Very interesting insights and perceptions. I would disagree with many of them as many are typical magician's thinking. Some are just incorrect. As you are planning your journey it is important to be sure to separate fact from opinion or perception. You will gain much of this through your journey itself and from getting knowledge and experience.

Let me quickly, for the sake of this conversation, point out a few of the things (perceptions) that are common beliefs that are simply not true.

You said "The truth is, I want to do stage magic as well. It's just that I don't know how to start doing stage magic. It often needs expensive, gigantic props and I don't know where to perform."

That is a common perception but the reality it that there are many stage performers that do not have or use expensive, gigantic props. Those are commonly referred to as "big box magicians." They are a thing and do exist, but there are still many stage performers that use absolutely no big box props. Immediately coming to mind here in town is Mac King. The man uses little more than a briefcase size of performance material and regularly performs to thousands each day. There are many more too. So this is a misperception that in order to perform stage magic you need big box or gigantic props.

Although there is some poor advice in this thread and on the I am about to refer you to, read the post from the late Dick Oslund. He has performed large shows to thousands or small shows to less than a hundred and could do the same show using the same performance materials each time, for decades, without any kind of large props involved at all. Disregard all of the talk of different tricks, but rather hear the points regarding the performance and approach of his magic material.

https://www.themagiccafe.com/forums/view......&forum=5

When you start working on the road, touring, or flying to gigs this is very important. If this is your goal, these are the type of things I'd suggest you research and start working on or towards.

Next, you said "Parlor Magic seems quite appealing to me as well as it does not need particularly big and expensive props and is also quite intimate but can be performed to around 50 guests."

This too is classic magician's thinking. Only magician's ever use the word "Parlour" and when it comes to booking real gigs in the real world it really doesn't exist. It is still just considered a stage or standup show, just for a smaller audience or environment. In my agency if any magician trying to get representation or bookings from us ever mentioned Parlour, he/she would immediately be shown the door. This is definitely a magician's thing (with the possible exception of The Munsters, lol!)

You also said "I may start focusing on not just card magic, but a variety of magic such as cards, coins, impromptu and mentalism as well as that will make it easier to achieve my goals. Do you think that it is possible to learn a bigger variety of magic?"

I do not see how it would make it easier to achieve your goals. I would definitely stay away from "mentalism" for a variety of reasons. Also, a bigger variety of magic also isn't necessarily the answer either. Again, you may want to stop thinking in terms of tricks and begin thinking more in terms of performance.

When you create a performance you really shouldn't be all over the place. There should be some type of congruency that creates the totality of the performance. If you are determined to use cards, find material that can play big or play from the stage rather than only closeup. These are the kind of decisions that must be made upfront otherwise you could be spending days, weeks, months, or even years working on the wrong material that is not getting you closer to you goals.

Next, you said "Another thing I need help on is I had never, in my whole entire life, approached a stranger to do magic for them. It seems scary, and I don't know what they would think about a 12 yr approaching them to show them some 'magic'. I'm also scared I would mess up a/the trick."

This too depends if you really need to do this. If you are seeking to perform stage magic this doesn't really occur. I know many, many magicians that have never had to do this even once. If you want to do street, busking, or ambush magic, yes this would need to be a concern. If you are going to do this first, you must have your performance materials rehearsed, polished, and down pat and know them like the back of your hand without having to worry, look, or even think about them. This is called getting performance-ready. Practice (this why it is important to have the right material so you aren't spending too much of your time in practicing the wrong things) until your performance material becomes second nature. You may need to practice in front of real people (not family and friends) and there are several ways to do and go about this which can give you real responses and reactions, give you "a place to be bad" and make mistakes, and develop your performing chops. This is where going to a local magic store if you have one in your area can be helpful, or perhaps joining a magic club (or perhaps starting a teen magic club in your area). There are several other ideas and possibilities as well.

Whether it is being comfortable and confident with your performance materials or approaching unsuspecting people in public, you must develop a level of confidence first. This comes from being well-rehearsed and comfortable with your performance materials.

As for giving you insight into doing lsl of this, other than what I have just shared in this post, I will offer some more insight to you after you have had some time to process everything I've just said. My next exercise would be to start thinking of the show in your head that you would like to do/create. What does it look like? Where do you see performing this? What type of performances are possible in your area? For what type of audience? Age, demographic, etc?

There are two types of audiences for magicians - those that are unsuspecting, do not want to see or are not suspecting to see magic, and may be offended buy it, or those that you already know are interested in magic, being entertained, or that want to see magic. The difference in this alone is tremendous and will directly affect your performance, mindset, and how well you are received.

Another way once you make these determinations is to find or create such situations.

Hey Hudson, I don't know if you know him, but there is a magician in Australia by the
name of Phil Cass. Phil has been all over the world, dozens of countries, performing
for many multibillion-dollar corporations.

His props consist of a case, a chair, and a couple of tables.

You don't necessarily need big stuff, certainly not right away. For example, you mention
you like cards. I saw a guy try to do pop Haydn's Chicago surprise for 400 people, the
problem was there wasn't any screens, and you can't tell one card from another 50
feet away.

It really didn't fit the venue. But take a trick from the guy Mindpro mentioned, Mac King,
https://www.youtube.com/watch?v=D4QoIt2Mxb8

In that clip he got 5 minutes out of a stack of cards, and a rain poncho. And it would
work for 10 people as well as 1000. But much more important, he found a way to make
moving a few cards from one place to another entertaining. I have seen numerus cards
across routines that just weren't. There isn't anything particularly interesting about
3 cards moving from one place to another, even if you don't see it when it happens.

As for being scared approaching folks, it's a lot easier when you are being paid
to do it. If you approach a random stranger on the street or some public place,
what are they supposed to think? Some things that come to mind: is this person
crazy? is this person hitting on me? is this person trying to do some sort
of internet prank? and the list goes on.

All that being said, a 12-year-old shouldn't have many of these perception
problems, it will still be kind of odd to many people.

But if you can say: "the manager/bride/venue owner asked me to perform for
you folks, would anyone like to see a quick trick?" when you approach
a table or group, well now you're just doing your job, nothing awkward about it.

As for feeling nervous, if I approached a table thinking I would have to do a
perfect zarrow shuffle followed by a second deal, I would be nervous too.

Also Google Nick Lakin Magic. He does a great stage show with minimal props.

You have so much to learn. Be patient. Your brain will develop as you mature and you will see things in a different way. Right now at 12 you are not going to see or understand many things. Your interests may even change, maybe not.

Just have fun, learn, perform when you have the chops.
Learn people skills. Without learning to interact with people in a positive, friendly, entertaining and respectful way, no one can succeed. Time will tell. Imho

Hello everyone, Thanks for all your feedback on defining that stage magic doesn't need big props and can be used with minimal props. I watched the video by Mac King and I really like the little routine he did. The patter was perfect and he managed the audience very well. I just have a couple questions now. What type of tricks should I perform on stage, and where do I find a stage to perform on? I want to also perform to a wide variety of ages, from kids to elderly. If any of you have much experience, how would different ages respond to my magic and would they heckle. Thanks!

You are correct, stage magic definitely does not need to include big props unless you are choosing to be a big box magician which is not how most start or establish themselves.

As far as what types of tricks to perform on stage...again stop thinking in terms of tricks. Think in terms of what style you want to perform. Do you want to be serious and mysterious, do you want to funny or do comedy magic, do you want to be educational, do you want to be dark magick, etc. Do you want to be more demonstration in performance or participation (with audience involvement in the performance)?This should come first as it will make choosing your performance material MUCH easier and you will not waste time working on things for no reason.

Once you decide this (this is what I mean about doing and learning things in the right order) then seek performance material that falls under this style or direction. If you liked Mac King you might want to also look into Bill Abbott here in the states, for comedy I love Bill and John Archer in the UK. Although they are comedy magicians their material also can work for other styles. Their timing and audience handling are terrific and fun. I'm not saying to follow or copy them but just as a point of reference. I remember hanging out with Bill, John and Doc and thinking what great magic thinkers I was hanging with when they were all here in Las Vegas for a convention.

As far as where, this is why you must also learn the business side of performing. This is where you will get the skills and knowledge to seek performing venues and bookings. For start as a 12-year-old, I would recommend looking into your school to see if they have a talent, show, variety show, or "idol" style competition. While it may be nice if you won, it is more important as an event to get stage time, performing experience, and trust me, if you are prepared and good, your life will change with your classmates. You usually only get 5-7 to maybe 9 minutes of a performance time slot so all you really need an 1, 2, or 3 performance pieces depending on types and styles, etc.

Aldo keep an eye out for other kids/teen events in your community, at your local magic shop/store if you have any, here in the states we have cub scouts, boy scouts, and girl scouts. There are many, many more ideas that will come to you as you begin to learn the business side of performing and being a magician. Those that never do (learn the business side of magic), never discover the many possibilities.

Once you gain some performing experience in these type of events, those can then lead to performing for families, seniors, and a variety of other types of events.

For now work on making your initial Foundational level decisons as that will set your pace and path on how and where to proceed.

There is absolutely nothing wrong asking for advice and direction BUT there comes a time where YOU need to pay YOUR dues. By that I mean you can get all kind of advice on how to swim, then there is getting in the water on your own.

Those of us who have performed on a regular basis purchased books, went to lectures viewed countless dvd's and dowloads,
rubbed shoulders with other magicians at a SAM or IBM clubs.

No one knows YOU better than YOU. Asking what effects to perform might work for one person but not necessarily for another. There is no easy way or shortcut to exploring more about who you are and what effects you can make uniquely you.

I suggest you take the road less traveled. Yes, you have limitations financially as well as being able to travel at 12 years old but I've seen many young guys make some extra money so they can buy a book, a lecture or a dvd. If you want to get to your destination performing as a magician then you are going to have to roll up your sleeves and do what it takes.

Calling you a beginners seems harsh. It sounds like you aren't a card handling or sleight of hand beginner. But to say you're no longer a beginner magician, you gotta DO magic. Put that practice to use and start finding opportunities to perform magic. With more of that experience under your belt, you won't need us to tell you. You won't feel like a beginner anymore.

Hey everyone, sorry that I haven't been responding recently as I have been away on holidays with family. I think that once I head out and show some people some magic, I'll start to gain more confidence for performing. I know a Brisbane magician called Josh Norbido that regularly performs and is a professional magician. Do you think he will be willing to talk to me about performance and how to perform as well? I will put his website down below. I also would like to ask, should I do magic at school and should I start out doing magic for free and then turn it into a paid show. Thanks everyone!

https://www.joshnorbido.com/

You would want to do things in the proper sequential order. First learn and practice alone to work on your skills, technique, and execution. Then perform for real people to take what you've learned mechanically and start developing "performances" with your magic. Perform for real people not family and friends to get real reactions and true responses. The idea is to start to get some performing experience.

Do not even think about performing for money or pay until you are market-ready and have plenty of free performing experience under your belt. You can not get market-ready without gaining performance experience first.

Put you efforts into this and don't worry about pay. As for school, as I said earlier see if they have a student talent show, variety show, or any type of a student competition or showcase. This is what I would shoot for, don't just start doing magic in the halls or at lunch for friends and classmates. You will receive much stronger reactions and better reception doing the talent or variety show concept.

Hey Mindpro, thanks for commenting. I want to just want to make sure I understand a few things before we talk more. From what I understand, you recommend stage magic more than performing at lunch or halls as it will get me better reactions. Is that correct? As for stage performances, what tricks or concepts play well on stage e.g teleportation, mindreading, disappearing etc?
I also want to know, is performing at a age care facility a good idea? I just want to find ways of giving back to my community.
Thanks,
Hudson

Yes, you will receive much greater feedback and response from doing a stage/standup performance than you will by doing one-on-one or one-to-a-few during school/lunch.

The response will be stronger, the feedback will be greater, the after-affect of your performance will be much stronger, and it will position you as "the magician" rather than just a student who does a few tricks.

This is exactly why I said a student talent show, competition, or showcase is by far a better launching vehicle. People will talk and create much more of a buzz after one of these events. The difference will be huge.

If you school doesn't have one of these types events, you should approach the student council (student government, etc. or whatever it is called in your area) and present the idea of such an event and even offer to help run and coordinate it. It can be a fundraiser as if they charge $10 a ticket to attend the money can go to the student group. Also try to open it up to students AND FACULTY to be in the show as this will get the support of the teachers, the school administrators, and it will draw a much larger audience and have even greater impact.

I did one of these years ago at my middle school and people still tell me years later that they remember that cool event and my performance.

Even if you don't win, it will be well-remembered. Then if in one of your tricks you use a teacher to come on stage to assist you, the place will go crazy and the buzz will be even greater afterwards.

This is how you plan and structure a performance. It will also lead to some bookings for you if you do this right.

Remember this, if you do stage performing, they will easily accept and embrace any closeup work you may do, but the oppsite is not nearly the same. The stage performance will give you much greater credibility and positioning.

This can lead to your interest in doing community work.

As far as what type of material to do, you should first make some necessary foundation decisions. The foundational process is the most important as it will determine everything thing else to come which all will be built upon it. Do you want to do big box illusions (I wouldn't just starting out due to costs), do you want to be funny or do comedy magic, do you want to be deep, dark, and mysterious, or casual, goofy, and more relatable. This is about determining your performance style, persona, and image. Then once this and a few other foundational aspects are determined, it will guide you to the type of performance material you should be considering. This is why the foundational process is so important. It will be equally as important for both performing style and material, as well as for getting bookings, and eventually paid bookings and the performance markets you can choose to work. It is all based on these initial decisions.

Once you make these determination THEN you can start thinking about and deciding on what performance tricks or materials to use. Again, this is where I said doing things in the right sequential order is so important.

Whenever you talk about performing venues, you have to consider and understand the performance dynamics of each of these performance environments. For example, working senior or age care facilities, there are some considerations specific to that performance environment. Hearing may be an issue so be sure you have a sound system. Seeing can be hard or impaired so use bright colors, big movements, and concepts they can easily follow. Remember many times they can not get up to come join you for your trick, so maybe find those that can more easily get around or better yet things they can do from their seats to participate. Or use members of the staff (residents love to see their staff in magic shows).

However, let's say you were going to volunteer for a children's hospital, this would likely be more personable, perhaps going from room to room where a few closeup tricks would be better suited. Yet if you were to do bookings for community events, scouts, or community festivals, these would be even different yet.

Start to crawl before you walk, then walk before you try to run. It is a process.

But I work with, coach and train many kid, tween, and teen performers and the school shows I suggested above is typically the best approach as so many other things can come from this. You usually only have maybe 7-12 minutes in these performances which may use 2-4 tricks or routine performances, so this can be created, practiced, and rehearsed quite thoroughly and you can have a tight, well done, and memorable performance.

Hey Mindpro, sorry I haven't replied recently as school has started now in Australia. I would want to be funny and charismatic but also create meaningful magic for the audience. I don't know if I have asked this previously but should I just skip performing for family and just perform to strangers? I also want to ask what should I do in the meantime while I wait for a talent show or something I can perform in?
Also, if you don't mind, would you care to share your name to me? (if you want to keep it confidential that is fine as well)
Thanks,
Hudson


P.S if you have any other additional feedback that would help even though it's not related to my questions, that would be great! thanks.

As far as your question about skipping for family and friends, as I've stated previously in many of these cases of those who I've coached and assisted performing for family and friends was always problematic and a deterrent from where you are actually going. They are the low hanging fruit, as are girlfriends/boyfriends, co-workers, etc. They will never give you real reaction, responses, and true feedback because they know/love you. It is not real form the real world. This is not what you want or need.

So I always advise against this and have always had much better results. It can be a harsher reality because they will often tell you more like it really is, which is what you truly need to know, but it can sometimes be harsh. SO many that perform for family and friends soon find out that they aren't getting true feedback and reactions and you start believing this false belief. Then you have to start again with real people. I say just elimintae the family and friends thing as what you have to gain is much less than what can hurt you or work against you and set you back.

Now, let me go back to what I had told you about perception of closeup vs. stage/standup magic performances. While I explained it, let me expand in this a bit more.

You have to understand how magic and the industry works. Many magicians two or three times your age do not understand this so please do not feel alone.

The great thing about magic is it can work on a variety of levels from one-on-one personal magic, to theaters and auditoriums for thousands of people. It can also work for mediums such as broadcast television, videos, and the internet that can reach audiences in the millions (this can be both good and bad as you will eventually learn.)

But from an entertainment industry perspective and understanding, and a consumer booking mentality, magic often is seen and received differently than it is within the magic brotherhood. While many magicians won't admit it (some will which is great) all magic is not seen or perceived the same.

There are many examples of this but on the most basic of levels is the difference between closeup and stage. You will see many closeup magicians (regardless of strolling, street, busking, mingling, tableside, etc.) that while they can perform in closeup situations, they cannot perform a standup or stage show. They are two hugely different things. It is very difficult to take somethings that plays small, intimate, and personal in a one-on-one or one-to-a-few setting, and make it larger for the stage and play for a larger stage audience.

However, the opposite is not true or the same for a stage performer. They can much easier, take some things that plays larger on a stage for a large audience, and bring it down to something smaller for Parlour, and then even more for closeup of most varieties. You will find many stage magicians that can also do or offer closeup, strolling, tableside, or mingling magic. Some even package them together - An hour of closeup magic during the beginning of an event (upon arrival, during social or cocktail hours, after dinner, etc.) followed by a 60-minute feature stage show.

Also, do you see the immediate difference in the value of the magician? The closeup guy tends to only have a minimal value, where the stage performer is seen to be worth much more, and have greater perceived and actual value. A stage performer can easily earn $2,500, $5,000 or $10,000 per show, where a closeup magician couldn't typically come close to this.

Also, right or wrong (but it is what it is) a stage performer is seen as much more credible and professional in the greater picture.

This is just one example within the entertainment industry (not the magic community) of how perceptions and understanding differ greatly.

This is also why in the examples I gave you of performing at a school talent show, variety show, or competition will be much more powerful, exciting, and impactful than just doing a few tricks during lunch, in the halls, or between classes for a few school mates. Again, huge difference.

Have you noticed none of this has anything to do with what tricks you do or don't do, or how good your double lift is, your misdirection, or your Hindu shuffle? Yes, the magic is important, way too important of the focus of most magicians, but in the real world, from an industry perspective (for anything other than just a amateur or hobbyist) this should be a given for a professional and it is the greater picture which often is the deciding factor and perception.


In the meantime before the school show you can seek other performance opportunities when you are ready volunteering your performance service for kids or teen venues and events - camps, boys/girls clubs, scouts, and so on, but be honest with them - tell them you are a new, amateur magician looking to gain some performance experience and you were wondering if you could come and perform for them for about 15 minutes to gain some experience and get some feedback. This way if you flub up it is not for someone who is paying you and your audience understands you are an amateur seeking to gain experience. It can be a win-win situation. They can have some fun entertainment, they feel like they are helping you, and you are gaining some real performing experience.

I would say work on creating a solid 12- 15 minute show that is good, scripted, tight, with solid transition between effects, with a great into anf first reflect, and of course a solid buildup final effect/ending/climax. Work on this over and over until it is polished and market-ready.

As I said, just learn, study, practice, rehearse, and then when ready find real people, a lay audience to work on/for and try to develop your performance.

Perform for real people not family and friends to get real reactions and true responses. Some think this is hard but it is really not once you understand to go about it. While I do not think their responses are necessary real either you could always join or start a teen magic club and this allows you to perform for others with the same interests and often each can help grow and expend each other's abilities.

For those that have followed me here for decades they understand that I speak openly and form experience and often say the truths that I wouldn't want my clients and customers to know. Because this is a publicly searchable forum, I have to participate here under a user name as a national touring headlining performer I can't take the chance of having those that book me or are the audience to my performances be able to to follow me here under my real name. so no, I choose to keep that private, sorry. I'm sure eventually you will figure it out. I hope you understand.

My other very strong thought is do not try or do mentalism. It is not very real or plausible for a magician, especially someone your age. If anything, at the best, maybe mental magic but I really don't even recommend this.

Thanks Mindpro! Sorry that I haven't gone around to replying as I have been very busy. I have a question slightly unrelated to what we have been previously talking about. As part of the magicians code, it says never reveal a magic trick. How far should this code be taken? I also would like to ask, if my friends want to see a magic trick, should I show it to them or say no?


thanks,
Hudson

One last thing, I have noticed that you seem opposed to me doing mentalism which I think would be a good idea, but I want to know, if you are opposed to me doing it, why are you a mentalist?

Hudson

There are MANY reasons for this but I will give you just a few to start.

If you try to perform any magic with your mentalism, all of it, everything will be seen as only magic.

First, you need to truly understand the difference in Mentalism and Mental Magic. Magicians are notorious for mistakenly believing they are the same thing and interchangeable. They are not. Mental magic still operates under the premise, belief, and expectation of magic. Mentalism does not, it is exactly the opposite.

If you want to add some Mental Magic (mental or mind-based tricks) along with your magic tricks, sure go ahead this is fine as to the audience they are the same thing. It is acceptable. But do not say you are doing Mentalism as that changes the positioning, belief, expectations, and credibility.

Magic and Mentalism are opposite in basis and to an audience. Magic, as everyone knows and expects is based on illusion, deception, trickery, misdirection, and they (the audience) know it is not real. They suspend their disbelief.

Mentalism is the complete opposite. The expectations are opposite. They (the audience) believes this is real or at least plausible. They believe you (the performer) has unique abilities of ESP, enhanced intuition, clairvoyance, telepathy, psi, mindreading, telekinesis, etc. They want (and expect it to be real, believable, and not tricks or deceptions.

This is also very hard for someone young to do (most adult magicians can't do it well either) and be seem as believable. Mixing the two is essentially saying "I am a magician but, wait, I also am psychic and have these special abilities." It is very discrediting and you are asking the audience to believe you are two things. Extremely hard to do and especially for a 12 year old. Plus your classmates know you, they know you aren't psychic or don't have these such abilities, so they wouldn't buy it and would likely turn against you which as a performer you definitely do not want. Credibility is important so you don't want to do anything that is discrediting.

People do not see mentlaism as just a trick as they do with magicians.

I always advise those that want to be mentalists to commit to it, to drop anything that could or will be seen or associated with or as magic and spend time (years) settling into the role of being a mentalist and even then I only suggest displaying two or three abilities, not trying to do too much which can also become unbelievable to audiences (you see guys that claim they can read minds, bend silverware, predict the future, have super memory, and have psychic abilities.) Mentalism done right is hard to pull off properly and effectively. This is why I say, regardless of what magician's call it, regardless of what their websites say, regardless of what they say or call it in their youtube videos, most are not really doing Mentalism, they are doing Mental Magic. This becomes a real distinction for real-world performers (not to amateurs, hobbyists, and the delusionable.)

Why did you think mentalism would be a good idea?

I suppose I thought mentalism would be a good idea because I thought it was the same as mental magic, but now I know the difference. By what I understand, Mental magic is still magic as you are displaying it like you are a magician, but saying your a mentalist is more of a supernatural thing, not a magic thing. Is that correct?

If my friends (who know I'm a magician) wanted me to show them some of my magic, should I show it to them or wait till I perform on stage? I also want to know, what should I say if I am challenged to do a trick twice? How can I deny in a way that is both respectful and gets them to stop asking?

As I start to develop my magic show for stage, I want to make sure I'm choosing the right tricks to perform. Do you know how I can perform to teenagers so that they can have a good time and not heckle?

On a side note, are cards still appropriate to use and do audiences still understand what a deck of cards is? e.g there are four suites, 52 cards etc.

I think I am starting to understand more of what a magician means and actually does, so thankyou!

2 ideas -1. ask them if they can keep a secret= they say 'yes' then you say, 'so can I' <> 2. for repeating "do a trick" - "do a trick" - "do a trick" - ask THEM for a coin or better yet a $ Bill - do a trick with the $ bill - then put $ bill, in YOUR POCKET - if they question ? - You say you do "Magic to Help your Family-they Thank You" - Often I'm asked "How do You do the LEVITATION ?" - I say "My Wife has a Lot of IRON in Her System" and "I have a MAGNETIC Personality " Hmmmmmm

On Apr 30, 2024, Hudson52Sleights wrote:
I suppose I thought mentalism would be a good idea because I thought it was the same as mental magic, but now I know the difference. By what I understand, Mental magic is still magic as you are displaying it like you are a magician, but saying your a mentalist is more of a supernatural thing, not a magic thing. Is that correct?

Yes, correct. Mental Magic can still work within a magic performance depending on the style of magic you are presenting. Congruency is important to make it work correctly. I see way too many magicians doing a mental magic routine that doesn't fit with them their style and the natural progression their their show, yet they do it because they think "mentalism" is popular. The problem is that bad mental magic stands out like a sore thumb to audiences.



If my friends (who know I'm a magician) wanted me to show them some of my magic, should I show it to them or wait till I perform on stage? I also want to know, what should I say if I am challenged to do a trick twice? How can I deny in a way that is both respectful and gets them to stop asking?

If you do not want to perform for friends and family I suggest not doing it and staying away from them. The problem is most magician's ego will not allow that to happen. This is why I stated earlier find real audiences to perform for then these types of situations will not happen. Also if you are a stage performer, they will never ask for you to "do it again." This only happens to closeup performers. If you do attempt to show them something (again, I strongly suggest against it as once you do, you will always just be a kid who does some magic tricks" Once you are labeled that you will always be that to your audience/in their minds) be sure it is not the same material in your stage show.



As I start to develop my magic show for stage, I want to make sure I'm choosing the right tricks to perform. Do you know how I can perform to teenagers so that they can have a good time and not heckle?

Yes, have control and study audience management. So many magicians set themselves up for hecklers. They bring it on themselves. They say things like "how are you doing tonight?" An open ended question like those will almost assure some smart-a** responses and heckling. Same for selecting audience volunteers to assist you with a trick on stage - audience management and control is the key. Without this I would advise against doing it as you are just setting yourself up for problems, especially if you select the wrong person (very important). Having a tight, upbeat, fast-paced (no lagging) performance for each routine helps prevent this. Perform tricks, routines and premises that are easy to understand, easy to follow, and have a big or unexpected payoff. Remember, choosing tricks or effects is an art and science in and of itself as there are so many factors to consider. Everything must have a distinctive reason and purpose. Your set must build form the beginning to the strong climax/finish. We could talk for hours on selecting the right performance material and how to proerly create and structure a show.



On a side note, are cards still appropriate to use and do audiences still understand what a deck of cards is? e.g there are four suites, 52 cards etc.

Many magician's will debate me on this. The main performance market I have worked for four decades has been the school market (assemblies, family nightss, fundraisers, year-end events, and more). I have performed for over 20 million people, so I know working with kids, tweens, and teens. Magician's will tell you "Sure they know a deck of cards" but in my experience they do not and each year it seems they know less and less. Cards are not natural as they were 40, 50, 60 years (and more) ago. When was the last time you played cards with a group of friends or peers? Maybe with some older relatives, but usually not kids or peers. Some might know something about cards, but not all 4 suits (maybe hearts and diamonds but many don't know clubs and spades), how many cards in a suit or deck, what a Jack, Queen, and King are, card/point values, even worse when you tell them to remember a card they can't very well if at all. Most can not shuffle at all, or even know what "Cut the deck" means. It can blow the entire routine.



I think I am starting to understand more of what a magician means and actually does, so thankyou!

Yes, I can see you are starting to understand and think along the right path. As I mentioned earlier try to stay away from magician's thinking.