(Hank) Moorehouse 1934 – 2011 - The Society of American Magicians

This monTh we finish our inventory
section in the binder. We’ve organized
our tricks, but we carry a lot
more than that to each performance. Some
of us use a PA system or a backdrop curtain.
A few of us have our own lighting
system or a portable stage. You should
have a separate list for all of the accessories
you take to each show.
I have several tables, each designed for a
specific purpose. I’ll use my suitcase table
as an example. My permanent suitcase
table inventory includes a servante tray,
a close-up pad, and a folding lint brush
to keep it fresh. I carry rechargeable LED
lights with charger to illuminate the inside
of the case.
I have a tool kit that includes nail
clippers. Did you ever break a nail while
setting up? Those rubber squares that go
under table legs are handy for blocking
your wheels. Some outdoor stages are
not on level ground. One of those large
gag cellphone magnets goes to every
show, because that has become a common
problem.
I always carry one of those oldfashioned
movie clapboards as a
permanent out. Mine says: “Polish Wiserd
Magic Act, take 137.” When you can’t
think of a comeback, it always works.
Making fun of yourself keeps the audience
on your side when something goes wrong.
Not only are each of my tables inventoried
in a similar manner in my master
binder, a copy of the inventory is on an
index card in each table. I refer to it both
when packing for the show and when
breaking down after the performance.
There is room on the card for notes, such
as “put fresh batteries in the system.”
This is work the audience never sees,
but it is necessary if you want to convey
the image of a professional entertainer.
It will enable you to concentrate on your
presentation instead of worrying if you
remembered to load your rabbit in the
Square Circle. Being organized buys
you time, a commodity that is generally
unavailable at any price.
78 M-U-M Magazine
CONFESSIONS OF A PAID AMATEUR
ROD DANILEWICZ
Finally, we get to the magic. The reason
we cleaned house in phase one can be attributed
to a statement Jamy Ian Swiss
includes in his lectures. He says, “If you
have been involved with magic for at least
five years, you do not need more tricks.
You will do better as a magician to perfect
the performance of a few effects that are
suitable for your stage personality.” He’s
right.
I fell into the same trap we all do at
the beginning, I’m always working for
hometown folks. I needed new stuff for
every show. That gets expensive, and you
end up doing three hundred tricks poorly
instead of becoming an accomplished
entertainer. It took me almost six years
before I applied the brakes. Why is there
no twelve-step program for recovering
magicians?
When I had completed all of the steps
described over the past few months, I
finally had a sense of direction. I now was
aware of what type of magician I could
become based on tricks I had kept that
were enjoyable to me. I had created a solid
foundation on which to build.
On the surface it appeared I had a
larger problem. I was still performing for
the same people, but now I had fewer tricks
to share with them. I solved the problem by
creating different shows with the materials
I had. Because I do mostly children’s
shows, I decided to create three different
shows for kids.
A page for each went into the inventory
section of the binder. I do a lot of repeat
shows, so I have three years of “new”
material. In year four you can repeat show
number one. Most organizations have an
age cut off for attendees, so your audience
does change.
I did the same with shows for adults
suitable for stage or parlor. I have two
walk-around shows and one mentalism
show, which is not done seriously. I don’t
feel comfortable having people come up
after a show for a private reading concerning
their upcoming heart surgery. I have
spoken with mentalists who have had that
happen.
I have close-up shows, table magic
shows, and even an inventory for
impromptu performances. I have fourteen
different shows I can do for local audiences
before I have to repeat a performance
verbatim. This was accomplished after
reducing my inventory to just fifty tricks.
This is work the
audience never sees,
but it is necessary if
you want to convey the
image of a professional
entertainer. Being
organized buys you
time, a commodity that
is generally unavailable
at any price.
All instantly resettable card and coin
tricks have a separate inventory page.
Finally, I have a page for filler material
such as Tricks for Food or Grave Mistake.
Add pages as needed for things you do that
I don’t, such as large illusions or balloon
animals.
I have a personal problem with
magicians who are always on. In the April
issue of M-U-M, Bruce Chadwick said,
“A good magician always has a trick in
his pocket.” In his 1951 book Scarne’s
Magic Tricks, John Scarne stated, “As a
magician you must always be on stage.” I
see the value in being able to do something
on the spot that might result in a booking,
but pulling sponge balls out of your pocket
seems a bit contrived.
My list of impromptu magic is
composed of everyday items – for example,
rubber bands or coins. Even doing a prediction
using the PATEO force with items
on the table can be effective. There are a
few innocent magic items you could ring
in such as a Pen through Anything. I think
the magic is stronger when you’re put on
the spot and can perform while seemingly
unprepared.
Next month we finally get to the actual
tricks. We are, however, still a long way
from building a show that has entertainment
value. It’s time you began thinking
about performing magic from your
customers’ point of view. �
Email me at polishwiserd@sbcglobal.net