This happened to me this past weekend. The whole show felt off. It was really hard to get any energy out of the crowd. I kept chugging along, and after the show I had several people tell me how great the show was. I was wondering if they experienced the same show I did. Which brings up another point, they DO experience it differently than I do, but that's not the topic here.

No one wanted to be an assistant, which is weird. I've performed at this venue multiple times and have never had an issue getting assistants to come up. We always have fun and I always make them the star, don't trash them, treat them well, etc.

But not this time. It was a real struggle to get people to come up. I did an after-action review of my show and found some ways I could overcome and/or deal this, but I'd like to hear some other opinions.

Thanks!

How do you go about getting someone up?

I agree this would be a great idea for a thread. There is so much magicians get wrong with this.

What is the common denominator in the issue? One time you had no problem getting help, one time, after they saw you already, you have trouble.

You say we perceive things differently than an audience. Is it possible that they do not think being the so called star of the show is as much fun as you obviously do? Is not trashing them the same to them as it is to you?

It may very well NOT be the problem mind you. But since it is the only real common point it is worth looking at. Once you eliminate that as a cause you can move on. But be careful not to just say "oh no that isn't the issue" and dismiss it. Because if it IS the issue, you will encounter it for the rest of the time you perform.

I usually state that I need an assistant and ask if someone wants to come help me. I've done it like this for years and have never had an issue.

I'll take it all into consideration for sure. Thanks Danny.

Levi,

What kind of audience was this? I know you work with both children and adults.

If it were kids, you’d normally see hands fly up instantly. Adults are different; many have a deep-seated fear of speaking or standing up in front of a group. You might have just lucked out with a particularly shy room, but generally, you need a more active strategy than just 'asking' for volunteers.

Tom

It's a mixed crowd. It was much smaller than normal so the pickings were slim to begin with. But they just seemed lethargic. Except for the people who were really into it and laughing at the jokes, gasping at the tricks, etc. But the people who were into it, and came up to me after saying it was a great show, weren't volunteering either. I'm saying, it just felt like a strange, off, awkward night. I've never experienced this before.

What is a good active strategy for choosing assistants? I've never needed one before. I've been reading elsewhere that maybe I should pick someone who looks interested and choose them. Or rather, ask them specifically. Is that what you mean? Maybe I should have asked the people who were gasping and laughing instead of asking for volunteers in such a vague fashion?

But... what would any of you do in this scenario? The audience isn't actively volunteering. I'm just curious what others would do so I can add it to my learning process from this experience. And I realize that everyone is different. And the specifics of the situation might be different. That's why I'd like to know what you might do. I'd like to hear different opinions for this situation and how people would handle it. Maybe you would never experience something like this because you have a strategy? If you could share that I'd like to hear it.

Thanks for the replies!

I am not going to get into a long 39 protracted debate about this, but I will post this and see how it goes.

Your first volunteer is THE most important piece of this puzzle. First of all they must seem and be enthusiastic. It will set the tone for every volunteer following. Miss this one and the rest will be wonering. They may still volunteer, but may not be as great as you'd want. I am going to guess your first attempt was not perfect in this case.

Second and probably as important if you ask someone a question, it leaves open the idea that they can indeed refuse. If the first person refuses it can be a deluge of problems as the show goes on. Begging for a volunteer is a bad look. Having said that, let me say this. I don't think you should be on stage and ever ask a question that you are not prepared to hear the answer to. I never frame things as a question when you NEED a volunteer. You can use declarative sentences and get them up just as easy. The confidence in this is infectious. If they end up saying no thanks, then don't push it.

I absolutely would not just ask something like "who wants to help?"

Just as a quick aside: here's how awkward the show felt. I did tossed out invisible deck. When I finally got someone to volunteer to "catch" the imaginary deck it was a young girl about 8-10. She's been a volunteer in the past, come up on stage and had a great time.
She caught it and we cheered for her. Then I explained to her that now she just needed to toss the imaginary deck to someone else and her brain shut off and she just sat there lol. This child is there all the time. She has no learning disabilities. I watched as her eyes glazed over and she looked away and sat there. I was speaking to her, but she was done replying. Just done. Communication ended. Later I saw her outside after the show and wished her a good night and she said, "You too!" Ha! It was a crazy night.
Anyway, I made a joke out of her ignoring me by saying that fortunately I had brought more than one imaginary deck, which got a really good laugh and someone, an adult, saw what was going on and volunteered to catch the "new" deck. We moved on, tossed the deck to a couple different people so there was no way I could've chosen who it would land on, did the trick and the trick got great reactions. One cool thing was the guy who ended up choosing the card was there for his birthday, so that was a nice, happy accident.
But this was the vibe. Ish.
I mean, a lot went well. I got several compliments. People laughed and gasped. I'm just curious about the choosing spectators issue.

Thank you! This is what I needed to hear. I can put this into practice. I really appreciate this reply.
Yes, looking back I totally screwed up with my first assistant. She was a quiet, shy young girl. Not the girl who caught the deck, another one. And thank you for telling me how to go about getting them up there. I'll be using this advice.

And to your point: I was not prepared for the negative answer to my question! Thanks again, this really helps.

I just wanted to come back and add this: Danny's response to me is why I come back to the Magic Café. I couldn't learn that anywhere else. There are many people that don't like the Café, but I always tell them I believe this is a great resource if you can just have patience to wade through all the arguing and whatnot. It's like a dysfunctional family around here, but if you pay attention you can learn a lot.

I appreciate all of you and the knowledge you have to share. I always want to be teachable. I just want to be the best performer I can be and you all help me do that.

Here is the problem. Magic is all self-taught, me-based thinking, and monkey see-monkey-do learning from mostly other magicians who are really all still trying to figure it out themselves. There is no barrier of entry or formal education. The ah-ha moments are few and far between because there is not a real structured education and learning process.

I have been known for decades as the entertainment business guy creating training, educational resources, and tools created specifically for entertainers and entertainment business owners from an industry perspective (not a magicians or magic community perspective.) This is what I have been recognized as and known as for 35+ years. What most don't know is that for these same years I have also offered specialized training, coaching, and consulting on specialty areas such as the K-12 School market, press and media marketing and promotion, and show and performance coaching, and entertainer coaching focusing entirely on your performance(s) for beginners learning how to create, format, and structure your performance while getting your performance “market-ready”, and for current performers to learn how to improve, tweak and take your performance to the next level.

Here's just a bit of what is covered in theShow/Performance Training:

- How To Create A Commercial Mass-Appeal Show
- Creating A Performance Personality
- Personality 1st, Your Type Of Performance Discipline 2nd
- Knowledge Of Being An Entertainer On A Greater Level Than Local Part-Time (regional, national, celebrity)
- Audience Participation - Management Of Audience - 1 On 1 With Spectators
- Specialized attention to any problem or specific area that you feel needs improving, a better understanding or overhauling

This is something most magicians are missing. They are only focused on the magic from their own perspective), not the performance or show. It can take one literally years to try to figure this out on their own, most which never will and will simply settle for the best they can come up with on their own.

It doesn't have to be this way. There is so much more to this that can be learn much easier and quicker, and make the learning curve and path to profits and cash must easier and quicker. Yet most will not invest in themselves other than some books, DVDs and courses by other magicians (from a magic community perspective.) Then, don't even get me started on the "Youtube" learner.

The simple sample Danny offered is common knowledge among entertainers. There is so much wrong with some of the things you mentioned, which is why I mentioned about another possible thread as there are things magicians do that sabotage their efforts and are often working against them.

Yes, the Cafe is a great learning tool for amateurs, hobbyists, and early-stage magicians, but it is really just surface stuff for the most part. There are some of us around that like to go deeper and really dig into the real works of performing and entertaining, with or without magic for those willing to listen and eager to learn.

I applaud you for your interest in learning. I think this is one of the benefits to doing this when you are older and revisiting it, as opposed to being younger and just wanting to get to the cool stuff. Best of luck in your progress.

Thank you.

And if history is any guide this thread is about to take a turn for the worse and I’ll just be leaving. Before this happens I’ll just add one thought.

I guess it starts with a question. Was the volunteer effect you chose the first effect of the show? If so if rethink it a bit. First of credential yourself as to what the show exactly will be. Get your first laugh before your first trick if you use comedy. Set the expectation for the show prior to asking them to do anything.

As it is they paid to see you. You are the one with the debt to repay. You have about 30 seconds before an audience decides if they like you or not. Don’t waste it.

Self taught or YouTube university. Get me started I dare you.

Yes there are several thread topics that would be great in the first post alone. Oh well.

I completely agree that the first helper sets the stage. That’s the important one. I’ve always said, plant your first helper early, not a stooge, just someone you’ve briefly connected with before the show. That first success sets the tone and makes later selections easier.

I think choosing a helper in a mixed crowd (kids + adults) is less about luck and more about planning and control. The wrong helper can derail a routine; the right one can elevate the entire show. Here’s a simple practical way to stack the odds in your favor. Start by deciding who the trick is really for. If it’s a visual, playful routine, a child works great. If it requires timing, following instructions, or subtlety, lean toward an adult or an older child.

When scanning the audience, look for engagement over enthusiasm. The kid bouncing out of their seat yelling “ME! ME! ME!” is often a risk. Instead, look for the one who’s smiling, making eye contact, and clearly paying attention. Same goes for adults, the best helpers are attentive, not attention-seeking.

With kids, you can also audition from the seat before bringing them up: “Stay right there, show me your best serious face… now your surprised face… okay, you’ll do.” This gives you a quick read on personality without committing.

Maybe worth saying, in mixed crowds, it often helps to balance the room. If kids have been heavily involved, bring up an adult next. It resets the energy and keeps everyone feeling included. And of course, once you’ve chosen someone, your job isn’t done, you need to manage them onstage: Give simple, one-step instructions. Position them physically where you want them (don’t just tell, guide) Keep them the “star,” but stay in control of the pacing.

Tom

Levi, if you have other questions just send me a PM

I haven't performed magic for a million years, but I'm going to jump in here for a bit anyway, since I tend to look at magic shows from the viewpoint of a spectator and not a performer.

Donna and I have been asked to "assist" several times, both from magician friends and from others who did not know us. But in every case they personally "invited" us to come up on stage, instead of asking for volunteers or assistants. I don't have a clue why the magicians who didn't know us picked us, but there you are. Maybe we just looked like we were having a good time.

From a spectator viewpoint, I personally don't like someone to ask for volunteers (maybe something I learned in the Army?), except maybe in a kid show. But I have seen several performers ask for volunteers in a way that sounds like they're just reading a script: there's no spontaneity there, no enthusiasm, nothing to make it sound like it's going to be fun for the spectator. So, for me, if that's the way the performer comes across, why should I volunteer?

Another bit that I don't care for is the term "assist" or "assistant." Why in the world would I want to "assist" a performer? It almost comes across as, I don't know, maybe "condescending" isn't the right word, but something like that. For me, something like "help me out," delivered in a fun way, would make more points. I know we're all used to the term "assistant" and probably don't give it much thought, but it doesn't always come across as intended.

On that note, I will stop.

Man, I couldn't agree on all points George.

Its a shame most magicians can't entertain by themselves and are so dependent on "volunteers' to execute their act.

Volunteers are needed, else who would pick the card? Lol

Just to add a few more thoughts: I think with kids it can be different but with adults, and this is a little something an old pro taught me long ago: Once you spot someone that you think would be a good helper, you should use an open palm (never point with a finger) and say something like, "You, right here, would you mind helping me out?" (Pointing with a finger sort of suggests you’re demanding, while extending an open palm up feels more like a welcoming invitation.)

A few that I would consider avoiding: The Heckler: Anyone who has been whispering or trying to "figure it out" loudly to their neighbor. The Terrified: If someone looks like they want to crawl under the table, don't pick them. It makes the audience uncomfortable to watch someone suffer. The Over-Eager: Sometimes the person jumping out of their seat is looking for a stage of their own and, not to help yours.

Tom