Oh. I Thought You Were Done

Oh. I Thought You Were Done
By Jeff Stone

In the July 2008 (last month) issue of Roots and Branches, we talked about clarifying your role and your spectator’s role. As pointed out last month, it’s critical that the audience not only knows who you are, but they know who they are. It’s all about communicating with your spectators.

You’ll find that almost every one of the articles I write are answers to problems that I was trying to solve in my own work. This one is yet another example of that. There are two parts to the problem that I’m solving. First was making sure that the audience knew I wasn’t their waiter. We took care of that last month. The second problem is related, in the sense that the root of the problem is centered on not properly communicating with my audience.

So what’s the second problem? I can’t tell you how many times after 1 or 2 tricks, someone at the table will say, with finality in his/her tone, “That was great.  Thank you. It was nice to meet you.” In my head I want to scream, “I’M NOT DONE YET!” Of course, how would they know? They wouldn’t unless I tell them. This month we address how I’ve solved this problem in my own work.

Root:
Let’s remember our roots. This month’s root is structure. Now, of course, structure has so many elements and components. We are only going to scratch the surface. The part of structure we’ll focus on for now is the flow of your routine at each table. So rather than looking at the structure of each trick, we’re going to look at the structure of the show.

First, in general terms you must have a solid opener and a solid closer, but another element of the closer that is often overlooked is that it communicates “I’m done.”

So you do a great opener and you’re going to close with a clear closer; your middle effects must communicate that “I’m not done yet.”

Before we dive into how to do this, keep in mind that when it comes to strolling magic, it’s hard to have hard and fast rules written in stone. So consider these as guidelines. In restaurant magic especially, you have to be very flexible. You may have to cut it short in the middle of your routine or even in the middle of a trick. Or, you may have to extend your set at a table because the cook dropped the vegetarian dish in a pile of meat and they need you to stall…  mmmmmmmmm…… meat….

Additionally, I know many magicians who strive to have a tool belt full of routines where all of them are closers. In other words all of the tricks are so solid that they make for a great finale. I’m all for that as long as when a closer is used in the middle that the audience knows you’re not done yet.

Finally, one last thing before examining each type of effect. One common way to introduce yourself at a table is to start right off the bat with magic. Another approach is to introduce yourself and chat for a second, then do a trick. These days, I’m more of the latter school of thought, chat first, then magic. Using that as a premise, let’s dive in.

So let’s examine each, openers, closers and middle effects.

Openers:
What makes a good opener? First, it must be fast. It must establish you as someone more than uncle Joe pulling a coin out of little Johnny’s ear. It must be structured to reel ’em in and get them wanting more.

Most of the time, I open with the Houdini Change (often, incorrectly, referred to as Erdnase Color Change). I make sure that the bottom two cards are different colors. I then simply show the card on the face and ask them what color it is. They say, “Red.” Then I ask them what color my right hand is (subtle way of showing that it’s empty). They say “white” or “peach” or whatever… I then say, “Do you know what happens when you mix red with peach?” I execute the Houdini Change, and say, “it makes black.”

Super visual. Quick. And Uncle Joe doesn’t do that trick. It’s a great opener, and they immediately want more. Also, it’s so short that the never think that I’m done or that it’s my last effect.

Middle:
So middle effects, it’s your “B” material, right? Well actually, yes and no. I usually perform 4 or 5 tricks per table, one opener, 3 middles, and 1 closer. If you’re gonna work in new material, trick number three or four is a great place for it. It’s all about making sure the audience is right and the moment is right.

There are two kinds of middle effects in my opinion. First there is the one that immediately follows the opener. Then there are ones that are just… well… in the middle. The one right after your opener should be something that keeps them interested, obviously, but it needs to get them a little more involved, and it can be a bit longer than the opener.

For example, a good follow up to the Houdini Change could be a 2 or 3 phase coin routine where things happen in their hands or they make the magical gesture that causes the coin to vanish.

I feel that the third trick is usually where you have the most freedom to perform a little bit longer effect. This could be a place where you perform a routine like triumph that has more of a story and takes a little more time to present. I’ll often perform Las Vegas Leaper (Cards Across) by Paul Harris as my third trick. I’ve definitely build a solid rapport by this point, and I’ve got them believing that I’m hot stuff.

The fourth effect – the third middle effect – starts to have the “winding down” feel. Often this will be a place where I’ll test a new effect, or it’ll be a place where I put a routine that is good, clever, or one that I just enjoy performing, but may not be the most jaw dropping effect, yet one that the audience will still enjoy and appreciate.

I’m not suggesting you put crap here, and I don’t always put a “weaker” effect here, but this is the place where I test things. There are two big advantages of doing this. First, at this point, if you’ve done your job, even your “weaker” stuff or less polished stuff will appear much bigger to them because they already think you can walk on water, and it allows you to practice in a safe environment.

Secondly, this helps add to the impact of the closer. Your flow has been such that you open with a hit between the eyes. You then build with your second and build with your third, and maybe slightly build or plateau with your fourth, then you exponentially build (aka climax) with your closer.

This flow works very well and creates a nice emotional ride for the audience, and leaves them wanting more. Also, this structure lessens the chance of them stopping you after a middle trick to “thank you for your time.”

Closers:
What makes a good closer? First of all, there has to be that moment of climax. There are some tricks that I feel can be used as a middle or a closer, but there are some that I only use as a closer. For example, I never perform Card on Ceiling unless I’m using it as a closer. That moment when their signed card is on the ceiling shouts “THE END!”

So first it needs to have a powerful feeling of finality. Second, it should be one where you don’t have to clean up your props and pick up stuff off the table, etc. Again, using the Card on Ceiling… I throw the deck at the ceiling; the card sticks; I catch the rest of the deck and I’m done. I could walk away right then. I, of course, thank them for being a great audience, etc, but then I just walk away.

Finally, I’ve found that some of the best closers are ones that build with multiple phases where the final phase is just ridiculously impossible. Now I know that Card on Ceiling doesn’t quite fit that model, but remember, these are guidelines, not rules.

Another routine I’ll close with that does fit that model is a Ring and String routine. I use Dan Fleshman’s routine, Sonata for Ring and String. It’s a killer routine that can be anywhere from one phase to six phases. Depending on the timing, the audience, etc, I’ll do more or less phases. The kicker ending, as in most Ring and String routines, is that the ring vanishes from the string and reappears back on my finger. To the audience this is just ridiculously impossible.

It’s like Jay Sankey’s PaperClipped Effect, or Alex Elmsley’s Between the Palms, Tommy Wonder’s Ambitious Card, Brother John Hamman’s Your Signed Card, David Regal’s Exhibit “A”, etc. These are effects where the kicker ending is so incredible that you just have to stop, and everybody knows it.

A Few Other Pointers:
Another tip to keep the show flowing during the middle section is the use of some key lines that communicate that you aren’t done yet. For example, I’ll say things like, “I’ll show you something weird in a minute when we’re done with this.” Or “After I show you this, I’ve got a great story to tell you.” Or “I’ve got a couple of really cool things to show you that you’re not gonna believe.”

Each of these lines are built to imply that there’s more to come. It’s that simple. I’d rather they think that I’m going to do one more trick than I really do. It leaves them wanting more which is always a good thing. It is far better to have them expect more than to have them expect less.

Branch:
Let’s build our branches.  Now that you have a foundational understanding of the root, consider how this impacts your performance. The branch this month is simple. Go through the effects in your repertoire and categorize them into Openers, Closers and Middle effects. It’s ok if an effect falls into more than one category as long as you feel that it could work in each scenario.

Also, keep in mind that the “rules” above are my own that I choose to use. If you don’t like them, make your own, but make darn sure you’ve put the thought into the rationale of changing the rules. Don’t just change them for the sake of changing them.

I have about 5 or 6 effects at my fingertips that I consider openers, about 5 or 6 at my fingertips that are closers and about 15 or 20 that are considered middle effects. Then as I perform, it’s all about the moment; what feels right determines what effects I pull from. Remember, this column is all about taking existing principles, concepts, and premises to help inspire you to improve yourself as a performer.

I really am interested in the success of other magicians, especially the success of you the Stone Cold Magic News reader. So if while attempting to do this month’s branch (or any month’s branch) you have questions, please email me (jeff@stonecoldmagic.com). If you just want to share your list or offer ideas, please do not hesitate.

I also have a handful of effects that I do occasionally at a table that I’ve already performed for that night… the encore performance. That will be the subject of next month’s Roots and Branches. Now go study the classics, and go discover your true magical self.

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