Awe, We are exploring how one positions the props, for use during the act. Some believe that props used later should not be seen until they are presented. Some think a decorative stage of props may help the audience anticipate the next trick. Some believe the best solution would be to use an assistant to bring props on and off stage. If so how is the props set up off stage, and at what point would be best for the assistant to enter and exit or remain on stage to point out the important miracles.

This topic is exploring using only boxes, tubes, and bags, as props, therefore with a prop at hand, it would slow down the show, or cause awkward pauses during the show.

Bill gave a nice example of a client seeing the vast array of props and reacting favorably, as if they felt they were "getting something".

Many will tout the presentation/performer is EVERYTHING. While I agree to a degree, it stands to reason that if a performer can do a great show without a lot of props, then there is no reason why he can't do the same by using a lot of props. It all depends on whether they are tools or crutches.

Now, to take this in a slightly different direction... I feel as if clients have some mental image of a magician when they hire one. If for a close-up gig, their mentality is often for the magician to "mingle around and do their little tricks". But for a stage, they somehow imagine a larger show. Now don't get me wrong... a great performer can "fill" a stage with his charm and personality. But, allow me to give an example of the opposite side of what Bill told...

I once arrived at a show and the client met me at the van, wanting to help me unload. When he saw that I was only going to be bringing in my fold-up table and that duffel bag I spoke of earlier, he said, "Is this all you brought?"

His tone was not like, "Great! This will be easy!" It was more like, "I was expecting something more." There was a definite air of disappointment there.

OK, so I did a good show. I have heard other magicians say, "Once I start working, they will know I'm good." Well, the same here, but I'd like to walk on to a favorable level of anticipation, not an air of doubt.

I contend that the show starts way before the curtain rises. The first impression upon my arrival in that example was much less than what I would have wanted. Of course, everyone is happy when the show is over, but I just can't get past thinking I've started in a hole that I have to climb out of to get anywhere.

Now, let me give a further example to show that I don't believe in absolutes. I did mention that in my standard family show I only bring props forth as they are needed, and once used, they go out of sight again. But, in my Halloween show, I have several things on stage that remain in view until they are used. The audience has a chance to soak this in ahead of time and competition for attention is not an issue. In fact, one group walked into one of these shows, and as this had been a continuing gig for many years with another performer, one man saw the set up and loudly exclaimed, "Now THIS is what they should have been doing all along!"

It was quite apparent that he was taken by the visual impact of all that was onstage. I believe I had taken great pains to insure that it was distributed in an aesthetic manner, so the "clutter" was really anything but a distraction. It was part of a stage set. I know that Harry understands my love of props, and I know George understands the power of a stage set. Props were dealt with in turn and once the format and procedure was underway, it ran exactly as it should.

The question was raised whether or not to display all of the props onstage. Here is one act that justifies doing just that.

https://www.youtube.com/watch?v=mbszDPg_HSY

Absolutely. It was beautifully done and he thought out every detail, from the selection of the table and cabinet, to the way the props were arranged, to covering them ahead of time, to the little sticks at the top of the drapes (to make them easier to remove them with one hand), to the placement of the three elements on stage (which motivated some back-and-forth movement), to his costume, to the character. I don't know how much choice he had as to the background, music, and lights, but the act worked very well as a complete unit.

Thanks for posting.

I guess my mind is always thinking on this subject of performing prop magic in a more natural way, without an assistant(s) bringing them on and off.

Possibly one solution, that popped into my mind the other day was, simply to build 2 towers, one on each side of the performing area. These towers are covered on 3 sides to look like simply stage props, or they could contain information about the name of the magic show, and performer, They could even have a bridge across the top, connecting them like a marque. The towers would be no higher then the performer could reach easily, without struggling.

Behind the towers they simply have a number of shelves the size to easily slide a serving tray into the back of the tower. With some props, a tray would not be necessary, but with items that used additional expendables, it would be more convenient to be all together. In other cases, where the prop is taller, then of course, it would use more height space, and adjustments would have to made.

The presentation table, could have reusable items attached under the table top, such as scissors, wands, etc. Using a simple loop of cloth tacked on the underside. I always like the 2 tier table top table. It presents an interesting center piece, and if you don't want the items to be visible it is easy enough to snap some "Show Biz" looking, heavy cloth around the edges of the table tops. Concealing the items.

I prefer the tripod table, but I can see where the table described in John Booth Classic's book would serve very well. Or the one the Magic Inc.'s Table Book.

In essence, the towers are your side tables, holding your complete act. With a little practice, it would not be difficult to easily transition from one tray to another.

With todays modern materials, I am sure a collapsible tower could be designed to work very well, and transport easily.

I am researching the structure of the published works on the big Illusion shows. Like Ken Griffin and Jack Gwynne, as I think a small illusion show could use some of these principles.

I like the concept of the towers. They would make it easy for the magician to ditch one tray of props, while grabbing another.

Years ago, I took a couple of refrigerator size cardboard boxes and used them simply as stage sets to enlarge and define the performance area. I painted two sides of each with one design and the opposite sides differently. I used them in an illusion show, and at times when the curtain was closed, they could be revolved and next appear differently. The point being is that they folded quite flat, had no tops or bottoms, and set up in seconds.

I have always been a fan of scenery flats like Ken Griffin used. They can be designed and used in so many ways. Hiding props before or after their onstage need is merely one of them. They don't always have to be large backdrops either, as smaller "wings" can provide many advantages, both in organization and appearance.