How many assistants do you work with? And if you work with more than one, then how do you deal with schedules?

We currently employ two girls as our assistants. It's been nice to have both of them because if one can't do a particular show the other can, but trying to get both together for practice is pretty sticky. When we've got a smaller show just Robert and I work it, but when we're working a larger show we often use one or both of the girls. This gets a little crazy in a way dealing with practice times, offering one more work than the other, etc....

Multiple assistants does create a set of multiple problems. The schedules, costumes, and practice are minor parts of the problem.

Therefore, after too many decades of performing, I have learned to make "idiot sheets" for each part of the show. The notebooks have the whole show scripts and each individual's part. I suppose it is a left over from producing film and television in the 70s and 80s, but the scripts work fine for people who are familiar with radio, television, theater, modeling or advertising. (When you are asked to use the sponsor's daughter, it even helps!) I think I learned some of this method too from being in the Navy (No, I, did not sail with Christopher Columbus!) and the PERT system used aboard ships. The printouts are so detailed for any phase of a project until it will even list how many inches of tape or wire will be required to do the task.

Showmanship is a whole different problem. Some assistants are "total" misdirection while others are very invisible in the act. The notebook has never solved that problem. Perhaps that is a case of correct casting.

I remember my fear one time in using a Phi Beta Kappa university student as an assistant in series of shopping mall and publicity shows for Hospice. She was a very striking tall blond who was far from dumb. I really thought she would upstage the act. I was VERY wrong! She made the act. Too bad I couldn't afford her after she graduated. An engineer with great showmanship is a real unexpected surprise.

(Lucy assists me at times. And she is physician. But marriage and economics are entirely different topics. This way we can travel together. If it's her gig, I assists her. It is a strange feeling for an old dove magician to assist in someone else's act and have body loaded birds stolen from you!)

I have always had an understanding that rehearsal is paid time too. Since I came from a musical background, it was not optional with the American Federation of Musicians. Actually I prefer that because it makes rehearsals results oriented. There is still the problem of who to use in the actual performances. One just has to be the primary assistant and the other the backup.

Solutions are always welcome. What works for you?

Bob

Red,
I deal with schedules like any other company. I set the schedule and if they want the job, then they will meet the schedule. Period.

And I don't mess around. I will drop someone faster than a hot potato. Do not comprimise, or else the others in the cast will walk all over you.

As to how many to use - use as many as the script dictates.

I agree with BDC, the performance contract is for a date and time certain. There are no opportunities for those not capable of complying with the contract. Who are we fooling? Work is real.

Bob
Magic By Sander

I Only use 2 girls if a client has asked for or I think it could be of benifit to me in the future

This is true and good point Mr. Sanders