Whether you have a scripted or unscripted show, it's not the script, it's YOU. When I perform "Magic Island", it's a fully scripted show. In fact, it's a story, which I tell pretty much word-for-word. It works just fine, and engages the kids from the outset. My other "cabaret style" shows are only partially scripted, and they also work well. Of course, ad-libs are fine in any show.
;)

I'm beginning to think this whole thread was scripted and George is swimming in impro and pure shenannigans...the Irish, they always bring trouble....

The difference between an entertainer and some guy (gal) with a bunch of tricks is how seamless they can make their show. If your show comes to an end and nobody realizes that 45 minutes (or whatever) have passed, then you've done your job.

Whether you script or not (I prefer not to script, but I do have set lines that I use) is your personal choice. Do whichever works for you.

If you find yourself getting applause mostly because you ask, "Let's give so and so a hand," then you're not doing your job.

If your common segue is, "Let's do another trick," then you're not doing your job.

The above two examples are the type of flat performance styles that have tainted the image of magicians in many people's eyes.

Develop a style that is comfortable for you. It can be flamboyant, silly, erratic, whatever. The more comfortable for you the character is, the easier it is to sell it to the audience.

Work your routines in character. As important, work your segues or "gaps" in character too.

Be flexible. If you're not comfortable ad libbing, take an improv course.

If you have problems delivering verbally, take an acting class or a comedy writing class to learn timing.

Learn to use your body and facial expressions to get responses.

These skills cannot be learned from a book or a distance course. They can come naturally or they can be developed by doing them over and over again.

Once you master these skills, the gaps will soon disappear and the "tricks" become a show.

When I put my Children's Theatre Show together a few years ago, (The Bilston Bear Show) It was scripted from start to finish, as there were many music and magic cues that had to be done. But I did leave places open for add libs and children doing stuff that you can play along with. Being flexible and timing is the key to a great performance.

All my shows follow a thread, and my performing style has been heavily influenced by some brilliant story-tellers I worked with. I present myself as an odd character who happens to be in the house for the party, and I tell the kids about what has been happening to me that day. The tricks form part of that narrative.
I never do a trick for the sake of doing a trick. If it does not follow naturally and seamlessly from what came before, it is not in my act. And it is never presented as magic; there is no mention of magic at any point, no magic words or gestures.
I never use a script though I know exactly what I am going to say at any point in the show. Sometimes I can do two shows back to back and they will be identical; at other times the two shows will not share a single effect. It all depends on how I feel as I go along. But once I decide to do a particular effect then I know exactly how it will go, gag for gag.
I frequently spend a few minutes between bits telling stories and setting things up. I think that is every bit as important as the effects themselves. And I will have two hours of material in my case for every one hour show, giving me the flexibility to go any way I feel like.

I use a script and a show list (order) that I have for every show. Could not imagine just doing one trick, another and so on. I personally use a lot of stories in my programs and a ton of music as well.

Excellent post. You sound like you are a wonderfully creative and theatrical entertainer, if I may say so.

A series of magical happenings and a very flexible patter with a blend of hillarious goings on.

"When magicians speak, it's 'patter.' When actors speak, it's literature." - Max Howard

I hate patter. Patter is the fast talk of an auctioneer or a pitchman. It has no place in any theatrical art - unless your character is an auctioneer or a pitchman.

Everyone has a script, whether you know it or not.
You can plan what you are going to say, or you can leave it to chance, but mark my words, you will end up with a script - for better or (in most cases) worse.

True improvisation is the hardest sort of work, and I applaud those who can actually do that with kids. I've only ever met one person in thirty years who could truly do it. When most performers talk about "being spontaneous," it usually means they turn their internal iPod to "shuffle" and spout random crap lines from other people's acts or old joke books.

I agree that many people have a script that sounds "canned." This just means they haven't finished doing the work. If a script sounds canned, there are only two reasons - it's badly written, or it's under-rehearsed. Trained actors will tell you that you MUST memorize your lines, and rehearse them until they are so deep inside you they are a part of you. Then, and only then, do they sound like you are saying them for the first time. This "illusion of first time" is the basis for theatre, TV cinema - and it's why the best actors get paid big bucks.

If you look at the top acts working today - Jeff Hobson, Kalin & Jinger, McBride, Copperfield, etc. They ALL have a script that is written and memorized word-for-word. Nothing is left to chance. The paradox is that only after you have your script mastered do you have the freedom to go off script and ad-lib - and you know how to get back on track.

To get back to the original post, I think it's important to script out the transitions between routines, and even lines to THINK when I'm not saying anything. Henning Nelms calls this the "silent script," and it is worth its weight in gold (as is Nelms' monumental "Magic & Showmanship.")

So please let's learn to write - and to rehearse.

(putting on flame-proof suit)

Hope this helps.