Hello all,



I’d just like to know what is a good way to come up with a close up routine..

Like where to start...

I don’t wanna be like a d**n magic shop.

he he he

I wanna show my talents.. with cards.. like card tricks with no real setups..



maybe a mix of everything..



any thoughts??



Thanks!!!!!





_________________

Mike

Fisrt things first, what tricks do you do well?

I agree with Martino, before we can try to help you, we need to know a little more about what you love to do.

A great way to learn about routining is to learn from the masters. I would, of course, recommend you read about Jeff Sheridan. Now where would one find an interview with Jeff Sheridan



In AM/PM! look in the "Good, Bad, and Garbage" section for more info.



_________________

Tom Cutts

Your Newest Moderator!

Publisher, AM/PM...About Magic, Performing Magic

OK, Mumblepeas’ theory of developing an act. Work for units of 3 effects. You want to build a close up routine then think Card, Coin (money), Novelty and you will have a balanced act.



What do I mean? Well, what is your best card effect? ONE only ONE! What is your best money trick (coin or bill) and what is your best trick that uses a novelty item (sponge balls, color changing knives, ring on string etc.).



For example, here is a close up act. Three routines. Open with a color changing knife routine. Start by asking if anyone has lost a black knife. Do the routine and finish the routine by putting the knife into a pocket where you have a miss made bill folded for a $100.00 bill switch (I don’t do the gimmicked version, especially close up). Borrow a one-dollar bill and do the miss made bill routine. Finish with the bill restored. Have the bill signed and burn it (or simply vanish it).



Pull out your oh so thin wallet and tell the spectator that you will replace the bill if the trick goes wrong. Leave the wallet on the table.



Go into your pocket and mime taking out a deck of cards. Give this invisible deck to a spectator and have them shuffle the deck (lots of gags here), cut the cards and fan the cards. Then have the spectator select any card and replace the balance in the invisible card box. Then have them put that invisible box into their own pocket (it’s a gift!).



Tell the spectator that you will bet him/her the contents of your wallet that you can get his/her card. Flash the bills in your wallet. Now have the spectator show the invisible card and name it aloud. You immediately and with no hesitation reach into your wallet and pull out one card and show it to be the named card!



You are finished! Accept your applause and get ready to leave. You will be reminded about the burned/vanished bill. Pause, open your wallet, take out a sealed envelope and hand it to the spectator to open. Inside is his/her signed bill. Bow and leave!



OK, OK, that’s four effects. I couldn’t resist a forced encore!



Three main effects (1) novelty = color changing knives. It is a gentle opener, which catches most people off guard and is very magical. (2) Miss made bill – with a borrowed bill this is a knock out effect. (3) The obligatory card trick – the any card called for – simply a great comedic build up to a killer ending! This effect is strong! The wallet has to be very thin and empty (except for some folding money a credit card and an envelope).



Finally the encore trick – vanished signed bill to impossible location.



All the effects build on audience participation and each effect is more impossible than the next. There is a lot of magic in this little act.



The act runs for about 15 minutes max.



Want a longer act then build three more using the same formula.

That is a very well thought out set, I like it a lot.

Since it's in this section, I'm going to assume your query relates to table hopping.

In that case, an important factor is brevity.

Keep the routines short and be ready to end them at a moment's notice: the food or drinks may arrive early; someone else arrives; someone leaves; a zillion other distractions may occur, over which you have no control.

And heed Mumblepeas' idea of groups of three; three sets of three tricks should be plenty -- and you should be able to carry all that in one or two pockets, with no trouble.

And go easy and light on the card tricks! One card trick is usually more than enough.

cheers,

Peter Marucci

showtimecol@aol.com

I agree with Peter and Mumblepeas on the 3 effect, 3 sets for table hopping, I don't agree that you can't do a set consisting of card effects.

Obviously if you do 3 pick a card/find a card effects in a row that becomes redundant.

Try having only one card selected and signed, then use this card throughout the 3 effects. The layperson will see this as one card trick because all three will flow together using the one selected card.



For instance, you could start with Alex Elmsley's "Between the Palms", once the 3 cards are revealed between the spectators palms, false count the three cards showing that all three are the selected, signed card. Drop these on the deck and perform a "Ambitious Card" routine with the selected , signed card. End the 3 effect set with the signed "Card on Ceiling."

You have 3 effects that create a strong routine but can be interupted after each effect if the food comes and you have to leave.

It can be done if you put some thought into routining.



Jeff

Mikey,

Perhaps you could clarify something for me. When you say you want to come up with a "routine," what do you mean? Do you mean you want to invent your own tricks? Or you want to come up with a presentation for tricks you already know? Or you want to know how to "routine" several effects into an act? My answers will be vastly different, depending on what your question actually is.

Jeff,

I agree that you can have a strong set consisting of only card tricks. True, it takes more thought and hard work to keep it interesting-but, isn't that what it's all about?

Check-out some of the fine work by guys like JC Wagner or Doc Eason to see how they keep it 'all card routines' interesting.

In a couple of my 'all card sets' so to speak - I have so much going on with the cards: vanishes, restorations, locations, predictions, stories etc. that people become engrossed in the routine and forget that the routine is 'only about cards'.

Routining is the most difficult aspect of performing-it takes hard work, a lot of tinkering and most of all creativity.

Although I like the 'Color Changing Knives' effect, I disagree with the typical manner in which it's used.... i.e... "Did someone at this table drop a black knife?"

....I want to meet ONE PERSON who has accidentally 'lost' a pocket knife to step forward!!! - ONE PERSON!!! The premise is so illogical but everyone continues to use it.

I'll tell you one thing, if people are losing pocket knives in restaurants all over the country, than I'm going to go into the pocket knive manufacturing business because I'll get rich quick.

The trouble with 'Color Changing Knives' is that it is very difficult to explain WHY you are carrying a knife around in the first place? If when you can answer THIS question, will you start to have a wonderful routine that makes sense.

Perhaps I'm venting because I'm so tired of seeing the same cliches and story lines being used over and over again in print. We as a group must continue to think more out of the box and find story lines etc. that suit our personalities and real life scenerios.... Does anyone else agree out there?

-Jared

Sorry chaps but I have to say that I DON'T agree that you should do three cards tricks in a row.

IMHO, the average laymen does not like most card tricks.

YOU may but they don't.

Yes, by all means do ONE in your set of three - but only one - and make sure it's a KILLER.

Incidentally, beware of your "3 sets of 3" being too rigid. I have 9 tricks on my person that I vary depending upon the table. It would be silly, wouldn't it, not to do an effect for a table that it's ideal for just because it is in 'the other set'.

JMO of course

Dear James,

I'll defend my position that in many cases a series of card tricks works (three in a row) with just six letters:
'BILL MALONE'!

-Jared

'BILL MALONE'

Who?

Hi,

First (to James,) Bill Malone is a popular card man over there in the U.S., James.

Second (to everyone).
I think Magicians that don't like card tricks
spread the Rumour that lay people don't like card tricks.

In the past 32 years, (12 hobbiest, 11 part time pro, 9 full time pro) Never has anyone said to me or even implied that they do not like card tricks (apart from magicians).

Maybe if they say this. you should look critically at the card tricks or indeed all of the magic you perform. They might just be trying to get rid of you!
phillip

Hey P.B,

Touche! I couldn't have said it better myself...But I can't count, 'Bill Malone' has 10 letters- rough morning, I guess!

Bill's routines are fantastic and I am eagerly awaiting his next project.

-Jared

Phillip,

I, too, have been doing magic for over 30 years. I won the Surrey Society of Magicians Close Up Competition this year and am a seasoned Cuer.

May I just quote Doc Eason in another section of this board on being asked "Is it more important to be a strong entertainer, than being a strong technnician?" His answer was an unequivical "Absolutely... the audience will not remember what you did (technically) they will remember how you made them feel (entertained)"

My experience has shown that your 'set' should contain VARIETY which is what I said. I don't think that means that my magic is c**p.

Hi,
Ok on re-reading what I had written, Particarly as I explained who Bill Malone was for James. It read like this was a dig/go at James, it was not intended as such, and I do apologise to him.

I was merely trying to point out that in my opinion, magicians tend to say people dislike card tricks more than is actually the case. The post was a general statement and not directed toward James.

Again James, I am sorry for any upset caused
phillip

I have a question on this topic, If you have a large amount of people in the resturaunt, what about doing a simple trick/sleight/flourish/production whatever for each table really quickly.

For instance:

Going to each table and producing a card then vanishing it quickly and saying you will be back for the actual show in a few minuts etc. Or doing a colorchange, Vanishing silk, D'lites (in certain venues) or whatever.. Would this be something to do to ready the audience?

Thanks,
Chris

Phillip,
Thank you for your apology. You are a gentlemen. And, yes, I do know who Bill Malone is (hence my smiley).

Nonetheless, I think this point about 'all-card sets' is worth a debate.

I still don't agree that all laymen love card tricks. In my table-hopping act I actual say (as a joke) "hands up who hates card tricks". It's very rare that there isn't at least one hand go up per table - and I've done this for 20/30 years. OK, that proves that the majority DO like, or tolerate, card tricks but I still believe fervantly that your act should not consist only of card tricks - how ever good.

I'm with the likes of Doc Eason who say "I think magic should be a means to an end but not the end - the end should be entertainment and personal connection (that is the real magic!)" and, therefore, I say again that I feel that a 'set' should contain VARIETY. (I'm with mumblepeas on this).

JMO of course

James,
First, I'm glad you and Phillip 'patched' things up because I was going to suggest that you both go out for a pint, get drunk and brawl in the alley until the matter is behind (just kidding of course!).

Anyway, I think that we can 'agree to disagree' on this issue. When you speak about Doc Eason, keep in mind that 90% of his material is card tricks. In fact, in his video series Michael Ammar makes it a point to mention how 'fresh' his entire act is with just a deck of cards.

True, he does throw in a several other 'no card stuff' like 'Copper, Silver, Brass',
'Bill in Lemon', and 'All #$@! Up'.... But, take note of how MANY card effects he does in a row!

Personally, I perform both types of sets (all cards + variety, ie... coins, bills etc.> I agree with your point that variety is a key component, but find that, when I choose to perform an 'all' card set-it works just as well as my other sets. I feel that this is because the 'set' itself is inherently as well-constructed as the others. Like I said before, so much action happens that people forget about the cards.

Lastly, perhaps some clarification is necessary, when I refer to a 'set' I'm talking about 3-4 tricks performed in a restaurant for a table- NOT a parlor type show.

- Jared