,
Joe

Hi Joe,

Nice to hear from you. Yes, Alice is a favorite of mine...I think it's the best effect I've ever created, at least from the standpoint of entertaining laymen. The script is absolutley key in that routine, as well as many others I do. I think it's important that the story line has a "hook", something that quickly captures the audience's attention. The script really depends on the subject matter. Soemtimes it is simple descriptive text that accentuates the key moments and points I want the audience to rememeber. Other times, there is a rather lengthy prologue, before getting into the meat of the effect. In my Floating Table routine, there is 6 minutes of script befoer any action takes place, but it sets the mood. And yet at other times, there is an emotional content to the story, like my Dreamcatcher, where the effect is actually secondary to the story. There is no one right answer.

I would encourage magicians to look in different places for their insprirations. Don't be afraid to take you audience on a different type of magical journey. You may be very surprised at the reactions you get.

Marc