Performing New Material
Note From Editor
As many of you know, Jay Sankey recently released his 3 volume tome, The Definitive Sankey. I’ve actually read volume I and II from cover to cover and I’m about a fifth of the way through volume III.
It’s a compilation of 600 effects, tons of essays, interviews, quotes, and the complete contents of his excellent book, Beyond Secrets. Reading the contents of Beyond Secrets in this epic three volume set made for the 5th time I’d read the content. I always pick up something new each time.
When I came across this essay (below) again, I felt it was a perfect match for you, my loyal readers – It’s a perfect fit for the mission of Roots and Branches. And of course, Jay without hesitation allowed me to republish it here for you. Enjoy!
After fiddling around with it for a week so that you have a better chance of not screwing it up? Or should you wait until you have really polished the handling and the script over several weeks of practice and rehearsal?
I believe magicians often try out a new effect either too soon or too late.
If you rush to show an effect you just bought to a friend or spouse you are not going to get a fair sense of the routine’s effectiveness.
You are merely going to get a sense of the impact based on precious little practice and rehearsal. Of what value is such feedback?
Alternatively, if you spend weeks or even months refining the handling and presentation before performing it for a live audience, you might find that it either does not suit your style and taste, or that it does not play as well as you thought it would.
And frankly, I do not believe you can polish or effectively refine an effect in isolation. You need the audience’s input!
With all that in mind, my advice is to spend no more than a couple of weeks diligently practicing the required sleights, rehearsing the entire effect and developing a rough idea of your script. Then start performing it for real people.
If you are serious about developing your repertoire, never invest time or money in an effect that you are not prepared to perform at least ten times (even if you have to force yourself to do it after the first few times)!
If you are disappointed by the audience response during a first or second performance, do not “toss it on the shelf.” That is a terrible waste, especially considering that there was something about the routine that initially excited you.
Even if the first few times you perform the effect it leaves your audiences cold, do not give up just yet. Stick with it at least a little while longer, if only to be absolutely sure that you are not able to make the routine work for you at this time.
I say “at this time” because, as your performance style shifts and your understanding of your own magic grows, you may well find that effects which “were not working for you” a year or two ago, suddenly become your favorites.
The other reason to not prematurely abandon a routine is because learning to deal with less than enthusiastic audience response is one of the best ways to gain your “performance legs.”
Remember, it is all part of a sacred process, with the goal being, not so much “killing tonight,” but becoming a master magician. That takes time.
I tend to try out new material for couples instead of individuals or large groups. I want to see how more than one person responds to it (increasing my feedback information), but I do not want to leave too many people utterly un-amazed if the effect “bombs.”
I also try to perform for a couple off to the side or in a corner, as far from the main performances areas as possible. After all, if it does not go well, the fewer the witnesses the better.
And because it is crucial that the new effect receives as much support as possible, I never open with a brand new routine (unless of course it is an opener). And if my opening effect fails to hit the couple between the eyes, I postpone trying out the new material because the scenario will not yield the kind of feedback I need.