Cris Angel Levitation

I stumbled across this You tube video of Cris Angel doing a levitation. Whoever made the film-ette has done a lot of work to "expose" some of the methods. He basically states that Angel uses quite a few editing tricks and digital compositing. Television has enabled magicians do come up with methods that cannot be duplicated live. This is an example of that. Is is "right" do use the camera tricks and computer compositing? Well, its entertainment. The "secrets" of film have met the secrets of magic.

Dirk Arthur Review

There is a somewhat scathing review of magician Dirk Arthur at the Review Journal. I remember reviews done by Genii magazine some years ago and they really enjoyed him. What likely is hampering Arthur is the 45 minute show limit he has. But the reviewer noted several items which magicians would do well to take to heart.

1. They noted that Arthur wasn't bad but didn't establish a strong stage presence. While this may be a subjective assessment, nevertheless, it is a perception. Any stage show must pierce what in theater terms is called "The third wall." The wall is the separation between the audience and the performer. If the magician doesn't or can't do this then he is just a fellow bouncing around on the stage.

2. They noted the issue about Tigers in light of the attack on Roy Horn. Probably it is still too soon to be dragging out the large animals. People love(d) Horn and it is just a strong visual reminder.

3. They noted that he drags out "contraptions." The perception is that the boxes are doing the 'magic,' and not Arthur. This likely hinders rather than helps his performance.

4. They noted that his patter was dismal. Especially they noted that he should do something more than just shout "hey hey" when he appears in the audience. After watching countless hours of some young illusionists this seems to be a wide-spread problem. They would do well to look to Andre Kole who has memorized his entire patter and it is delivered (though somewhat deadpan) consistently.

If magicians want to be remembered then it seems the reviewer was looking for a strong distinctive personality that went past the spotlights and connected with the audience rather than the boxes on stage.

Magic Magic Everywhere

I recently traveled through Las Vegas and Magic was everywhere. Unfortunately, I wasn't able to see any shows but advertising was aplenty. Way outside of Vegas is a huge billboard with Lance Burton's face. Then as you get into Vegas, and especially the strip, you can see the same ad emblazoned on the buses and just about everywhere else. The Monte Carlo is home to the Burton theater. (Top photo). You'll notice there is a small magic shop with all things Burton there.

The other shops in town are Houdini's located in just about every casino. Unfortunately, the one in the MGM is out of the way, but the people there are very helpful, as well as the one in New York, New York. The one in the NY NY is a bit easier to go to. But if you're expecting great tricks to ad to your show forget it. ALL the shops are purposely intended to be entry level-beginner magic shops.

Las Vegas Magic Gripes

Apparently there is a Swedish magician who has been trying to break into the magic scene in Las Vegas. But he hasn't so he went to the newspaper to complain. I'd recommend he keep his mouth shut- it only looks like whining.

How to Make a Ring Flight

Ring Flight has become a standard among magicians. Now days rings are ending up in shoes, on shoelaces, etc. But the plot is still the same. Borrow a ring, vanish it, show in an impossible location. Unfortunately, ring flight cases are still expensive. Here's how to make one of your own.
1. Obtain some key cases. I found 5 or 6 of them in a lot, on Ebay for 4.99. They were all leather and brand new.
2. Go to the stationary section of Wal Mart and you can get 3 reels for 1.69. These are for i.d. badges. Pick up some epoxy glue while you're there. Cost is about 1.50.
3. Remove the plastic tab from the reel. Remove the clip from the reel. Use one of the clips from the key case and reattach it to the end of the reel. I used a small set of pliers for this.
4. Set the reel on the case and "eyeball" measure the length of the string from the reel to where the clips hang down. Now tie several knots at that point so the reel will only retract that length.
5. Rough up the leather a bit and glue the reel down. If you want you can leave the end clip on (the back of the reel) and cut a small slit in the leather of the case so that the clip goes inside. But it isn't necessary.

That's it. Let the reel dry for a while and you're ready to perform. Total cost is about $2.33.

On Mental Magic

Over the years I have come to believe that mentalism is the strongest kind of magic that there is. But it has to be presented in the right venue and with the right kind of people.

I did a show a couple of weeks ago where it consisted of an all adult birthday party for a very wealthy man. The show was held in his home theater, complete with a stage up front. I am a firm believer that if you do mentalism you have to teach the audience as you go in the sense that what they are about to see is very much a different brand of magic. This is not to say that it cannot be funny. But because of slower attention spans there cannot be a long drawn out series of steps that you go through in order to get to the effect. The effect has to hit them hard, has to be very easily apprehended and if possible, as visual as you can make it.

For example, Larry Becker in his follow up to the World of Mentalism book has a nice casino gambling book test. A book on gambling is shown and the spectator inserts a card to a freely selected page. This page is noted and then the spectator opens the book to another page where there is a figure of a roulette table. Any three numbers across are added together to get a lucky number. The page and the number are now divined by the mentalist. It is a great effect.

But it is too unwieldy to perform for short attention spans. Most of the venues I perform at are where people have had at least one drink. They don't want to add numbers. And the process becomes the death-knell because it soaks up the plot. Unfortunately, I think the method is what became the attractant for Becker, rather than the plot itself. You should be able to have the spectator open the book to the roulette page, look at a number and then you tell them what number they picked.

I did my stulless watch routine based on Danny Korem's routine in Kaballa. Then I did my Voodoodle routine that was published in the Linking Ring. This effect is where you have a pair of Magna-doodle children's toys (kind of like an etch a sketch). The spectator joins you on the stage and you ask them to draw a stick figure of a boss they did not particularly like. Then you ask them to stick an imaginary voodoo needle into the picture by marking a big "X" anywhere on the figure. They turn it around to show, and your stick figure has an X in the same place. I'll leave it to you to look up the routine. It appeared in the 2002 or 2003 Linking Ring.

After the show the ladies that helped me told me they loved the mentalism tricks and had no idea how I did it. That is what you're hoping for

Nesting Doll Magic

When I was in Kuwait I became fascinated with Russian Nesting Dolls. I immediately knew there were magical possibilities for these little toys. I scoured Ebay and purchased several sets at ridiculously low prices. One was a set themed to the Grinch who Stole Christmas (from the movie). Another is based on the Russian tale of the Firebird. The effect is simple: a card is selected, the corner is torn off and given to the participant and the pieces vanish. They are found within the last nested doll. There are tons of stories that can go with the dolls. Find a set that is based on a fairy tale (Peter and the wolf, etc).

1. Place a duplicate of the card to be forced folded up inside the last doll.
2. Save the corner in an easy to obtain place, such as your side right coat pocket or front pants pocket.
3. Force the card. There are so many methods out there that you can do some homework and find one. Some simple suggestions: cross-cut force, cut-deeper force, Michael Ammar's Hofzinzer type force etc.
4. Openly tear the card into quarters.
5. At this juncture you have two ways you can go.
a. I like Steve Dacri's corner swith on his "No Filler" DVDs, volume 2. You obtain the corner to be switched in from your pocket, hold the torn pieces face down in your left hand adding the extra piece. It is this piece you give to the spectator to hold.
b. You can do Ammar's corner switch from his Encore Series or the Magic of Michael Ammar. The corner is added to the card (back) and handed to the spectator.
6. Now you "vanish" the pieces.
a. You can use a Devil's hank.
b. You can use a paper clip to clip all the pieces together and use a bobo-switch to switch the pieces for a second empty clip.
7. All that remains is for you or the spectator to open the dolls to the last doll to show the card.

For my fairy tale routine I play some light music, and do the above. Then tell the story pointing to the pictures as I do. (These also help me to remember the story).

On a High School Show

I just performed at a high school prom night. It was an "alternative" to the kids going out and drinking. They rented out the top floor of a swanky hotel and themed it "Aladdan's night." When I arrived the DJ was pumping out loud tunes and everyone was on the dance floor. I set up behind the dance area (in the dark) and cut my fingers on one of the knives I use for a card stab. So far...so good!! Then I realized I couldn't do the routine because of the angles. Oh well.

I usually start with fire eating, linking rings, and a mouth coil bit from Jeff McBride. The music is flashy and the kids liked it. About 30 minutes into the 40 minute show I recognized they were getting tired. Magic takes concentration and moreover participation. They really wanted at this point to do something else. So I immediately went into my bill in the can routine which is very funny. Here's some pointers on doing this kind of show.

1. Keep it visual.
Most of the kids will be skeptical since they're wondering if you are going to do hippity hop rabbits kind of magic.

2. Keep it participatory.
Standing up doing sidewalk shuffle probably won't cut it. They have to be involved or they are going to go out to the lobby.

3. Keep it short.
A 30 minute show is fine.

4. Keep it simple.
I really love Steve Beam's Multiple Impact routine. But having the kids wait till you find all 7 or 8 cards is going to deep-six your show. I have a card routine based on a Russian Fairy tale of the Red Bird, but the audience is not going to sit through a story. The routines can't be very complicated at all.

5. Keep it funny.
Teenagers are keenly aware of being made fun of- especially in front of their peers. Effects where YOU as the magician screw up are classically funny to a teen. Paul Potassy's pickpocket routine is likely ideal for this. Further, if you are going to do a card effect they know you're going to find it eventually. So the process has to be entertaining. They don't care much for how difficult it is really going to be. The card on the pole routine was ideal for this. It is a commercial item by Wayne Rogers and George Schindler. You force the 10 of hearts, and let the kid shuffle to his hearts content. Finally when you pull out the pole with his/her card you'll get big laughs.

Last thots: Don't be afraid to do some mentalism. I have a routine based on Danny Korem's Stulless watch routine (See also Michael Weber's Swatch this). Since a prom is essentially a date opportunity, you can involve the couple with this and it will get big results.

Roulette Hustle

This is a clip from the Hustle program in Britain. Paul Wilson and his accomplice go into a "casino night" and demonstrate how "easy" it is to hustle. It is about a 6 minute clip. Here are some observations.

1. This is obviously not a real casino. In real casino's there are "eyes" in the sky. I would think some of their scams would be readily caught on tape and by the pit boss.

2. Their "past-posting" their bets is a technique that has been around a while. There was a Discovery program recently where one fellow demonstrated how he had practiced for over a year in setting chips down and it was light years beyond what this program shows.

3. The clip demonstrates what happens when magicians using misdirection show "scams" in the gambling world. In other words, simply because one is a magician does not mean that one is qualified to demonstrate "real world" techniques. I would dare say that if these simplistic means of scamming were used at the Mirage, Harrah's, etc., it would be caught very, very quickly.