Tommy Wonder - Building an Act

with extra material by Tom Stone

Building An Act

A revised edition of Tommy Wonder’s 2005 booklet, with additional writing by Tom Stone

Annotated by: Tom Stone Tommy Wonder’s text edited by: Will Houstoun Copyright (text, illustrations & choreography ), Tommy Wonder Estate & Tom Stone 2017. Published with explicit permission of the Tommy Wonder Estate. Tom Stone-Bengtsson, Domarebacken 42, 145 57 Norsborg, Sweden Email: [email protected] wargmagic.com

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Contents Foreword Building an Act The Right Mind Set Necessary Skills Acting Skills  Knowledge of Variety Acts Magical Skills Prop Building Generating the Idea for the Act Judge its Changes of Success Make it Ready to be Performed Stage Technique Very Basic Elements of Theatre Recommended Books Building a Show A matter of taste. The big risk Deadline Title Social Engineering Information Gathering  Partnership? Just a small step Scripting Forget Everything You Know Be More Obvious! New Light Raw material The Thespian Toolbox Structure Remove Expositions

4 5 6 6 6 7 7 7 7 8 8 12 14 15 16 16 17 17 17 18 18 19 19 19 20 21 21 22 22 22 23

Remove Stock Lines Be Specific, Not General Localization In Time And Space Condense The Gallery Contrasts Make Procedure Interesting Emotions Conflict Transformation Foreshadowing Callbacks Upping the ante Creating visuals Find a director Rehearsals vs. practice Attack the weakest spot Harvesting the contacts Ouroboros Partnership The Small Step! Thespian Tools Boosting the Ante Walk the Talk Everyone is wrong! Scenography Advertising and posters Dress rehearsals Programme Production Crew Everything is news! Final Words

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23 24 24 25 25 25 26 27 27 28 28 29 29 31 32 32 32 33 34 34 35 36 37 37 37 37 38 39 40 40 41

Foreword In 2005, in the midst of all sorts of chaos brought on me, I got a nice little gift in the post from Tommy Wonder. A small booklet titled “Building an Act”. Oddly enough, this manuscript seems completely unknown, I’ve never heard anyone else owning a copy. My guess is that Tommy made the booklet for an upcoming lecture tour that got cancelled when he got ill. Some of the manuscript consist of fairly average advice, but other parts consist of unique information that only can be found here, so it feels merited to give it a wider distribution. As a small bonus, I’ve added some of my own writing on act/show building, based on an article series from Genii magazine 2010. -Tom Stone Stockholm, September 2017 ••• 4 •••

Building an Act To do a series of tricks is one thing, an act consisting of magic is quite another. There is much more to it than stringing a bunch of tricks together. So many things come into play when creating an act. It is quite an undertaking, a major project, but it is worth it! Personally I have been through the process only a few times but I have also helped several people with the creation of their act. These experiences have shown me that there are thousands of ways in which the process can fail, dwindle to nothingness, fall victim to faltering enthusiasm and never reach completion. In this text, I would like to describe what I feel are important prerequisites to creating an act, as well as a few of the traps to avoid, in order to have the best chance of succeeding. Of course there are many more elements than the ones I mention here… But I hope that the discussion of the forthcoming points may help you create THE act, your act! -Tommy Wonder Amsterdam, June 2005

Tommy Wonder, Sweden 2002 ••• 5 •••

The Right Mind Set

Or perhaps you are not funny and you try making a comedy act. It is important that you accept who you are. This is much easier said then

Before you do anything else, be sure to have the right mind set. Without it,

done, I know. This acceptance often comes as the years go by. But at least try to

starting makes little sense.

avoid making an act that has frustration as a basis.

Declare the following to be true. ✦✦ You are creative enough.

Necessary Skills

✦✦ You can do it. ✦✦ You do have the means.

The right mind set is a prerequisite. But more is needed.

✦✦ You do have the talent.

To embark on a project without any skill or knowledge whatsoever usually

It is not important that all these statements are actually true. It is not im-

results either in failure or, at the very least, results will be obtained through lots

portant if you can show that they are true or not. It is not important if you have

of trial and even more error.

proof that it is all true. Do not waste time trying to prove the truth of your

I think the following skills will be very helpful in your quest to achieve

declaration. The point is that these ideas are self-fulfilling. If you declare them

good results. Try mastering these skills as much as you can. The more you mas-

to be true, then they are.

ter these skills, the better you are equipped to do the job.

Some people might try to convince you they are not true, that you do not

✦✦ Acting skills.

have talent, that you are not creative etc. If you listen to them, and believe they

✦✦ K nowledge of how variety acts are constructed.

might be right, this will also be self-fulfilling. Simply by believing these nega-

✦✦ Play writing knowledge.

tive thoughts it will turn out that you do not have the talent, creativity or the

✦✦ Stage technique (also important for close-up acts!).

energy.

✦✦ Magical skills.

A negative mind set takes so much energy that not enough will be left to do the work. So be positive, declare you have the creative power and talent, declare it once for the rest of your life and never consider it again.

✦✦ Prop building skills.

Acting Skills

Be content with who you are.

I personally think that acting skill is the thing that is most often missing

This is another important element of the right mind set.

with magicians, and yet it may be the most important skill to have.

It is quite human to want the things that one does not have. For instance,

“Presenting something which is not true as if it were true.”

let us say you have a physique and a way of moving which cannot be called

That could be a definition of both acting as well as the performance of

elegant. Then it is quite natural you have a desire to be more elegant. This desire

magic. If you are young enough and can do it, go to acting school. I did so, and

comes from a certain frustration. Imagine, then, that you start building an act

it was one of the best things I have done. Or take acting classes in a summer

in which you portray an elegant person. A guarantee for failure.

course, or an evening course. ••• 6 •••

Knowledge of Variety Acts

Generating the Idea for the Act

Study good acts, not only magic acts. See how they start, how they end,

This is the part with the dreaming, the playing and the brainstorming. The

how they are built up. What emotions are evoked. Do not watch acts only to be

fun and creative part. This is a very important phase. This is the only phase in

entertained, but study what makes them tick.

which you can make changes at a moment’s notice. The only phase in which you are totally free. Changes cost no time or money.

Magical Skills

Although free, do not wander through all the possibilities magic can offer.

Magic skills and knowledge are something that you probably already have

Concentrate on a few things, things you like. Start with a theme and stick to

more than enough of. To create an act, all you need is a basic overview of the

it. Or a specific conflict and stick to it. Or to a specific set of props. Whatever.

available methods. A few general books, maybe Tarbell, gives you enough to

Limit yourself to something, but within whatever you have chosen be free to do

work with. Plus a few books of high quality magic, so that you have some idea

what you want. Enjoy this phase, be loose, do not take it too seriously, be a little

of what constitutes quality. That’s all you basically need. Most magicians are

off the wall, a little crazy and, above all, have fun! Choose advisors wisely. If you want help, choose only a very few people,

way too concentrated on secrets, while other skills are far more important.

preferably just one person. A person who understands what you want and has

Prop Building

an open mind. Brainstorming, provided it is done with the correct people, can be of great help in the initial phases. But beware of magic clubs. Magic clubs

Some skill in building rough prototype props will come in very handy in the initial stages of building the act. These skills do not, however, need to be

consist mainly of magic lovers and not all of them are very expert. More than

extensive. You will probably be working mainly with cardboard, duct-tape, wire

once I have seen someone showing an idea in progress to a magic club with the

from coat hangers etc.

result that the members shouted out all kinds of ideas, ranging from stupid and

Okay, now you are ready to start working. You have the right mind set and,

silly to good. Demoralising at best! Do not let people, as well meaning as they may be, demoralise you. Asking a

to some extent, the skills needed. There is one last thing you must do, though. Stop fooling around.

magic club for tips or advice is asking twenty advisors for help at the same time. twenty advisors at the same time is always a bad idea, no matter how high the

Once you decide to create an act, you must become serious. Stop working

qualifications of the advisors may be.

on a new trick each month. Stop gossiping with other magicians. Stop buying

Allow it to become beautiful. Once you have dreamed up your idea, play

every new ‘sensational’ trick that hits the market. Stop watching DVDs. Concentrate on your act and forget the rest.

with it and make it more and more interesting and exciting. See it before you, in your mind. See the movements, hear the audience reactions, experience the

Let’s start!

flow and timing, hear the music, hear yourself say the lines, hear the applause. Go through the act in your mind again and again and again. ••• 7 •••

your idea for the act is not all that promising, continue playing around with

And be loose. Often you will find that suddenly you throw in an extra detail, just like that. If that detail pleases you, keep it in. After daydreaming the

it, and again, very important, have fun and enjoy! Keep on doing it till the act

act many, many times, you will find it gets more and more exciting, more and

does have elements to have at least some chance of success. Because you are having fun and you have dreamt this very exciting and

more beautiful. It will become very powerful. Because your dream becomes so beautiful and exciting, it is logical that you will start to feel an urge to turn it

interesting act, naturally you have become very enthusiastic and you will feel

into reality.

the urge to start the next phase, the realisation of it all. Do not start the next phase, the realisation of the act, before you are so

Before you do so, stop!

enthusiastic that you are overflowing with enthusiasm. Your enthusiasm must

Judge its Changes of Success

be raised so much that not even 10 strong man can keep you from starting to

Before starting to actually working on the act, look over your ideas critical-

work on it. You must be this enthusiastic, if you cannot get this enthusiastic,

ly. Are they theatrically sound? Are there emotions? Is there conflict? What are

then the idea has not matured enough, is not good enough yet. Also, without

the audience appeals? At this point, a knowledge of play writing, and knowl-

this bubbling enthusiasm you will not have the energy to pull yourself through

edge of how good acts are constructed will be a tremendous help. (For a list of

the next phase. But when you are so enthusiastic that 10 strong men cannot stop you, the

audience appeals read Showmanship for Magicians by Dariel Fitzkee. The list is also reproduced at the end of these notes.)

part of dreaming and playing must stop abruptly. Stop dreaming. Stop playing.

In other words, you are trying to judge the act’s chances of success.

That phase has ended now. You cannot stay in the dreaming phase forever. One

Nobody, of course, can say with certainty if an idea will be successful or a

must progress. Now is action time!

failure, but the chances that it will be successful are better when certain elements are there. Checklist to Judge the Chances of Success

Make it Ready to be Performed

✦✦ How many and what emotions will the audience experience.

Realise the act in 2 months or less.

✦✦ Are there any conflicts (protagonist-antagonist).

What? In 2 months or less?

✦✦ If it is a story, does it have a plot, 2-point, 3-point?

Yes. 2 months or less, no more.

✦✦ What are the most important audience appeals (see page 11).

If it takes more than 2 months, your level of enthusiasm will drop down,

✦✦ For what situations is it meant.

and the act might never be finished.

✦✦ For what audiences is it meant. At this point in time it is good to discuss it with someone knowledgeable. How does this other person judge the possibilities of success? If it seems that

At this point, your enthusiasm is your most valuable possession. Your enthusiasm will give you the energy to get things done, it will help you to overcome hurdles and disappointments. Your enthusiasm is worth gold. ••• 8 •••

Only one thing is important, the act must be complete and ready to be

That’s why you have to realise the idea so incredibly fast. When you work

performed within 2 months or less.

fast, the enthusiasm will fuel itself. The enthusiasm will stay up at a very high level. At this point that is necessary, because the whole thing is in a very vul-

In this phase:

nerable state. Many acts get bogged down in this phase. Build it in 2 months or

✦✦ Patience is forbidden.

less.

✦✦ Daydreaming is forbidden. ✦✦ Negative input is forbidden.

If it turns out at some point you are way ahead of your schedule, do not slow down, in the sense that you have plenty time now. No, immediately short-

✦✦ Distractions are not welcome and should be banned as much as possible.

en your deadline. You can shorten the deadline, but never extend it.

Common distractions are: ✦✦ Watching television

If it turns out at some moment you are behind schedule, you are doing something wrong. Probably you are too finicky, dwelling too long over a certain

✦✦ Going onto the Internet

detail. You see, perfection is totally unimportant. For the time being, forget

✦✦ Fooling around with magic.

perfection, speed is the only essential element at this phase. Fuel your enthusi-

✦✦ Watching magic DVD’s

asm, do not diminish it, keep going.

✦✦ Sitting in lazy chairs daydreaming ✦✦ Etc. etc.

Get the materials together and if the version you can make very quick is not

Do not do these things, they only keep you from making the act a reality.

the final version you have in mind, it is not important. You are not making the final version at this moment, just something which

Most people create their act at home. Homes are designed and set up to supply comfort. They are generally not a productive environment. Which business put

comes as close as possible within the short time you have.

couches and lazy chairs around a television set in their office or workplace?

You are making the act ready to be performed, you are not finalizing it.

So, if you live alone, you have some more possibilities to make the environ-

You cannot have your special costume made in time? Get any costume which more or less comes close. Places which rent out costumes often also sell

ment a bit more productive. Unplug your TV, put it in a box and place it on the

costumes.

attic. You might even consider, although it is a bit severe, to stack your chairs and place them in a corner where they are hard to get at. Stack boxes of stuff

Your act turns out to be several minutes too short? Add anything, it does not matter what, to make it sufficient in length. It is not important whether it

onto the seat of that sofa, so you cannot sit there anymore. If you really need to sit, you can sit on the floor. Nice and uncomfortable. I

is totally appropriate or not. But your act must have the correct time length. You need to make a special table top, cut from that beautiful piece of wood

have actually done this one time, although after a week, I returned one chair. It was a bit too much.

which takes several hours to find? No, no. That piece of cardboard you have

It is also very important, no, essential, to remove the chair in front of your

lying around is just fine for the time being. You have no time to go to the wood shop.

computer. That way you will not spend more time at the computer than abso••• 9 •••

lutely necessary.

not find a place where you can work regularly, then you must find many places,

Too exaggerated? Well, sitting in chairs is a productivity breaker of the

instead of one. If you are well known, and feel it might hurt your reputation

first order. If you stand upright all day and cannot sit down, you will feel much

to perform badly somewhere, may be it is an option to perform under another

more an urge to do something. Okay, this might not realistic if you do not live

name?

alone, although...

In any case, find your place to be bad. Without it, your act might dwindle

…the more distractions you remove, the faster your progress will be.

into nothingness.

Getting help

Improve the Act

In this phase you can get a lot of help. If you need something and cannot find it fast enough, or something needs to be made and you do not know how

Now the act exists. A major achievement. You are not working with vague

etc, tell as many people as you can about your needs. These people will sense

thoughts and dreams anymore, you are working with reality now. Also you will

your enthusiasm, and before you know it, helpful suggestions and actual help

have actual feedback from your audience.

will come from all directions. Everybody loves to help an enthusiastic person. I told you, your enthusiasm is worth gold!

Of course the act will not be an example of perfection. That does not matter. What does matter is that it exists!

Lousy is better than nothing.

Because you will have feedback from the audience, it will be easy to see

Once complete, of course it is probable that your act will be pretty lousy,

what is the weakest part of the act. Attack that weakest part or element of the

and for sure many details will not be exactly the way you had them in mind be-

act. Improve it. Do not try to make this weakest part perfect, only better. Only

fore. No problem. A lousy act is infinitely better to have than no act at all. And

improve it to the extent that it is no longer the weakest part, do not improve it

as lousy as it may be, it will be ready to be performed. You have an act now!

more than that. Perfection comes last (if ever), certainly not now.

A vital need

Since the weakest part has been improved to be no longer the weakest part,

In these 2 months, there is something else which you must realise as well. It is vital!

something else has now become the weakest. Attack that one now. And so forth. All this does not need to be done at the neck breaking speed of the first

Find a Place to be Bad.

realisation. Because now, since the act exists, your enthusiasm will not be going

To find a place where you can be bad, is probably one of the most crucial

away as easily as when the act was only a dream. Your act is not so vulnerable

things in the creation of an act. Find a party-centre, a restaurant, a theme park,

anymore. It has substance now, it is real. But still, it is good to keep momen-

anything where they are willing to let you work once a week or so. Even if you

tum. Do not take a vacation from your act for longer than a couple of days. In another 2 or 3 months or so, the act should be something for which one does

have to offer your services for free, even if you have to pay them, you absolutely must have this place where you can perform regularly. It is essential. If you can-

not need to be ashamed any longer. It might actually have become rather nice!

••• 10 •••

15. Surprise

Now also the time has come to have certain things done by other people. Have a director help you with the acting. A costume designer, design your

16. Situation

costume. Etc.

17. Character 18. Conflict

Continuously attacking the weakest part will eventually make the act

19. Proper costuming

excellent. Patience is no longer completely forbidden, little bits of

20. Careful grooming

patience can be allowed every now and then. Some chairs may be placed

21. Physical action

back in your house.

22. Group co-ordination

This improvement phase can take many years. Eventually, who knows, something vaguely resembling perfection might show its face every now and

23. Precise attack

then, before quickly hiding itself again.

24. Short scenes or turns 25. Efficient pacing

Audience Appeals

26. Punch 27. Careful routining

This list is taken directly from Fitzkee. Notice, these appeals are not in

28. Tireless rehearsal

order of importance or strength. 1. Music

29. Special material and score

2. Rhythm

30. Grace

3. Movement

31. Effortless skill

4. Youth

32. Sure-fire

5. Sex appeal

33. Spectacle

6. Personality

34. Thrill

7. Colour

35. Emotion

8. Comedy

36. Common problems

9. Harmony

37. Escape from the humdrum

10. Romance

38. Unity

11. Sentiment

39. Up-to-dateness

12. Nostalgia

The more of these appeals you can incorporate, the more reasons the au-

13. Pointing

dience has to like and enjoy your work. Do study the book “Showmanship for

14. Timing

Magicians” by Dariel Fitzkee. It describes these audience appeals in detail. ••• 11 •••

Stage Technique Stage technique is not complicated. But it must be learned. It is obviously necessary for the stage, but funny enough, it is also valid and as necessary for close-up. One can always see when a close-up performer has stage experience. The main idea of stage technique is to be ‘open’. The centre of all body mass is at your belly, about 3 inch below your belly button. Imagine this point to be a lamp. This lamp should be shining onto your audience as much as possible. This is achieved by trying to have an ‘open’ position as much as you can.When you

Open

walk on stage, your step is either open or closed. Whenever you start walking

Closed

start with an open step. When entering the stage, let the first step on stage where you are seen by the audience be an open one. When, let’s say going to a table to pick up something, be sure to make 3 steps, or 5. Again start with an open step. Open step–closed step–open step. That way you end at the table in open position. Open step

To help make sure you do this correct, move your weight in the opposite direction you want to go to, that way the leg which is free to start walking, will always ensure an open step. You see how much nicer it looks when you pick up something from the table in an open position instead of a closed position. These techniques are very simple, but I urge you to actually practice them until they become second nature. This type of moving about will eventually become recognizable as a certain feeling. From that point on, there will be no further need to think about it when on stage. You will immediately feel when you are not doing it correct. It will be second nature. Some sort of stage awareness.

Open position

••• 12 •••

Closed position

Closed step

The idea of the lamp is not all that far fetched. Instead of radiating light from a lamp, you are actually radiating your energy to the audience when

Sometimes you are forced to cross your hands

you are ‘open’. Being ‘open’ is being in

over from one side to another, to pick something

contact.

up or place it down. If you raise the passive hand up in the air, you avoid the “closed” appearance.

Instead of stooping over when you take something up from the floor, position yourself next to the object. Then move the leg closest to the object backwards and lower the body straigth down. Take the object and then stand straight up again.

••• 13 •••

Very Basic Elements of Theatre

This is a 2 point plot. Going straight from A to B. Rather predictable, a bit

Emotion

flat and potentially not very interesting. But it does have some very important

Good theatre always generates emotion in the audience.

essentials. Namely protagonist-antagonist, conflict, emotion. Also appeals like

Theatre = emotion.

romance, maybe sex appeal, some comedy etc. Three point plot.

No matter how different people are, they all know emotions, they can all

Same situation, but now there is also the waiter who tries to seduce the girl

relate to emotions. It is also the most important thing for people, people are emotion driven. The rest is veneer. With emotions, you make contact with the

as well. This is more interesting. Now there is also conflict between the waiter

very essence of people.

and the boy. Who will win. And far more possibilities for interesting situa-

Static emotion, which does not move might become dull. Probably the best

tions. This plot has far more potential, and therefore chances of success. 3 point

motor to move emotion along from one to the other is conflict. You can have

plots tend to be more interesting, have more relief, are less predictable and have

conflict with;

far more possibilities.

✦✦ Another person or entity

A one point act.

✦✦ Your surroundings

An act does not necessarily need to have a plot moving the situation from

✦✦ Yourself

A to B. A very good example of an act that does not have such a plot is Cardini.

Although there are other ways, conflict is the most versatile way to let dif-

All it is, is a man in a certain state, to whom things happen. He comes, things

ferent emotions come into play, to push the emotion from one into the other.

happen and he leaves. But, of course it is chock full of conflict and emotions.

The change of one emotion into the other should be clear, a sharp line.

That’s what made it one of the best acts magic has ever seen.

Emotions are the facets of a diamond. The sharp way the emotions change, are the facet lines, they make the diamond brilliant. The way the emotions are placed next to each other and the crisp way they change will make your act brilliant too.

Plot If your act has a plot, a story-line, consider how many points the plot has. Two point plot. A boy and a girl meet in a restaurant. The boy tries to seduce the girl. After some ups and downs, eventually the boy succeeds and they leave the restaurant hand in hand. ••• 14 •••

Recommended Books Showmanship for magicians by Dariel Fitzkee Magic and showmanship by Henning Nelms Strong magic by Darwin Ortiz Fundamente by Eberhard Riese Part-time pro by Gene Anderson The knowledge in these books is great to equip yourself with, so that you have a better chance to complete the project with good results.

•

Bonus Material by Tom Stone Follows

••• 15 •••

Bonus Material by Tom Stone

When I say taste, I don’t necessarily mean good taste. I mean personal taste,

Building a Show

without any adverbs. Good taste is usually deemed such by consensus of a col-

A matter of taste.

believe a future consensus will be, your work is likely to become bland and un-

lective, but you are on your own. If you shape your taste according to what you interesting. “There is nothing worse than good taste,” thundered the English art

When you start out as a beginner or amateur, everything is equally good! Quality is judged by quantity - and act with 12 tricks is 4 tricks better than

critic Jonathan Jones once. “Nothing more stultifying than an array of consumer

an act with 8 tricks. And as the bags of tricks you have some little knowledge

choices paraded as a philosophy of life.” To evolve your taste, try to explore and absorb knowledge from as many

about grows, you begin to judge the construction of a piece solely by its novelty

areas as possible, and don’t worry too much about where other’s find their

value. Then, if time, place, visions and desires collide in a certain way, you might

inspiration. The Scifi writer Bruce Sterling once advised a gang of game de-

evolve an artistic sense. In some ways, that is both a good thing and a curse,

velopers: ”Become a thoroughly spiky person. Grow spikes from every angle. Stick

because at that point a personal taste will emerge, and suddenly everything

in their throats like a pufferfish. If you want to woo the muse of the odd, don’t

isn’t equally good anymore. Some tricks suddenly feel ’ugly’ and primitive while

read Shakespeare. Read Webster’s revenge plays. Don’t read Homer and Aristo-

others suddenly feel elegant and beautiful. Some methodologies will feel more

tle. Read Herodotus where he’s off talking about Egyptian women having public

attractive than others. Heated arguments with fellow magicians will not be

sex with goats. If you want to read about myth don’t read Joseph Campbell, read

uncommon, as both you and your opponent believe you possess the one and

about convulsive religion, read about voodoo and the Millerites and the Munster

only truth. And in some ways both you and your opponent are equally right

Anabaptists.” And I agree to some extent — you should push yourself to explore

and equally wrong.

uncommon territories, but perhaps not force yourself. The mundane is also necessary, for contrast and juxtaposition. As demon-

Then we get to the curse of it - the taste will evolve faster than your ability to create according to it. There will be years of frustration as you strive to create what

strated by both the fantasy author Stephen Donaldson and the old tv series

your taste tell you to create, and each time you will fall short. There is an interview

”The Addams Family”, if you let ’the familiar’ be impacted by ’the exotic’,

with Ira Glass on the internet, where he describe it better than what I’m able to do:

wonderful things can happen in the intersection. Especially if you also keep

”…there is this gap. For the first couple years you make stuff, it’s just not that good.

the battle cry of Keith Johnstone, the canadian director, in mind: -”Don’t be

It’s trying to be good, it has potential, but it’s not. But your taste, the thing that

original; be obvious!” That might sound strange since originality seem so highly

got you into the game, is still killer. And your taste is why your work disappoints

valued, but originality is a misunderstood concept. If you have a problem

you. A lot of people never get past this phase, they quit. Most people I know who do

before you, and you try to be original, you are likely to begin searching outside

interesting, creative work went through years of this. We know our work doesn’t

the problem for something wild and unusual to add to the mix, and it is very

have this special thing that we want it to have. We all go through this.”

unlikely that it will provide anything worthwhile. It is better to keep the focus ••• 16 •••

on the problem and ask yourself -”What is the most obvious thing I can do?”, and

and marketing. But all the same, we’ll try to keep the costs down.

whatever you come up with, that is what you’ll use. If you have a head filled

Another thing: for this to be interesting for me to write about, I will

with a broad spectrum of knowledge and curious ideas, whatever you’ll find

assume that the goal is to create a show that has an artistic slant, and that we

obvious will seem original to others.

want to get good reviews from theater critics.

The big risk

Deadline

Trying to evolve always involves taking risks, but the risks with stagna-

First, before anything else, you need to set a deadline—a date for the

tion are even bigger. So let’s try to pin down what kind of evolution would be

premiere because nothing is ever done without a deadline, especially when it is

personally useful for you. No matter what level you are at, you can always take

something big and potentially scary.

a step further.

You will find that it is the same for you. With a deadline, you will have

If you are an amateur magician, then you might want to do a small show

something to show at the date you have set—which is better than to wait until

for friends and family. The venue could be the same kind of community place

you have something “perfect,” because “perfect” is an intangible idea, an imagi-

where people celebrate birthdays, anniversaries, but even a large living room

nary goal that constantly gets pushed farther away at the same pace you evolve.

would work.

So, we will keep it real, solid, and gritty. Set a deadline at once, somewhere

If you are a professional magician, you have probably noticed a tendency

around 8-12 weeks from now. Should things become tight, you can push the

to become “stuck” in your material—that you’ve found a set of effects that are easy to transport, which can be performed no matter how bad the conditions are, and that always get good response. And it is likely that you now are afraid

deadline a week forward, but always have a specific date set.

Title

of changing anything—because you feel a responsibility toward the clients who

The second thing you need is a title for your show. The reason is that we

are paying you a lot. You like to be able to guarantee a successful performance

seldom view things as being “real” if we don’t have a name for them. And fear

and you can’t do that with new material—or that is what you believe. If that is

of commitment often make us hesitate to put names on our ideas. This is very

the case, a theatrical show might rekindle your passion, and since it is unlikely

common among beginning scriptwriters—instead of naming the characters,

that your usual clients will come to watch, it will not affect your “bread and

they usually identify the characters as “Guy no. 2,” “the mother,” etc. and the

butter” no matter how the end result turns out.

script becomes bland and average because the writer does not dare to take the

For the duration of this discussion, we will assume that it is a non-commer-

risks that are involved in a commitment. But as soon as the characters get real

cial project. Of course, it might become a commercial hit anyway, but that will

names—any names at all; “Jeremy Stilton,” “Amanda Ashwood”—the script

not be the main focus. That should not be a deterrent—even a showcase of your

takes off and has a life of its own. It will be the same with your show; as long as

standard act would cost you a bit, the same as with other kinds of development

you don’t have a title for it, you will find it hard to come up with good ideas.

••• 17 •••

When you find an article you like, send the author a short e-mail and say that

Don’t be surprised if your first suggestions for a title are bland and generic—that is also a subconscious attempt to avoid commitment. You need a spe-

enjoyed the article. Just one or two sentences. Make a note of those who reply.

cific title. My first show was titled Close-up, which in Swedish is a somewhat

Preferably you should end up with two to five names from different newspa-

exotic title, but the choice was probably more out of fear of commitment than

pers. Make it a habit to follow their articles and, now and then, send them a

anything else. Some of my other shows have been titled ”Olydiga fingrar”

compliment on their work. So you remember it, write reminders in your calen-

(Mischievous Fingers), ”Bakom Dimridan” (Behind the Veil of Mist), Hårda

dar to be sure that you’ll send these e-mails at least once a month. Remember,

Hattar & Mjuka Män (Hard Hats & Mellow Men), Midvintermagi (Mid-

marketing is more like farming than hunting. Journalists are people just like anyone else and, despite what you might

winter Magic). The translations are not idiomatically perfect, and “Behind the

Veil of Mist” should perhaps be “Behind the Smoke Screens” to carry

believe, they seldom get any encouragement from their readers. Sooner or later,

the same meaning in English.

they will reciprocate and become curious about you and your work, which is

For inspiration, look at titles of books and movies— maybe something can

the ideal climate for the press releases you will send later. There are no risks involved at this point.

be modified to suit you? Play with alliterations and portmanteau words. Play with contrasts: “Black

Don’t underestimate the impact friendliness can have. Bringing cookies to

magic & white lies,” “Fast fingers and a slow mind,” “Big adventures in a small

a first meeting with a technician might result in getting a big rebate on equip-

world.” Not every suggestion will be a good one, but evaluation should not

ment later on.

come until later.

Information Gathering

Jot down as many suggestions for a title as possible in your notebook during a week—then just decide on one of them. You can always change it later, but you need a specific title right away.

With time, you will need a place for the show, you’ll have to arrange for sound and lighting, design and print stuff, etc. So keep your eyes open and

Once you have a deadline and a title, you can start for real.

make notes of everything that might be useful. If you see a poster on a wall, note where the locale of the event is. If you like the poster design, shoot a

Social Engineering

reference photo of it with your cell phone. Go and visit theaters and other

This is a somewhat cynical term that we socially inept people use instead of

performance venues. See all kinds of performances and make a note of what

“being friendly,” but let’s use the term “social engineering” anyway because we

the production consists of. One of the decisions you eventually have to make is

need to build up some goodwill among people who can make the work easier

what kind of stage you need, and that will depend somewhat on the material

for us.

you’ll do. If you plan to perform Al Schneider’s “Matrix” or other flat effects, you need a place where the audience is elevated enough to see the tabletop.

Start by browsing through the newspapers in your area, both large and small. Search for well-written articles about theater and other cultural events.

Chat with people and mention that you are working on a show (name the title

••• 18 •••

and the premiere date), and they are likely to say something that is useful to you.

In lieu of loftier artistic goals, we get hero worship, we deify those who’ve been

Like, your neighbor might suddenly say that his nephew is a theater lighting

before us, and because of that, few of us find the gall to commit the sacrilege

designer... you will be surprised how often things like that happen.

of saying things like “Dai Vernon was wrong!”—instead we limit ourselves, and funnel our natural creativity into limiting molds that keep us from evolv-

Partnership?

ing our art further than Vernon and our other demigods. To make it even

Another thing to decide is whether it should be a one-man show or not. I

more troublesome, when we meet lay audiences, we soon find there is even less

suggest that you find someone to work with because a lot of things become eas-

need to evolve. We can do any old material in the same way it has always been

ier. I’ve successfully worked with jugglers and other magicians, but have found

performed and still get rewarded with applause and praise from the masses.

it especially rewarding to work with a musician because he or she can provide

Neither peers nor audience provide any real impetus to evolve. The good thing about all of this for you is that just about any experiment

atmosphere and mood with sound, as well as performing a piece while you are offstage changing your clothes or putting loads in place. With some luck, the

you attempt will make you a pioneer in our field. Any small and minuscule

musician will have a bit of acting ability as well. Not to mention that it is more

detour from the trodden path will be a small step for man, but a giant leap for

”artsy” and cool with a live musician.

our kind. It’s just a matter of daring to take that little step.

Think about all the musicians and artists you have ever met. Perhaps you had a very good rapport with someone you once worked with. If so, track down

Scripting

that person and ask if he or she would be interested in a collaboration. Other-

Besides jotting down thoughts and ideas in your notebook, it’s also time to

wise, locate music schools and see if they give performances for the public, or

begin working on a script. Yes, I know that the word “script” can sound awful-

post a notice at a music store.

ly strict, intimidating, and “official,” but that is an aversion you need to force yourself to overcome. It is really nothing to be worried about. You will build

Just a small step

the script by taking tiny steps, one by one. You may find reassurance in this; it is

One of the troublesome things with magic is the lack of common stan-

supposed to look like crap at first. If you get embarrassed by your own writing,

dards. In most other fields—music, theater, art—the student soon finds worthy

and find your first attempt to be shallow, flat, and corny—then you should find

goals to aspire to, often within a school year. But, for us, it takes longer, mostly

confidence in that, because that is a clear sign that you are on the right track

because we’ve acquired the basics in solitude. Few of us learned how to work

and are doing it properly. The first draft will likely be so bad that you will begin

and collaborate with others and have created our own personal standards. In

to question yourself—so you might just as well make it a personal goal to aim

most cases, we’ve done this by looking at and emulating the material of those

for a horrible first draft. The only important thing is to begin, so begin now. Then you’ll have time to

we find successful. Unfortunately, basing our individual aspirations on our heroes’ past accomplishments is not an effective way to surpass the same heroes.

revise, change, and expand the script many times through a series of small steps.

••• 19 •••

But you will find that it is very tempting to stall and invent reasons to delay

sentence, and add one line of text, then stop mid-sentence, save and exit. The

the scripting. You may discover yourself thinking things like, “I just need to

idea is to create a habit where you take a tiny step every day and add something,

figure out an ending for the show first,” or “I will do it later, when I have time to

anything.

concentrate,” but if you don’t force yourself to begin the script as soon as possible, preferably today, you will likely continue to stall until the premiere is just

Forget Everything You Know

three weeks away.

This is a tricky bit—most of us have become accustomed to working in

One thing that you will notice, when you begin to actually write the script,

rather difficult environments, and that is reflected in most of the “rules” and

is that you are probably very hesitant to write down the actual lines you are

advice within our craft. Our usual work environment has forced us to adopt

supposed to speak. You’ll find yourself scribbling descriptive things like, “... af-

an approach that is almost like guerrilla warfare. We tend to open with a short

ter the bottle production, I’ ll tell the audience that this trick is the reason why I’m

and snappy piece, because a banquet audience at a corporate event usually has

a popular guest at parties.” This is due to a natural fear to commit to something

no idea beforehand that there will be a show, and have no clue about who you

specific, and a subconscious general wish to keep all doors open. But that fear

are—so it is necessary to hit them between the eyes as fast as possible, then

will prevent you from getting specific lines to work with and improve. So, you

pace the remainder of the show so that the audience has no chance to shift its

need to force yourself to actually write out your spoken lines:

attention. Each effect and plot has to be simple enough so that even drunk

(Bottle production) “Strangely enough, this trick has also made me a popular guest at parties!”

spectators will be able to follow and understand everything. So, most of the published advice you can find deals with how to routine the material to play

And then, you have a specific line that can be improved or changed. Until you have the specifics, you’ll have nothing to improve.

in the worst possible conditions—and none of those limitations are necessary here. In a small theater, the audience has come with the sole purpose to watch

To work with the script, it can be useful to use a dedicated piece of soft-

your show, and you will have their undivided and unwavering attention from

ware, like Celtx, or Scrivener. Once you’ve figured out the basic functions

the first second of the performance. Therefore, you will have the rare oppor-

of whatever software you decide on, start a new project and write the title of

tunity to perform material that would be suicide to attempt in other venues.

your show. Then write two or three lines of random ideas (remember, it is sup-

Here, you can even begin by nervously peeking in, halfway hidden by the

posed to look like crap), but do not complete the last sentence you write. That

wings, and whisper to the audience for a few minutes—something that would

will be enough for one day, so save and exit.

break all the usual rules you’ve heard.

The reason for leaving the last sentence uncompleted is that it is an efficient

One thought that might strike you is to find a dual purpose for the mate-

technique for avoiding writer’s block—because, the following day, it is easy to

rial you will create for this show, and have the intention to later move some of

start writing again. Just finish the previous sentence, and you are rolling again.

the new routines over into your usual act. My suggestion is that you avoid that

So, tomorrow, you should open the project, complete the unfinished

thought because otherwise you will be tempted to evaluate the new material ••• 20 •••

based on portability, practicality, on whether it will work for drunks, and so

something that works for me. Try it and see what happens.

on. It is better to keep the focus on this show alone, keeping it separate from

Begin by writing 10 to 20 phrases that you consider to contain some degree

your standard act. Remember that there are a lot of great effects that are too

of drama, or emotion, or something that describes a part of your life or person-

messy, or too troublesome to prepare, or too awkward to transport—effects

ality. Imagine that they are the titles for a bunch of short stories that you find

that are perfect in a theatrical setting, but are impossible to use in your usual

interesting, and phrase them accordingly. None of this is intended for any eyes

venues. Don’t shy away from that kind of material.

other than your own, so don’t hesitate to include a few dark secrets and awkward truths.

Be More Obvious!

I cannot tell you exactly what to write, but as an illustration I can give some

One problem you will face is that our traditions have a strong hold on you.

examples that makes sense to me:

So strong in fact, that you will find a tendency to go to extremes every time you

✦✦ The Day I Realized I Was A Nerd!

attempt to be original. The format of our magic routines are so ingrained in

✦✦ A Duel In Card Tricks

our bones that it is difficult to modify them with anything less than a radical

✦✦ My Secret Phobia

leap of desperation and frustration: “Shrimps! Miser’s Dream with shrimps!”

✦✦ The Trick That Saved My Life

And sure, while Miser’s Dream with shrimps might be original, it isn’t nec-

✦✦ A Day In The Early History Of Magic

essarily good magic, and it’s difficult to find transitions in and out of it. So, to

✦✦ Good/Bad Advice About Life From A Magic Legend

save you from a lot of pointless frustration, do not attempt to be original. Avoid

✦✦ The “Las Vegas” In My Kitchen

originality like the plague—rather, strive to be more obvious than usual. Trust

✦✦ Sad Cries of Lonesomeness

me, there are other, and better, ways to ensure that the end result will become

✦✦ What The Neighbor Saw

uniquely personal. Just remember; don’t be original, be more obvious.

✦✦ The Last Hero Of A Dying Art ✦✦ Passion In A Cardboard Box

New Light

Once you have a bunch of titles like that, go through all the tricks and routines you know or are interested in. For each effect, look at your collection

An easier way to break out of the mold is to take a tiny step sideways and look at our art from a slightly different perspective, in a new light. From a

of titles and see if the effect seems to belong under any of them. It doesn’t have

different vantage point you will suddenly find that there are moments with

to be an exact fit, just see if some effects go with any of the dramatic titles. You’ll find that some tricks work well with some of the titles. At the end,

obvious ties and connections that no one has discovered before. But how do you push yourself to take a small step sideways? Well, through any means that

you’ll likely have both tricks and titles left over. Cross out the unused titles and

works. This is uncharted territory, with no established “rights” and “wrongs,”

add a few new ones, then continue. Ideally, every dramatic title will become the

so the only authority to listen to is yourself. As an example, I can only describe

header of a small group of two to four effects.

••• 21 •••

For example, to me, a billiard ball routine seems to fit under “Sad Cries of Lonesomeness.” Stewart James’s “Further Than That” seem to belong to

The Thespian Toolbox

Now, we are going to review some tools you can use to stitch and weave all

“A Duel in Card Tricks.” In the latter, the routine is almost like a duel already

those blocks of unrelated material into a dramatically sound show. Some of the

to begin with—so, how can we make that even more obvious? Well, if you

tools overlap, and some others might seem to conflict with one another—but

work with a partner, you can alternate taking turns, both of you claiming to

that’s all right. Just choose the one that seems to be right for the moment.

have the “better trick.” More obvious? Start with the Crocodile Dundee phrase

Place your blocks of material in any order that seems reasonable, then work

“That’s not a deck of cards. This is a deck of cards!” and bring out a jumbo deck

your way through your material and apply the following tools wherever possi-

for the trick.

ble. Then repeat the process again, several times during the following months.

As you might notice, the small action of filing the routines under a dra-

Remember that it is easier to work in several small steps than to attempt to

matic title is enough to push you slightly sideways, and from there find obvious connections.

accomplish it all in one giant step.

Structure

Raw material

It is easy to get tricked by various introverted meditations about ”meaning”. That you, perhaps, want to find a deeper meaning to communicate. That is not

List a few stories from your life. Things that have been defining to you, your private life, and your view on magic. At least one of them should be nega-

a constructive approach, because to build a show or an act is almost all about

tive, unflattering, or dark. We’ll make use of that later.

structure. And you can not easily get structure out of meaning. But meaning

Other than that, be persistent in the social engineering. You probably still

can emerge out of structure. So begin with a structure, and pour the material

need to find reviewers, music, graphic design for web and posters, a theater,

into the structure, and see what happens. Exactly what kind of structure is less

light, and sound.

important. You could borrow the structure of a Limerick (AABBA), or a Palindrom (ABCBA) or maybe a Twelve-bar blues. You could have a structure like an Ostinato phrase. Or a fractal structure, where the structure of the whole thing also is present in the smaller components of the piece. You could make use of the simplest of story structures, let’s say from the story about Little Red Riding Hood (A, B, A+B): We start with the story of Little Red (A). That story is abruptly cut short when we meet the Wolf, and then we leave Little Red behind in the forest and follow the story of the Wolf (B). Why does not the Wolf eat little Red in the forest? Because that would be a too linear progression, which is boring. We like our stories to be weaves, ••• 22 •••

A glass appears, but it needs to be cleaned, and so a silk is brought out, but

with the plot threads going in and out of the story. Why do we leave Little Red behind in the forest? To create suspense, as everyone are waiting to see what

it changes color, therefore you need to wash it. Meanwhile the water disappears,

happens when her story thread is woven back into the story again (A+B). In the

therefore…

context of a magic act, look at Tommy Wonder’s stage act. The initial story (A)

More recently, I have grown fond of Dan Harmon’s Story Circle. You can

is that he want to cause three objects to vanish ; an orange, a lemon and an egg.

google it, or read more about it here: http://channel101.wikia.com/wiki/Tuto-

But as soon as he touches the egg, he is interrupted by the bird, and suddenly

rials

we are following the story of the bird (B). The plot thread A is woven back into the plot, when the egg is shown missing from the table and found inside the

Remove Expositions

bird cage.

In magic, we have a tendency towards expositions. That is, to give

One challenge I often give participants in my workshops goes like this: Cre-

long-winded verbal introductions to each piece. Telling, not showing… and the

ate a three phase routine with this structure, with the same A, B and C across

adverse side effect is, once the piece begins you lack things to say since it have

the phases.

already been said. So cut those introductions down to a minimum. Show, don’t tell.

A, B, A, A, B, B

If there’s any verbal introduction that is necessary to keep, try to pair it

A, B, C

with some kind of action. That is, instead of describing something and then set

Most participants quickly see that the first phase end the way it begins, and

it up by bringing out props - give the introduction while setting it up. Instead of

that the last phase ends with a surprise, but the second phase usually takes a

describing something, and then walk out in the audience to find a spectator as-

while to figure out. Try it and see.

sistant - give the introduction while looking for a spectator. Try to avoid being a

Tray Parker and Matt Stone’s approach can also be useful here. Let’s say

”talking head”.

you have a linear serie of events that can be tied together with the phrase ”and then”:

Remove Stock Lines

A glass appears, and then a silk changes color, and then some water disappears, and then….

Stock lines seldom sound sincere, and they often add story threads that are difficult to weave into the rest of the show. They also frequently become

Now, exchange each ”and then” with any of these:

a barrier between you and your audience. Not to mention that theater critics

✦✦ But

hate them. The only time stock lines might be useful is when jib-jabbing with

✦✦ And so (or Therefore)

a mostly drunk audience. But here? Just remove them because, trust me, you

✦✦ Meanwhile

really don’t need them.

…then edit it so the changes makes sense, and you might get something like: ••• 23 •••

Be Specific, Not General

change, perhaps a change some scenery and a bit of your costume, play ambient

“I was taught my craft many years ago by an Indian mystic.” That sentence is pretty vague. It’s better to be specific because the story becomes more person-

sound from the relevant place—and transform the theater into the place you are talking about; a temple in India, a stone-age cave, a gambling den.

al: “I was taught my craft in the early eighties by Radja Chandresh, an Indian

If the plot requires several people, you can either interact with imaginary

mystic.”

people, or with quick steps move into the characters and handle all the dialogue

Try to add some details and make it more colorful whenever you refer to a

yourself. Or if you work with a partner and a technician, they can take the

person, an object, a place, or a time. If you can’t make it more specific, or if the

parts of various characters—or you can recruit spectators from the audience

details detract from the main plot, then go the other way and either remove it

and goad them into acting properly. That is, if the plot is “stone-age magic,”

or condense it as much as possible.

then speak to a spectator with Neanderthal grunts, and refuse to understand until the spectator replies with the same kind of grunts. Or with a less extreme

Localization In Time And Space

example, using the local gambling den: You have two spectators at the table, John and Steve. “I had just cut the

If you are referring to something outside the walls of the theater, then bring

deck in two when I noticed that Big John drummed his fingers on the table in a

it closer, or bring the audience there. “I was taught my craft in the early eighties by Radja Chandresh, an Indian

menacing way.” Look at John and wait until he starts to drum his fingers. If he

mystic. He worked down on Main Street, at the 7-11.” Note that it should be a

doesn’t understand his cue, just rewind and repeat the sentence again, and look

real place at on a real nearby street. I’m aware that my example reads as a gag,

expectantly at him and at the table. When he starts drumming, not before,

and sure, it often becomes funny when you localize something exotic, but you

continue: “I became so unnerved by Big John’s threatening manner that I didn’t

should not treat it as a throw-away. Instead, follow it through and describe how

notice how Shady Steve leaned forward and turned half the deck face up.” Keep

customers buying Mars bars and shaving cream interrupted the lessons.

looking at John. Steve will act as described. “I shuffled the deck, and did not notice that anything was wrong, until I heard their mean snickers.” Wait until they

If you have a gambling routine, then it might seem logical to refer to the casinos in Las Vegas. But, unless you actually live in Las Vegas, it is more titil-

have snickered on cue, then go into any cutting sequence to show that the cards

lating to relocate the plot to a secret gambling den in the basement of your local

are topsy-turvy. Yes, this is a dramatized version of “Triumph.” The reason we

library.

spend time on getting John to act on cue is really to teach Steve to do the same

Another example: “If you go down to the end of the street, you can see a small hill behind the auto shop. Around 1805, it was the home for the only witch’s coven

thing without hesitation. As you’ll notice, the whole trick gets a new dimension just because of the choice of bringing the plot into the present.

we’ve ever had in this area.”

This can be done with most routines. Give it a context and act it out in

To make it even better, bring the audience there. That is, instead of telling them; show them. Act it out in the present. If possible, make a small lighting

front of the audience. Failing that, localize it in the immediate vicinity of the theater.

••• 24 •••

Condense The Gallery

Contrasts

There is a literary technique called “Chekhov’s gun,” after the Russian

Try to increase the contrasts wherever you can. Black/white, fast/slow,

playwright Anton Chekhov. Paraphrasing, its essence:

intense/relaxed, small/big. If you say something that obviously isn’t true, then

If you introduce a gun in the first act, then it needs to be fired before the

make it a blatant and outrageous lie. If you have a fast-paced routine, then do

end of the play. Otherwise don’t put it there.

one phase in slow motion. If you have two card routines, can one of them be

It is a caution against including unnecessary story elements. Since it is

done with a jumbo deck? If you work with a musician who accompanies your

likely that your show is constructed out of a disparate assortment of tricks, you

most advanced tricks without raising an eyebrow, then he can stop playing, in

probably have a lot of unnecessary elements already; props that are discard-

severe shock, when as a gag you pull off your thumb? If one routine is extro-

ed directly after they are introduced, one-liners that introduce ideas that are

verted, follow it with an introverted piece. If one routine is funny, follow it

not followed up on, etc. So it is a good idea to try to condense and reduce the

with a dead-serious piece. Hot shower—cold shower, as they said in the Grand

gallery.

Guignol theatre.

If you refer to several people, let’s say you mention Dai Vernon when you do “Cups and Balls,” and mention your local mentor when you talk about your start in magic, then try to condense all those references and attribute them to a single character.

Nudge everything toward the extremes. For every routine and story element, ask yourself, “How can I increase the contrast?”

Make Procedure Interesting

A trick like “Copenetro” makes use of a small gimmicked base—try to

Many routines contain a certain amount of dry procedure which should

use that base for something more, or build it into something that already is in

be eliminated. For example, when a spectator is shuffling a deck, you can gaze

use (in a table, in a book, etc).

intensely at the cards as if you are trying to track the positions of every single

If you have two tricks that involve a silk, can you make it the same silk? If

card in the deck, and every time the spectator looks up, you pretend to be unin-

not (let’s say the second trick use a gimmicked silk), can you discretely switch the

terested. Or juxtapose the procedure with something unrelated, for example, by

silks so it at least appears to be the same one?

telling a personal anecdote.

Can you use the same balls in both “Balls in the Net” and “Cups and Balls”?

Changing scenery is usually heavy on procedure, even when it only consists of moving a table closer. Making an intricate choreography out of it can solve

For every prop and story element, ask yourself: “Can I replace this with

that. Or juxtapose it with something else, like an anecdote.

anything that already is in use?” If you can’t, then put it out of sight as soon as

For every sequence, ask yourself, “Is there any dry procedure here? If so, can I

you are done with it, unless you can make use of foreshadowing/callback tech-

reduce it or make it more interesting?”

niques (described later in this manuscript). ••• 25 •••

Emotions

tinued, “As you know, Topper and I later became good friends. The year before

This is a tricky subject. You want to elicit some kind of emotional response

he died, he gave me this, his old juggling hat as a gift.” As I looked at the hat, I

from the audience. But that is very difficult if you are emotionally detached

thought of the generous kindness that Topper, Max Milton, Dusenberg and

yourself. The usual advise is to “project” the emotions you want to create, but in

other magicians once had shown a confused kid, felt my eyes filling up with

practice that seldom works—in most cases, you get melodrama instead, where

tears, and concluded, half-choked, “To me, this is the most beautiful hat in the

the audience feels blackmailed to react in a certain way because sentiments

world.” Yes, exposing myself emotionally like that was quite scary, but it paid off—

are foisted upon them. So, do it in the Stanislavskian manner instead. Think “induction” rather than “projection.” Ignore what you want the audience to feel

the audience was affected and moved, even though I had only concerned myself

and instead concern yourself only with your own emotions and trust that the

with my own emotions while ignoring theirs. Induction, rather than projection.

audience will follow along. While this approach is more surefire, it is also scar-

Of course, true and honest emotions can be used for other things as well.

ier because it entails exposing more of yourself. The fear of rejection becomes

Write down a few negative and unflattering personal traits and examine them.

bigger when you are emotionally “naked”—but the audience is aware of this,

One of my negative traits is that I sometimes can be a bit of a ”besserwisser”

and will find it endearing if you trust them enough to be honest and vulnerable

(smart ass). The following is how Peter and I, also from the same show, made

in their presence.

use of that (based on an earlier piece by Håkan Berg and I).

Here’s an example from a show I did with Peter Rosengren, Mellow Men

After a somewhat simple trick ...

& Hard Hats: For the first piece, we both had top hats. The contrast was that

Peter: Why did you choose a such simple trick for us to perform? (Curious)

Peter’s hat was pristine and elegant while mine was rugged and manhandled.

Tom: I wanted to be sure that you were able to follow along. (Nonchalant)

So Peter asked, “Couldn’t you find something nicer to wear than that awful ugly

Peter: What? What do you mean? (Surprise)

hat?” In response, while setting up for the next piece, I told Peter the seemingly

Tom: Well, you must agree that there are obvious differences in our skill and competence. (Condescending)

unrelated story about my upbringing. That I was born on an isolated farm in the rural west coast of Sweden where I was constantly told that I was slow and

Peter: What the … I have just as much knowledge and competence as you. (Offended)

stupid, to the degree that I believed it myself. By the age of 14 I had become convinced that my life was over, all that remained was gray, dull, and predict-

Tom: Really? So, if I had suggested an old classic like, let’s say … The Bill Game … then you would have been able to follow along? (Smugness)

able—but then I saw Topper Martyn. The first magician I ever saw “live,” and for two hours I was transported into a world of joy and surprise. He was

Peter: Yes, of course! (Neutral)

the first one ever to show me that anything was possible, and that experience

Tom: Very well, then. Let’s do The Bill Game … if you’re up for it. (Challenging)

changed everything. Here I paused. The whole theater was silent. I took off my hat and con-

Peter: Yes … let’s do The Bill Game” (Clueless, but keeping face) ••• 26 •••

What the hell were you thinking?”

I then borrow a banknote from a spectator and have it signed. The bill is inserted into an envelope which I seal. Five other, empty, envelopes are added.

Different callbacks to this sequence then becomes a thread running

The six envelopes are given to Peter, together with a pen, a lighter, and the

through the show, where we make recurrent failed attempts to make the bill re-

words “You know what to do!” I turn toward the audience. Peter is behind me,

appear. A lemon is cut open, but it contains nothing but lemon juice and seeds.

looking clueless at the items he’s been given. I explain …

Later, a sealed box is lowered from the ceiling, but it contains only more burnt

Tom: What Peter is doing now is numbering the envelopes from 1 to 6 ...

ashes, and so on.

Peter, behind me, is clearly relieved, thinking, “Whew, good thing he ex-

To return to the purpose of this description—as you notice, there are a lot

plained,” and quickly numbers the envelopes.

of different emotions in this piece, and most of these are quite unflattering. We

Tom: … because the next thing is that we will burn the envelopes.

are not exactly sympathetic. But there is a certain degree of honesty, since the

Peter is once again relieved, and sets the whole bunch of envelopes on fire.

starting point was some of our actual negative traits.

Happy. Satisfied.

There is an overlap here—I could just as well have used this as an illustra-

Tom: I know, it sounds dramatic, but don’t worry—we will obviously not set

tion for several other subheadings; “Conflict,” “Contrasts,” “Transformation.”

fire to them all at once. That would be silly.

etc. Once you start working with your own material, you will notice the same

Peter, behind me, freezes. Wide-eyed.

thing—the different parts soon start to weave together, almost by themselves.

I bring out a die from the pocket: No, we will use this die …

But for now, you can look at every routine and story element and ask yourself,

Peter is panicking behind me. While I, calmly and thoroughly, describe an

“What is my emotion here? How does this make me feel? How do I react?”

elimination process where envelope No.1 will be burnt, if the spectator happens to roll a “One” with the die, etc. Peter runs around with the flaming envelopes

Conflict

behind me, desperate to find a way to extinguish the fire.

It is usually said that everything automatically becomes interesting when

Tom: … until only a single envelope is left, and if the trick works, your bill will be in that envelope. Well, I guess we are ready to begin.

you add conflict. But, to be even clearer, the interesting part is the transitions: when the conflict arises; when it becomes worse; how the conflict changes peo-

I turn toward Peter, only to find him with his back turned, urinating on

ple; and how the conflict is resolved. Plenty of other people have written about

the smoldering remains of the envelopes on the floor. I freeze, expressionless;

conflicts, so I will just add that the conflict doesn’t have to be between people,

blank … for a long time, while the laughter from the audience builds and

it can be between you and an object, or between you and an abstract idea, etc.

builds. It is obvious that I have no clue what have happened behind me, and cannot for the life of me figure it out, either.

Transformation

The tableau is broken when Peter zips up and, suddenly furious, in a classical borderline turn, put the blame on me: “This was a damned stupid idea!

Most transformations are interesting. Especially the transformation of character. If possible, add an obstacle for your character to overcome—perhaps ••• 27 •••

a legendary magic routine that you desire to attempt, but your fear of failure is

routine. By doing this, the whole show feels well structured and thought out, in-

too great. Then, toward the end, you find the confidence to try it. Or begin as a cheapskate and end as a generous person. Or find some other transformation—

stead of like a loose string of randomly chosen tricks.

large or small. Ask yourself in every sequence, “Does this change me in any way?”

To illustrate further, I have a coin routine titled “A Toast for Charon” which ends with an incongruous bottle production. There is no logical con-

Foreshadowing

nection between the coins and the bottle. But thanks to the foreshadowing

This little dirty trick is one of my favorites, and one of the most important

gambit, I could fake a well-crafted structure by adding a wine glass as a recep-

tools for weaving separate tricks into a good dramatic tapestry. Foreshadowing

tacle for the Miser’s Dream inspired intro. Thanks to the hint with the wine

means to drop small hints about things to come without making them explicit.

glass in the beginning, the bottle production at the end suddenly seems logical.

And the way to work it is backward.

It’s just a sham, of course, but it feels logical. So, go through all the material and ask yourself, “Where can I drop in subtle

Let’s say you’ve assembled a bunch of routines in blocks consisting of one or more tricks. Look at any of your last blocks, then move backward, toward the

hints to foreshadow this part?” Then repeat the process as often as possible, at

beginning, and see if you can insert small hints anywhere (fig.1). For example,

least several times during the development of your act.

1

Callbacks Callbacks are the opposite of foreshadowing, and you use the same method to work them in. Look at each block in your show, then move forward and see if you can insert small and subtle reminders anywhere (fig.2). In my “A Toast for Charon” example, I place the wine glass aside after the Miser’s Dream sequence and continue with just the coins. But at the end

let’s say your last routine is the Cups and Balls. In the middle of the act, you perhaps have a silk routine, and in the beginning you might have a routine with a Change Bag. Then you could take the Cups out of the Change Bag and place them aside. Later, during a monologue, you start to polish the cups with a silk, then go into the silk trick. So, when you reach the Cups and Balls routine, the props have already been introduced. Or if you talk about your magic mentor in one routine, then you could have a framed photo of him on a table, which you look at admiringly in the very first ••• 28 •••

2

3

I make a callback—immediately after the bottle production, I spin around and pick up the wine glass again as a visual reminder of the first phase. Let’s say you have card routine with a signed card in the beginning. Then, you could let that same card appear again: open your wallet with paper money at the beginning of a trick and find the signed card among the bills. You toss it out in the wings. Later, you open a drawer box, and the signed card is found there as well … and so on. A prop that has been used might be used again in some way. A person that has been mentioned, can, in passing, be referenced again. The same with places that have been mentioned. Go through all the elements of your show and ask yourself, “Where can I create a subtle reminder of this part?”

Upping the ante Creating visuals You need some crayons and paper. You are going to use them to better vis-

4

ualize and solidify key moments in your show. I guess that it is likely that you are hesitant to this idea, that you might find it pointless - but trust me, you will find that it is a big help when the rehearsals start. Don’t be reluctant if you can’t draw - it is not an art competition, and the doodles don’t have to make sense to anyone else than you. The first kind of imagery I want you to do, is to draw stick figures of key moments in the show. Take a look in Juan Tamariz’ “The Five Points in Magic”, and you’ll see that you can catch quite a lot even with pretty crappy-looking stick figures. When you draw your figures, try to get all the five points into the drawings; the body position, the feets, the hands, the gaze and the voice. Figure 3-4 show two different takes on the same situation, and even though the drawings are crude, they are enough to capture the idea - and the ••• 29 •••

5 7

8

6

And if you are too unaccustomed with crayons and paper, you can still find

action of drawing; figuring out where the arms and legs should be on the paper,

useful images at stock photo sites on internet. “For the zombie ball, I’m think-

will help you to figure out where your real arms and legs should be on stage. The second kind of drawings I’d want you to do, is pictures to catch the

ing of a lonely night atmosphere” (Figure 7). Or: “In the ace localization routine,

atmosphere and “feeling” in each scene - and they can be even more crude, ab-

I want the handling to seem automatic, as if my fingers are a machine, working as

stract and colorful. These will be helpful to use when describing what you aim

driven by cogwheels” (Figure 8).

for, when talking with a lightning designer or an director. Figure 5-6 shows different examples. ••• 30 •••

Find a director

If you get comments like that, just thank the person politely for the input, and don’t invite that person back again. But if you find desirable traits like:

Once you are ready to begin rehearsals, you need a “director”. That is,

✦✦ Specific comments that improves what you’ve actually performed. “I

someone who can act as an eye of consistency and can help maintain a work

feel that you drop in intensity when you walk the 6-7 steps from the table

discipline.

towards the stand. Is it possible to move them closer together, so you only

Even though it would be nice to have someone with experience and knowledge as a director, you can manage with anyone who have the proper traits. To

have to take 3-4 steps?”. Or, “Is it possible for you to slow down at the end?

find a person like that, go by instinct and invite someone to look at a rehearsal.

I think the ending will become more dramatic then.”

Don’t discriminate though, someone who is an excellent performer isn’t auto-

✦✦ Comments that gives a better ‘weave’. “At the start of the trick, you talked

matically an excellent director. Performance skills is not equal with direction

about your mentor, but you ended it with ‘...and that’s how I met my

skills - though, those skills are not in opposition either. I just mean that you

wife’. I think it detracts to introduce a new person right at the end.” Or, “Is

should keep an open eye and mind, and that people might surprise you.

it possible to use the same silk in both the first and the last trick? Because it seems strange to bring out a new silk, instead of using the one you’ve

Do a 10 minute piece, then ask for comments, and listen carefully for desir-

produced.”

able or undesirable traits. The undesirable traits are:

✦✦ Comments asking you to perform it again. “I need to see it one more

✦✦ Comments that goes “outside the circle”. That is, suggestions to change the material for things that is wildly unrelated to what you’ve just

time, before I can say anything. Can you do it again, but pretend that I’m

performed. Like, if you do a card trick, and the suggestion is “may-

an ordinary spectator.”

be the close-up mat can change color at the end?” Or; “ it would be cool

...Once you find someone who gives good input, convince that person to

if you found yourself levitating at the end”, when you’ve performed a

take the role as director - someone who keeps an eye at the flow and structure. Then, of course, you need to learn to trust your director - and that’s usually

color-changing silk effect. ✦✦ Comments that refer to other performers. Like: “I saw a great han-

not easy for people like us, as most of us are boneheaded individuals who lack

dling for the Triumph effect on a DVD by El Hatto. You should do that

experience in working with others. So you have to force yourself to actually

routine!”

follow and try the suggestions you receive, even when it feels strange and awk-

✦✦ Comments that suggest radical but diffuse changes. “I think you should be funnier”, “I think it needs to be more spectacular. More ‘wow’, you

ward. You have to realize that the show need an outside eye, and that you can’t be your own eye.

know?” etc. ✦✦ Comments that are too positive or negative. “This is the best I’ve ever

You will also need to let your director be a filter. Because, the closer you get to the opening date, the more comments and opinions you will get from people

seen! It’s perfect!”, or “I don’t get it. What’s with all the talk? Just do the

around you. But if you try to compromise and follow all the suggestions, the

tricks instead.”

show will become generic, bland and uninteresting. It’s better to tell everyone ••• 31 •••

to give their ideas to your director, and let the director filter the comments and

to stand up - the easier it becomes to focus on the rehearsals. During rehearsals, aim to get the flow right. If there’s a technique you

sift out the useful ideas. You can not please everyone, and it is much better that you get a show that some people hate and some people love, then to get a show

haven’t mastered yet, just pretend that you can do it and mime the result. If

that everyone think is ‘nice’ and average.

there are props still missing, make and use crude dummies from cardboard and gaffers’ tape. If you don’t yet have costumes for your costume changes, change

You should start looking for a director at once, before you are getting too

between ordinary clothes instead. Fake the unfinished elements for now, just to

set in your ways

get the flow right.

Rehearsals vs. practice

Attack the weakest spot

Rehearsing and practicing are two different things that you need to keep apart, or you will waste valuable time for both yourself and your director.

Obviously, at the start, there will be both strong and weak parts in your

Practicing should be done on your own time - detail study of moves and

show. After the walk-through at the first rehearsal, identify the weakest ele-

techniques, memorizing lines, obtaining and building necessary props etc. But

ment or sequence and attack it. Improve it. However, do not try to make it

the time designated for rehearsals should be spent on the format and structure

great or perfect, just make it slightly better. Only improve it to the extent that

of the show, getting it to flow. In rehearsals, you practice the actual show, with

it is no longer the weakest part, but not further than that.

whole routines and the transitions between them.

Since the weakest sequence has been improved, something else has become

Preferably, the rehearsals should be done somewhere else than in your

the weakest. So attack that one now - and so forth. Continuously work on rais-

home, so you and your director can focus on the work without distractions.

ing the lowest point, and you’ll find that you soon have something far better

You can probably find a community locale in your neighborhood that can be

than what you’ve imagined at the start.

rented cheaply for an afternoon, or find a garage, or something. But if that is

Harvesting the contacts

impossible, and you are restricted to your home - there are some good advice in Tommy Wonder’s “Building an Act” in the first part of this ebook. In short,

If you began cultivating contacts early on, it is now time to begin to reap

Tommy comments that a home isn’t ideal for rehearsals, since a home is built

the benefits of your social engineering. You should have a rather good relation-

for comfort and has countless distractions. So it is often fruitful to make the

ship with at least 2-3 journalists. Sometime 4 weeks before the premiere, tell

home more ‘uncomfortable’ before rehearsals:

them the news that you’ve began rehearsals on a new theatrical magic show,

Unplug your TV, computer and phone. Turn off the cell phone. Stack all

and suggest that it might be a nice topic for a small article. It might be tricky to

chairs and put them in a corner or in another room. Turn around the sofa, so

‘sell’ it to the larger newspapers, but local papers will surely agree to do a piece

it is facing the wall, or fill the sofa with boxes or stuff so you can’t sit there.

about it, especially if you emphasize the local ties to the community.

Basically, the more distractions that are removed, and the more you are forced ••• 32 •••

Ouroboros

Arrange a meeting at either the theater you will be at, or in a rehearsal

In “The Big Risk” (page 17), I talked about the purpose of doing a the-

locale. Make sure that the place look busy, that it radiates ‘work in progress’. Props all over, perhaps a ladder in the background etc. A few ‘gimmicks’ filled

atrical magic show. For many professionals, there is always a risk of getting

with contrasts doesn’t hurt - a hammer painted as a magic wand, wear a bib

“stuck” in the material - that you find a set of routines that always go over well,

overall and a top hat. Don’t hesitate to be silly - the aim is to give them a photo

no matter the circumstances, and when charging the clients a lot you find it dif-

that they can’t resist to blow up as large as possible.

ficult to change the winning formula... leading to frustration, stagnation and

Then, tell them, with great passion and enthusiasm, that you are following

ultimately; the loss of passion.

a dream and are attempting something new - a modern update of the art of

For the amateur, there’s the problem of finding an audience. Because, it sel-

magic. Finally, do 2-3 seemingly impromptu, and interactive, effects for the

dom feels motivated to spend a month practicing a new effect, when you know

journalist. It doesn’t hurt to position yourself so that the photographer is able

that there will be no audience for it after you’ve performed it at uncle Olaf’s

to get a good shot of the journalist’s reactions.

“coming out” party - so you hesitate to work with the material you dream

Once the piece is published, you can surf on the media wave a bit - that

about, shunning it for more self-working stuff, and suddenly you find yourself

is, use one media to get a spot in another media; call a TV station and use the

loosing self-confidence when attending lectures, instead of getting excited.

newspaper article as a tool to get a TV-spot. Alert a radio station about the TV spot to get a radio interview... and so on.

amateur and as a professional - but there’s no reason to stay in that corner once

While the media coverage is fresh, use it to maximize the effect of all other social engineering. It is now it will be easy to get others onboard the project -

Yes, I have also painted myself into all sorts of corners like this, both as an the paint have dried. There are many reasons to do a show, no matter where in your career you happen to be.

light, sound, music etc.

Next I talked about the importance of setting a deadline, because nothing ever gets done without a deadline. Set the date first, before you even know what the show will consist of. And make up an interesting title for the show at the same time, because it doesn’t get “real” until it has a name. Then I touched on the subject of “social engineering”, the cynical term for being strategically friendly to people that might be useful later on - printers, journalists, theatre technicians etc. - and this needs to be scheduled and ongoing. Finally, I mentioned the possibility of doing the show with a partner, and frankly, I could have talked a bit more about that, so let’s do that now. ••• 33 •••

Partnership

audience, so they could admire the sleight-of-hand involved. In another solo piece, Hans-Inge brought out a notebook and asked the

There are a lot of benefits to work with a partner, the important thing is to make sure that it really is a partnership, so it doesn’t seem that you’ve inserted

audience to name different songs. After writing down 3-5 of the named songs,

any generic “plug-in” artist. The partner should be integral to the show, and

he asked a spectator with a watch to give him 60 seconds. Then, in concentrat-

not seem replaceable. This can be a juggler, or a fellow magician, or a musician.

ed silence, he stared at the notebook and jotted down small cryptic signs... until

To weave the partner into the show, it is easier if you think in terms of “skits”

the spectator alerted him that 60 seconds had passed, whereupon Hans-Inge

or “playlets” rather than “magic tricks”, or you’ll likely end up with something

instantly began playing a new composition consisting of named songs - not a

corny. As a starting guideline regarding the ratio, aim for 50% where you are

medley, with one song after another, but a whole new piece that used the char-

the main character, 30% that has tight interaction with your partner and about

acteristics of the named songs as building blocks. Very impressive and, surpris-

20% with your partner’s solo pieces.

ingly enough, also very funny. Obviously, if you team up with a fellow artist, the pieces has to be con-

I’ve been fortunate enough to have worked with some really skilled musi-

structed to accentuate their personality and skillset.

cians, so let me give you a few examples on interactions and solo pieces. In my show “Bakom Dimridån” , the classical pianist Hans-Inge Mag-

The Small Step!

nusson accompanied all kind of ‘miracles’ without batting an eyelid... until I

In “Just a Small Step” (page 19) I talked about how the fear of commitment

performed the Multiplying Bottles. On the first transposition, he suddenly stopped playing, chocked, stared at the props for a long while, then left the

might cause you to stall and hesitate, and gave a few tips on how to overcome

piano and approached carefully, picked up a tube and looked down into it with

that - for example, by breaking down the work into very small steps, each with

an expression of suspicion and disbelief. Not finding anything, he then went

a tight deadline.

“ hrumph!”, returned to the piano and continued the accompaniment... until

I also talked about scripting, and that the first script is supposed to be quite

the second transposition where he once again stopped playing, chocked. Then

bad and corny. Because, it serves you no good to compare your first scribbling

it escalated with me trying to continue the trick and him grabbing stuff while

with someone else’s finished work - so, it is necessary to remind yourself that all

trying to discover the trick. Obviously, he knew what to pick up and what to

first drafts are crap. If you think “this is really awful” when you read your first

hide, but the outwards impression was that he examined everything without

scripting attempt, then congratulate yourself on a job done right. The main

finding anything.

point is to get something, anything, down on paper, as soon as possible, so

The solo pieces was chosen to display Hans-Inge’s considerable skill, subtle humor and fast thinking - and give me time to be out reloading my pockets.

you’ll have something to improve and work with. If you stall and doesn’t write anything down, then you’ll have nothing to work with, nothing to improve.

One of the solo pieces was Rachmaninoff’s “Polka de W.R.” (search for it on

The next advice was to forget all the usual rules and advice, as they mostly

YouTube) where we made sure that Hans-Inge’s hands were clearly visible to the

deal with making magic routines play in the worst possible scenarios - but here

••• 34 •••

you can very well do stuff that would be suicide to try elsewhere.

9

Then, after a caution against originality for originality’s sake, I talked about a technique to ‘push’ yourself to see your magic routines in a new light and from a different perspective than usual - and how to group routines into sets with a dramatic context.

Thespian Tools In “The Thespian Toolbox” (page 22), I outlined a whole bunch of techniques to weave disparate magic routines into a dramatically sound performance. I think it might be considered to be a rather important text, and suggest that you revisit it several times. As I thought I had used too many examples from my own performances, I cut one example from the text, as I didn’t quite know which subheading it would fit best under; Contrasts, Emotions or Conflict... but, if you’ll indulge me, I’ll describe the example here. In my and Peter Rosengren’s show “Hard Hats and Mellow Men” in 2005, we dramatized Daryl’s “Puerto Rican Triumph” (Secrets of a Puerto Rican Gambler, Stephen Minch, 1980) in the following way. I let a spectator choose and sign a card... ... A side note: When doing card tricks on stage or in parlor, avoid walking out into the audience to have a card selected - because the rest of the audience will loose sight of the deck and instantly believe that you’ve done something ‘fishy’. It’s better to approach the first row, then let the spectator call out stop as you fan the deck, and then let the people between you and the spectator pass

Peter: “Hmph!”

the card hand-by-hand to have it signed and returned. Back to the example;

Tom: “...yes... it is considered to be extremely difficult to perform, and I...”

when the signed card has been returned and lost into the deck, I say...

Peter: “Ha!”

Tom: “We’ve mentioned Dai Vernon a few times. Well, one of his most famous creations is a trick called ‘Triumph’, which is a very difficult trick...

Tom (to Peter): “Sorry, do you want to say something?” Peter: “No no, go on with your ‘ difficult trick’. Don’t let me disturb.”

••• 35 •••

Tom: “Thanks”

Usually, when there’s a story in Triumph, it is told in past tense, but here we

Peter: “I too thought that Triumph was difficult...”

brought it into the present instead. How could I prevent Peter from seeing me

Tom: “Right! So I’m going to perf...”

reverse half the deck? A paper bag was the answer. How to motivate the paper

Peter: “...when I was fourteen!”

bag? Emotion and conflict was the answer. How to weave the paper bag better

Tom: “Huh? ...Then, if you’re such an expert on Triumph, perhaps you should

into the plot? Answer; let the card appear underneath the bag. That is, the piece

perform it!?”

came into existence through several very small steps.

Peter: “No no, go ahead. You obviously need the practice!”

Boosting the Ante

Tom: “What the...!? If you’re so damned skilled, then you do the trick!” Peter: “If you insist. It’s not much of a challenge though.”

It is quite difficult to break old thought patterns. That goes for how we

Tom: “Challenge? I’ ll give you a challenge!”

view and think about our magic routines too. If we’ve got the habit to think

Here got hold of a paper bag that I put over Peter’s head, and when he was

about how to make a trick play well at the magic club, then we tend to be stuck

unable to see, I also turned half the deck upside down in a blatant attempt to

in that thought pattern even when selecting material for other situations. The

sabotage the trick (Figure 9). Peter then commenced with a shuffling and

same if the thought pattern is related to getting material to play well for drunk

cutting sequence, accompanied with made-up technical lingo.

people at corporate events - it is difficult to break those patterns. But if you

Peter: “And there! If I’ve done it right, I’ve secretly caused one card, the signed card, to turn over and face in the wrong direction.”

manage to break those patterns, you will be able to view material in a different light and suddenly you begin to discover all kinds of new aspects and poten-

Tom: “Heh, I’ d be very surprised if just one card was facing the wrong way!”

tials. Things that suddenly seem obvious, even though it previously had been

Peter: “Take a look!”

hidden from you.

Peter then made a ribbon spread. All the cards were face up, except one sin-

To make it easier to break out of preconceived thought patterns, there are

gle face-down card in the center of the spread. I, stunned, reached for the face-

plenty of tricks, techniques and gambits. It doesn’t matter if they are clever or

down card as I said: “What kind of crap is this?”. The card was turned face-up,

silly, as long as they succeed in making you see with fresh eyes. In “Upping

but it wasn’t the chosen card, but a blank-faced card that had the word “Crap”

the Ante” (page 29) I talked about making crude drawings of the key moments

written on it. Surprised, I turned to Peter who had the arms extended with the

in the show. The most obvious benefit of this is to get a “storyboard” which

index fingers pointing back at the paper bag. Carefully, I lifted the paper bag

helps you solidify the visuals in the show. But the physical actions of actually

off his head, and underneath the bag, stuck to his forehead, was the chosen and

drawing also forces you to view the material in a new light, and a very common

signed card.

side-effect is that several good improvements suddenly pops up in your head.

The main inspiration for the trick was Tommy Wonder’s essay “Secondhand Drama” (p. 32, The Books of Wonder vol 2, Wonder & Minch, 1996).

Then I discussed the traits desirable in a director, and the difference between practice and rehearsal. A useful tip for those who are rehearsing at home ••• 36 •••

in the living room; make the room uncomfortable. If you have nowhere to sit, it becomes easier to stand up and be focused on the rehearsals.

If possible, try to have a few costume changes. This might entail changing the whole wardrobe, but it can also be as simple as just taking off the jacket for

Towards the end of that part, I talked about carefully beginning to cash

a number, or putting on a hat.

in on the social engineering you’ve been doing since the spring. But don’t stop

For the set design... if you only are going to do a small number of perfor-

cultivating new and old contacts - this work has to continue a while longer.

mances, there will probably not be any budget for any full blown set design, but

Walk the Talk

there’s a lot that can be done with small measures as well. You can make small platforms to elevate different parts of the stage floor. The back curtain can assume the role of a back wall, just by having wires hanging from the ceiling,

Everyone is wrong!

flush with the back curtain, on which you can hang a portrait, photo, sign, window frame, cut-out figure etc. This decor can also be double-sided; a portrait

The first sign when you are about to find your own artistic expression, is when you get a small nagging feeling that everyone you admire has misunder-

of a magic legend on one side, then, for the next scene, the portrait is turned

stood what magic is really about. Soon after that, your magician friends will

around to show the sign ”Psychiatric Ward” (or whatever). A lot can be done with big blocks or sheets of polystyrene (Styrofoam). A

begin to give you blank stares when you try to explain the flaws you perceive, or

cheap material that quickly can be shaped into different forms; blocks, cylin-

get upset with you.

ders, huge letters, cut-outs etc. To shape it, you can use most any tool, from a

As you progress, you suddenly find that you disagree with most of what is said at magic lectures and conventions. At that point, it is good to realize

serrated kitchen knife to a lathe, but the most common tool is a hot-wire cutter.

that while everyone is wrong, everyone is simultaneously right - much like the

After the desired shape has been made, cover the prop with cheesecloth (or any

paradox of Schrödinger’s Cat. Whether someone is right or wrong about magic

cloth) using slightly diluted white glue. This will provide a nice hard finish,

depend mostly on whom the observer is.

which can be painted to look like wood, stone, plastic etc. To get a small introduction to set design for magicians, visit www.the-

So, it is nothing new to me that I’m even in utter disagreement with myself at times. So instead of apologizing, I will congratulate you; here’s yet another

magiccafe.com and find the section ”Notes from a Designer’s Logbook - by

manuscript filled with an abundance of flaws for you to fix and improve . I’ve

George Ledo”. Also, to make a 3D-visualization of your performing area, you can make

talked the talk, now it’s up to you to walk the walk.

use of free 3d software. You can find lists of suitable programs by googling.

Scenography

Advertising and posters

This is the art of creating the performance environments, set design, costume, sound, lighting, etc. A huge topic, but this is not my forte, so I’ll keep it brief.

Don’t spend money on newspaper ads. A one-off ad gives no measurable effect, so unless you are prepared to advertise regularly for a longer time, it will

••• 37 •••

be a waste of money. On the other hand, some towns have community newslet-

Dress rehearsals

ters with listings of interesting events, where you can publish your information free of charge.

It is very easy to stall and wait with the dress rehearsals, until it is almost too late. So, this has to be scheduled long beforehand. If possible, have several

Having a big poster for the show is certainly something that is pleasing to

dress rehearsals spread out; one 3 weeks before the opening night, another 2

both the eye and the ego. But these days, it is often somewhat difficult to find

weeks before etc. It is likely that some problems will arise at the dress rehears-

places to put them. In many towns, it is forbidden or require special permission

als, and it is good to have at least 1-2 weeks to fix them.

to put posters up. And in the few places where it is allowed, there is often a

There will be things that doesn’t work properly, props and decor missing

”poster war” - if you are lucky, your poster will be visible for about 45 minutes,

- but make do with what you have, and replace the rest with cardboard and

then your poster will be completely covered by other posters.

gaffers tape

So, instead of a big poster, it can often be more practical to make a smaller

Of course, it would be useful to have a full audience for the dress rehearsal,

one - since I’m metric I can’t give proper figures, but let’s say 12 inches wide and

but as a minimum you can manage with just 8-12 friends. Seat them closely

28 inches high - a size that can fit in places where a large poster can’t.

together, in the center, so they will react as a group. Unfortunately, that will

The design of the poster obviously depend on the nature of your show, but

mean that you won’t get feedback on whether the sight angles are good from

as a guideline; unless there’s a good reason not to, you should be visible and

every seat - but it is more important at this stage to build confidence from good

recognizable on the poster, and in an interesting situation, if possible.

reactions.

To get the posters up, recruit or blackmail friends and relatives to help

To interpret the feedback afterwards is somewhat of an art, because, unless

you. Send them out in teams of two, because sending out people alone seldom

your rehearsal audience have extensive experience in giving artistic feedback,

works.

they will be unable to properly convey their thoughts with words that will be

The first instinct is to put the posters where there are a lot of people in

useful to you.

motion, but people in a hurry seldom slows down to read. Better to find places

They will pinpoint weak spots and then suggest ”helpful” solutions. Their

where people are standing still, are queuing or are waiting... Like in a store

solutions will most often be useless, but make note of the spot they have prob-

window next to an ATM.

lems with - the real solution is more likely to adjust the tempo and intensity,

The effect of the posters will not be very noticeable though, unless you

remove stock lines, clean up the words and be more sincere.

plaster a whole area for a long period. But there are other benefits from having a poster.

The better the show is, the more specific comments you’ll get on the small details. However, if the feedback is general and non-specific, you should start to

The fastest response will come from social media on the web, so make pages for the show on Facebook and Instagram. A few short YouTube-clips will also

worry. And if you only get a few kind and supportive comments, you’ll know that the show was really, really bad and that you have a lot of work to do.

have effect. ••• 38 •••

Programme

about twice the space normally allotted for light entertainment. And the review was published on the culture pages instead of the entertainment pages. In

Something that we magicians often get puzzled by is when a reviewer describes new and original magic routines as being ”old tricks”. To some degree,

the review, she spent considerable time pointing out the innovative and original

this is due to the Dunning–Kruger effect (the tendency, when being ignorant of

aspects of our show.

an area, to exaggerate one’s own expertise within it). But also, if you are unfa-

It didn’t end there - three days later, she wrote a full spread article about

miliar with an area, you will have difficulty to perceive developments in it. For

innovation and new directions within magic and other variety arts, with many

example, I’ve been brought up in Swedish and western culture - to me, all music

references to us. So, how on earth did she know what was old and what was new in our show?

from India sound more or less the same. The natural assumption for me, is to think that no evolution occurs within Indian music. It requires an intellectual

Well, she was quoting me a lot. For some reason, I had decided to make a simple

effort on my part to realize that my flawed presumption most likely is wrong.

programme for the show - a single sheet of paper folded over once to create four

And I guess that people in India would have similar views about, for example,

available pages for text. On the front we had the title of the show, and on the

traditional Japanese music.

back, a listing of the people that had been involved in the production. Inside I paid homage to the giants upon whose shoulders we stood, by having a complete

On the other hand, it is very uncommon for us magicians to mention

credits listing for all the pieces we performed, in the following format:

anything about the origin of the material we perform - instead we keep silent about those things... perhaps hoping that the audience will credit us for the

Trouble Brews

clever material we perform - but no one will really believe that.

This skit was written by Tom Stone & Peter Rosengren in 1997, in which

You see the problem? The natural assumption for audience and reviewers is

we have integrated two magic effects; ”Human Galvanometer” by Gary

that magic is a traditional craft with no evolution and no known originators -

Ouellet (Canada) published in March 1991 and ”Fizz-Master” that was

while we keep silent about the evolution in our art! No wonder that reviewers

created by Paul Harris and Eric Mead (USA) in 1996.

write that all magic is ”old tricks”. So, what is the solution? Well, we can educate them!

Who Triumphs?

In 1998, I and Peter Rosengren had premiere of our show ”Close-up” in

In 1946 the legendary Dai Vernon (Canada) published the original effect

Malmö, Sweden. Right before opening, we got word that the reviewer who

”Triumph”, which since then has spawned countless variations and

handled light entertainment couldn’t come, instead the newspaper had sent

improvements. Our preference is the choreography devised by Daryl

Ylva Gislén - a feared theatre critic known to write devastating reviews. We

Martinez (USA) in 1980 - which we have adapted to two performers.

were not encouraged by this news, and said; -”We’re doomed! Oh well, it was fun

The Paper Bag ending is new and was created by Tom Stone & Peter

while it lasted.” Then we let the premiere audience in.

Rosengren in 1998.

To our surprise, we got a rave review and the length of the review filled ••• 39 •••

That is, for each trick we performed, I had written a miniature essay about

Production Crew

its origin, where I tried to illustrate that magic evolution was constantly ongoing over the whole world.

On the back of the programme, you can list all the people that has been involved in the production. Now, for some productions, there might be a very

I can only guess what went through the head of the reviewer, but it seems

small number of people that have managed many different functions. You

like she became delighted to find that all her preconceptions had been wrong,

should be aware that it looks pretty silly to endlessly repeat the same few names

and to find out that there were a whole world of artistic innovation that she

under countless different work titles.

had been completely unaware of. So thanks to the programme, we got several times the coverage we would had got otherwise.

It is better to list each name once, and follow it with all the roles that person has had. Like: Albert Bertson: Light, Sound and Set Design.

Now, I can’t claim to know this with statistical certainty, but I have done five productions that has been reviewed in the larger newspapers here. All

Or you can make use of a rather dirty trick, and either use made-up names

the reviews have been positive, but in the three productions where I didn’t

or names of friends that haven’t really been involved in the production. This

have a credits listing in the programme, the sentiment was ”The tricks are

might seem strange at first glance, but people are impressed by productions that

old, of course, but...”, while the reviews for the two productions where I had

involves many people, and later on you might get some prestigious gigs from

credits listings became surprisingly enthusiastic and voluminous. So, I can’t

people who assumes you have a large production crew backing you up. Also, if

help thinking that there are a strong correlation and causation between those

someone want to book the whole show, it is easier to demand more money, if

things. Therefore, my suggestion is that you should make a programme with

you can show that a lot of people in your production have to be paid. This is a

credits as well, as it seems to generate a longer and better coverage.

dirty trick I never use myself, but I mention it to be complete.

These days, it is pretty easy to write correct credits. Many of the experts are honored to be consulted, and they are just an email away. The Genii internet

Everything is news!

forum is a wonderful resource, and we also have the amazing MagicPedia at

In the few months just before your premiere, you should treat every little

http://geniimagazine.com/magicpedia .

thing as new-worthy. For every tiny tidbit, send out press releases to all your

Now, some might be worried that laypeople will find out the inner work-

media contacts, post it on Facebook and Instagram, send it through your email

ings of the tricks, if they are provided with the titles of the tricks. As far as I

list etc. A thing like ”5 weeks until the premiere” might not seem like important

know, that has not been a problem at all for me. It seems like the audience is

news, but send it out anyway.

caught up in the theatrical experience, rather than becoming obsessed with

Thing is, most of your efforts will drown before it ever reaches anyone,

finding out how it was done. Then, our choice of material is also of a kind that

and just about 5% of your reporting will ever find a recipient. So, to reach the

is difficult to find on YouTube. The benefits seem to far outweigh any negative

amount of people you aim for, you need to send out about 20 times as much

aspects. Try it, I bet you will be surprised by the response.

information than what you think is reasonable. ••• 40 •••

The thumb of rule is: When it feels like you’ve done twice as much marketing as is reasonably necessary, you have in reality not even done half of what is a minimum. Another thumb of rule is: Take the number of seats you need to fill. Divide that number with 0.02, and you’ll get an estimate of how many people that need to really see your promo material. Like, if you need to fill 10 seats, then (10/0.02=500) fivehundred people need to be made aware of the existence of your show.

Final Words These are just a small sample of the tools you can use to weave your collection of random tricks into a well-crafted artistic show. There are more that can be used. I’ve skipped talking about using sub-plots, because that would have taken up the whole column, but if you are interested, read Keith Johnstone’s book Impro for Storytellers, especially the chapter called “Fastfood Stanislavski.” A book on script writing can be very useful. Any of them works Also, make sure to consult Tommy Wonder’s essays from his Books of Wonder. And the part about Silent Scripts in Henning Nelms’ Magic and Showmanship. Then, to the reading list, add Five Points in Magic and The Magic Way, both by Juan Tamariz, as well as John Carney’s Magic by Design.

• ••• 41 •••