Hey Hudson, I have performed things involving cards for a wide demographic of folks, and
who does or doesn't "get" a deck of cards can come from any age. But there are things you
can do to mitigate the risk.

Mindpro set out some of the issues, but there are some others. Luckily, all of these have
simple solutions you come across as you perform more.

Clubs is the most likely thing for a person not to know, most will be aware of spades
but might confuse them with the clubs.

If you think the demographic might not know a lot about cards, have someone sign the
card. This way they can follow the autograph as opposed to the "jack of clubs".

Make sure if a person chose a card, they show it to the people around them
in case they forget. (or lie)

I disagree that folks don't know what a queen or king is, some people trip over Jacks though.

One danger is asking folks to sign the face of the card, and they sign the back instead.
I always say: "can you sign the card (gesturing at the face of another card of the deck I'm holding)
anywhere you see white". This has solved that issue completely.

Avoid "cut the cards" unless you already determined that the person is knowledgeable.
I usually say: "can you lift up about half? great, put it there (gesture to the side)
and put that half on top" you just walked them through cutting the cards.
Don't do that if the person is handling the cards well, or indicated they play cards.

One thing you might consider, when approaching a group, ask if anyone wants to shuffle.
Someone who has never held a deck of cards is unlikely to volunteer, you also just
determined who in the crowd isn't shy.

Don't let the folks you are performing for not understanding cards put you off,
presented well, they will still enjoy it as much as anyone else.

I would avoid gambling themed routines or things involving a lot of dealing though.

That's a whole lot of dancing to do just to use cards! Many things that can go wrong or bad. Also, if he is shooting for creating a stage performance I certainly wouldn't recommend worrying about cards. His time, efforts, and skills can be much better served and directed than with using cards. Rarely will anything with cards get an auditorium of school age students to be amazed and create a legend.

All of this is thinking like a magician...a closeup magician.

You are correct, I wrote that assuming a walk around or close-up situation.

I really have never liked stuff involving cards in stand-up or stage, it
just isn't visible enough. On the last page we talked about
cards across, this works because the cards don't really matter.
This is also true for manipulation.

Hudson, whatever you decide to perform, be it cards, mentalism, or anything
else, make sure the audience can see and understand what's happening all
the way to the furthest person.

Hi Hudson,

So much great advice here. People have been focusing on what you still need to do, so I'd like to complement that by talking about what you've *already* done. First, you've learned some really difficult sleights -- a real accomplishment. Working on sleights is just plain fun, even if they aren't the whole story.


Second, and probably more important, your writing and your openness to other people's ideas both suggest that you're mature far beyond most 12-year-olds. So, whether you eventually become a professional magician or end up doing something else, I predict that you'll do well.


On a different track, let me suggest (as someone may have already) that an excellent way to learn about performing, connecting with your audience, and making your magic interesting, is to watch videos of magicians who are good at that. I'll mention a few of my favorites; you'll have no trouble finding their performances on youtube: Daryl, Simon Aronson, Whit "Pop" Hadyn, Doug Conn, and John Bannon. I'm sure others can add to my list with their own favorites, and thus give you a greater variety of styles.


People on the cafe sometimes advise against watching videos because of the tendency to imitate their styles and look like a second-rate mirror image of Daryl or whoever. I disagree with those people: when you're learning something new, you *need* to follow good models, preferably quite different from each other. For a while you'll sound like someone other than who you are, but eventually, as you keep watching, rehearsing, and performing, you'll retain only those characteristics of other magicians that fit with your personality; at the same time you'll add on to those influences so that your style becomes truly yours.


As in any art, you never stop learning and improving. I recently went to a concert of a singer I like, who is now 47. She was *very* good when she was in her twenties; now, at 47, she has a maturity, confidence, and comfort in her own skin that is an additional pleasure.


Best of Luck,


Bob

Thanks Bob, that was a very insightful comment, and I will definitely be looking at those magicians you have mentioned!

I have read through Mindpro's posts many times and tried to absorb as much of the content as possible. I am now looking into performing stage wise and have found a book perhaps suitable. Has anyone read Stage by Stage by John Graham? I was perhaps thinking of purchasing it when I have saved up enough money. I was just thinking it would be a good purchase.


I have also decided to be a casual, comedy base magician, as I naturally am, but still professional like. I have also come to realize, as much as I would like to, I can't be good at every single sleight in the world. Just as it is to be better at 10 tricks, than to be sloppy at 100, I think the same applies to sleights. Don't get me wrong, I would like to learn as many sleights as possible, just within reason. After all, the audience doesn't see all the sleights we put in, it's the presentation and how it makes them feels that matters. Is that correct?

I have also been trying to have a broader range of magic, such as learning coin magic as well and some impromptu. Is that a good choice? What I am basically asking is, what defines a great magician?
Thanks

John's book is fantastic, it was over looked a bit when it came out. But is great for someone looking to perform stage work.

Ken Griffins "Illusion Show Know how' is also a good book. Includes travel etc ( and Wife and self, picture is in it mmmmmmmmm )

John's book is based on "what he did" not necessarily an industry approach or from an industry perspective. I think this is an important distinction to remember ad keep in mind.

What books do you think would be a good step into stage magic?

I don't care for most of what is out there for various reasons. Most are only about what he author has done and are very rarely about actual industry information that works across the board and all boundaries. The main problem about "what I've done" books is it rarely is applicable to other performers as it is based on one's own specific set of factors - location, age, market, experience, performing preferences and discipline, and a host of other foundational choices that rarely, if ever, align with other interested performers which makes them nearly impossible to follow and incorporate into your own interests and situation.

The one book I would recommend is Ken Weber's Maximum Entertainment for anyone interested in stage performing.