I am a semi-proffesional magician in that I do table hopping for friends of the family etc. when they have garden parties.

I have always had good reactions from what I do, but reading other topics on the cafe has made me realise how amature my act is. I rarely go to a table knowing what I'm going to perform nor do I know ho mny effects Ithe set will perform etc.

What I want to ask is this, what tips and tricks have you picked up during your years as a magician about the preperation and performance of magic whilst table hopping?

What I do not want is any references to books and no recalling of the routines you perform. I want tips and ideas rather than to copy someone elses set.

I hope that does not sound to complicated or perhaps arrogant because that is not my intention, I just want to direct the flow.

Hopefully this topic won't sink down the page at an alarming rate because if everyone here gave one piece of advice, it would be a great resource to advancing amatures like myself!

Thnk you in advance,

Saxon

Don't feel bad about ot having a set list of tricks. It's a good thing, in my opinion, to be able to work freely like that. I am like you in that i usually only have a general idea of what i'll perform. I like to be spontanious.

Don't feel that your act is lee professional due to your lack of preparation. It's just different.

Semi-pro magician,
genio

I feel it is most important to have a series of practiced, well rehearsed 4- to 7-minute set routines under your belt before you ever think of performing close-up magic professionally. Each set should have well-constructed opening, middle, and ending sequences that engage the audience, entertain them, and build to a strong finish.

Having a few set routines provides you with the option to choose the right effects for the right performing circumstance. It also allows you the luxury of having the opportunity to improvise material with the knowledge that you have a working script to fall back on should you need it.

I don't know of any successful performers who work without this kind of preparation. I strongly advise you to consider this if you wish to continue to work on a professional level.

Joe Z.

I have addressed your questions in one of my "Pro-Files" columns on Visions. The title of the article is "Your Repertoire," and it may still be on the site (www.online-visions.com). Go to the "Current Issue" page and click on the Pro-Files link along the left column for a listing of all my articles that are still on the site. If it's not there, PM or email me--I'll be happy to send it to you.

Tips.

Be prepared to do a set where everything is in your hands if necessary.

Have effects that need little or no reset.

Routining: I use one of two different openers depending on the crowd, each of those leads naturally into another trick. Depending how they go I usually pick and choose the middle of the set. I almost always finish the same.

Cheers

Andy

1) Get to know your table guests first, so they get to know you... before any magic is performed.

2) Develop your routines so that in the case you are interrupted (food is served), you can quickly... I stress quickly, end your routine. Encourage them to enjoy their meal, and go on to the next table.

3) Always, always thank the people at your tables.

4) If they liked your show, and enjoyed their meal... ask them to let the management know.

5) Keep excellent communication open between you and the wait staff. This way, they will let you know if a certain table wants you to perform, and let you know if there is an unexpected wait for the guests' food being delivered.

6) Develop good trust factors with the wait staff.

Although these really aren't magic effects to add to your 'set list', they are some of the tips and 'tricks' that I've picked up along the way.

Have Fun!
- - Troy

Saxon,
It is as essential to structure a short table-hopping act as if it is a full stage show.
You absolutely must have a beginning, a middle and an end.
That is, something that opens your set and lets the people at the table know what it is that you do -- very quickly.
That should lead to the middle of the act, your "bread and butter" material.
And, finally, you MUST let the audience (even if it's just two people at a table) know clearly that the show is over. Many magicians put this aspect down, sarcastically asking something like, "is it necessary to tell them when you've reached the end?"
Well, yes, it is.
Of course, the main thing is to be flexible and be ready to end your act at any time if necessary (for example, if the food arrives early).
cheers,
Peter Marucci
showtimecol@aol.com

So Peter, where should your "best" effect be (by best i mean the effect that has the most impact)?

Should it be at the start of the effects to get off to a good start (i have read that psychologically if you have already convinced your audience of your magical ability then they require less convincing in future effects eg. worse effects seem better)?

Or should it go at the end of the routines to end on a "high note"?

Thanks for the posts so far and to come,

Saxon

Hi,
Personally, after a few words of introduction, I like to open with an effect that does not involve the spectators physically in any big way, yet gets your personality across with strong magic.
After this effect the spectators should have seen that you are not Uncle Harry and you are going to be good. So now is time to get that card selected next and perform a audience participation effect. Then a good strong closer to finish.
Phillip

There is an old rule for movie script writers, that I've always liked. It says "Begin with an earthquake and build from there."
In other words, start with a strong effect. Your second effect should be stronger than the first, the third effect stronger than the second, etc. In my opinion, this is a very good and useful guideline.
One final word of caution: The opener should not be TOO strong, they may just not be ready for it yet.

-Uli

Uli wrote: "One final word of caution: The opener should not be TOO strong, they may just not be ready for it yet."

I totally agree. If you vanish a cigarette right off the bat, then the audience will not follow the rest of your tricks. All they will be thinking about is where in the hell did that cigarette go?

Bama Gambler

The thing about walk around is that you don't always do exactly the same sequence of effects each time, because you may be with a neighbouring group. But you certainly need to have in your mind the effects you will be performing. The strongest generally have to be the closers, though if you have been doing all serious stuff you can sometimes finish on something lightweight but funny.

Look carefully at your material and categorize them into closing effects, opening effects, and stuff that is mid-routine stuff (perhaps slower or involving more people). Some effects can fit into either category.

By recognising which effects fit into which category,it does help you realise which is the stronger material. It gives you a choice of good openers and closers, and your set can be stretched our or shortened depending on what you decide to include in between them and the latter decision can depend on the peforming situation.

Also think about an "encore" effect. The type of efect you might do if asked back to a table (and you have the time and desire to do so). This might be something good that would not fit into the latter routines.

Paul