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Tricks that would be appropriate for a grand stage
- Thread starter SportsMagician54
- Start date
There are tons of tricks you could perform on a large stage, especially when you have cameras
everywhere.
However the first trick that comes to my mind when talking about stage magic would be the Signature Sketchpad Card Rise. But you could also do a rope routine, some kind drawing duplication, ...
Your options are endless!
everywhere.
However the first trick that comes to my mind when talking about stage magic would be the Signature Sketchpad Card Rise. But you could also do a rope routine, some kind drawing duplication, ...
Your options are endless!
Do you have tons of cash to spend?
Big Magic cost some seriously big bucks. . . the average major stage effect starts at over $2,000.00 USED with a common retail being close to $10,000.00 per piece, some pieces taking you into the $15,000.00 and as high as $80,000.00 range. So you may want to be a big more item specific with your question.
A stock Thin Model Sawing of the 1960s to present era can be had for around $2,500.00 used, depending on the builder (a bit more with ATA cases -- you always want to get cases with your props!)
A Wakling Sawing of the sort that's popular currently, probably won't be found "used' and even if it were, you would be looking at well over $6,500.00 for it. . . in other words, you need to learn about each variation of an effect that interest you and find the pros & cons on both, the general effect as well as the builder; not all props are the same -- an Owen or Bill Smith Sawing is considerably more thin (to the eye) than an Abbott model, for an example and when it comes to big props the deceptive design is what makes it or breaks it.
Larger Scaled Hand Props or what we use to call "Illusionettes" (Head Box type effect, guillotines, shooting a ribbon through a lady, etc.) are a great place to start as are those larger effects such as you find in the back of the Mark Wilson course as well as those featured in Tarbell . . . pieces you can make using little other than large sheets of cloth or cardboard.
JUST A QUICK NOTE. . . there is a reason why fresh acts just getting into the stage magic world start with the following illusion systems. . .
A Sub-Trunk -- it's a great illusion and you can pack most of the show into it as well.
Hindu Sword Basket -- an excellent illusion and again, you can use it to pack your smaller props when traveling.
Zig Zag (or similar) -- usually packs small, plays big and has no angle or lighting issues to speak of.
A Suspension -- levitations have angle problems, suspensions however, are designed to minimize such issues, especially the Broom or Sword Suspension vs. something like the Super X or Blaney. Suspensions play big, pack small and are a classic. Too, they are comparatively light weight.
If you look around you'll see that this list is very close to what you find in 80% of all acts starting out in big stage with the exception of using effects that employ a "slight-of-person" technique like the Victory Cartons or Triangle Illusion. . . and understand, such effects are quite viable when you have control of the audience perspective and staging; use them when you can in that they are reputation makers.
Hope this gives you some decent insight on things.
Big Magic cost some seriously big bucks. . . the average major stage effect starts at over $2,000.00 USED with a common retail being close to $10,000.00 per piece, some pieces taking you into the $15,000.00 and as high as $80,000.00 range. So you may want to be a big more item specific with your question.
A stock Thin Model Sawing of the 1960s to present era can be had for around $2,500.00 used, depending on the builder (a bit more with ATA cases -- you always want to get cases with your props!)
A Wakling Sawing of the sort that's popular currently, probably won't be found "used' and even if it were, you would be looking at well over $6,500.00 for it. . . in other words, you need to learn about each variation of an effect that interest you and find the pros & cons on both, the general effect as well as the builder; not all props are the same -- an Owen or Bill Smith Sawing is considerably more thin (to the eye) than an Abbott model, for an example and when it comes to big props the deceptive design is what makes it or breaks it.
Larger Scaled Hand Props or what we use to call "Illusionettes" (Head Box type effect, guillotines, shooting a ribbon through a lady, etc.) are a great place to start as are those larger effects such as you find in the back of the Mark Wilson course as well as those featured in Tarbell . . . pieces you can make using little other than large sheets of cloth or cardboard.
JUST A QUICK NOTE. . . there is a reason why fresh acts just getting into the stage magic world start with the following illusion systems. . .
A Sub-Trunk -- it's a great illusion and you can pack most of the show into it as well.
Hindu Sword Basket -- an excellent illusion and again, you can use it to pack your smaller props when traveling.
Zig Zag (or similar) -- usually packs small, plays big and has no angle or lighting issues to speak of.
A Suspension -- levitations have angle problems, suspensions however, are designed to minimize such issues, especially the Broom or Sword Suspension vs. something like the Super X or Blaney. Suspensions play big, pack small and are a classic. Too, they are comparatively light weight.
If you look around you'll see that this list is very close to what you find in 80% of all acts starting out in big stage with the exception of using effects that employ a "slight-of-person" technique like the Victory Cartons or Triangle Illusion. . . and understand, such effects are quite viable when you have control of the audience perspective and staging; use them when you can in that they are reputation makers.
Hope this gives you some decent insight on things.
Heres the thing though, i don't really like performing "old school magic," I feel as though people have seen it before and it just doesnt have the same effect anymore. By grand scale i mean't something along the line of what Collins Key performed on AGT and what Justin Willman performed on Ellen. ( have the spectators think of words, and the words were already written on a paper.)
What Collins Key and Justin Willman are doing is not really grand stage magic even though it is being seen by a large scale audience. Some of the routines may fall into the 'parlor' scale of magic but both have done things that are basically close up magic that is using the fact that there are cameras and screens all around.
With AGT it is really all about presentation and charisma (with charisma coming out on top in the end as it is really a popularity contest when all is said and done). The plus to this is it opens up any piece of magic that you would like to preform as they will project what you are doing on huge screens so everyone in the audience can see. You just need to present it in a grand way
Do you have a venue that you will be performing in or are you thinking of trying out for AGT?
With AGT it is really all about presentation and charisma (with charisma coming out on top in the end as it is really a popularity contest when all is said and done). The plus to this is it opens up any piece of magic that you would like to preform as they will project what you are doing on huge screens so everyone in the audience can see. You just need to present it in a grand way
Do you have a venue that you will be performing in or are you thinking of trying out for AGT?
This is thinking like a magician. Just because something is old doesn't mean everyone has seen it. The effect where you tear paper into the shape of butterflies and then they come to life is being sold for a good chunk of change but it is in a book from the 1880's If I wasn't moving and already had my books packed, I could tell you the page number. What you need to remember is people do not go to a ton of magic shows. They do not sit around on youtube watching magicians perform. Even then taking something and making it fit you can make it seem like a whole new effect.
I'm a pretty popular kid in my school, and a lot and a lot of people told me to try out for AGT, so i was thinking about doing it next no this upcoming season but the season after that. I'm not the most skilled Magician but i feel like i gave the charisma and presentation. Thank you for the advice.
Thank you for that advice, i never really thought of it that way. I just want to stay away from tricks that use "props"
I know what you mean but if you change the look of something then it no longer is a "prop" but it is something handed down through the first born of your family. Or it was something you found in an out of the way second hand shop. When you take the time to make the effect your own then they no longer see a prop but something unique and wonderful that you are willing to share with them It makes it much more magical. It is at the point you stop doing tricks and giving them a glimpse into the wonder.
Well first things first if you only have time to do one effect (IE: Competition magic show) DON'T DO CARD TRICKS! Rising card, Sketch a Rising Card, Card to Impossible Location, etc. They are trite, over done, and completely all too common. If you are actually doing a show of good length then stick to highly visual stuff like Tossed Out Deck, or Invisible Deck, but even those may not play well for an auditorium of people.
I don't even have to read Craig's reply to know what he's going to say because I know him well enough. And He's right. Most traditional grand illusions that work on a venue that large are going to be expensive even to rent for a night. Unless you have access to a lot of cash building a grand illusion show from scratch is going to be an investment. A typical sixty to ninety minute grand illusion show typically features anywhere from seven to ten illusions, and following Craig's price points, that can get costly.
The kind of "magic" you're describing with the mind reading, Justin/ Collin stuff is called Mentalism. If you have never heard of it before then you're probably not ready to perform it. It's a lot more than just sleight of hand. It's character, acting, psychology, all rolled into one. If you want to start learning mentalism then I recommend getting a Mental Epic board and Corrinda's 13 Steps to Mentalism book. That will get you started off on the right foot.
I don't even have to read Craig's reply to know what he's going to say because I know him well enough. And He's right. Most traditional grand illusions that work on a venue that large are going to be expensive even to rent for a night. Unless you have access to a lot of cash building a grand illusion show from scratch is going to be an investment. A typical sixty to ninety minute grand illusion show typically features anywhere from seven to ten illusions, and following Craig's price points, that can get costly.
The kind of "magic" you're describing with the mind reading, Justin/ Collin stuff is called Mentalism. If you have never heard of it before then you're probably not ready to perform it. It's a lot more than just sleight of hand. It's character, acting, psychology, all rolled into one. If you want to start learning mentalism then I recommend getting a Mental Epic board and Corrinda's 13 Steps to Mentalism book. That will get you started off on the right foot.
Bad idea, very bad idea. You ever see those auditions on X-Factor or that other singing show that alludes me at this moment. You ever wonder why a good half of those people end up looking like complete fools on live TV in front of MILLIONS if not more people? Because they listened to their friends and family tell them "You should go on TV, you're pretty good!"
As far as the stage effects that Craig listed, they are pretty damn good but aren't effects that you are going to just be able to pull off on your own and not something I would suggest you learn to impress your friends. If you want to impress your friends there a ton of magic DVD's and books that will and can save you a lot of heartache in the future.
Though, if you are seriously considering parlor or stage magic then I'd suggest you try to steer clear of AGT and focus more on doing local stuff.
For as huge as magic seems to insiders, it's actually a very small part of the entertainment industry and as such, very few lay people have witnessed a live magic production of any caliber; especially when it comes to grand illusion. I can assure you, even now I can make an audience gasp when I separate the two halves of a sawing cabinet, but that's because I know the effect, the timing, etc. I also know how to get an army of fundamentalist Christians to picket my "satanic" shows that feature blood filled routines like the Cremation, Buzz Saw, Impalement, etc. roughly 5 gross illusions mixed amongst a dozen classic rope and comedy effects with absolutely NOTHING "satanic" remotely involved outside of the Cremation opener . . . and we used a very low end cremation system that was at the "ancient method" category.
If classic magic were to no longer work we would not see $100.00 + prices on Linking Rings, Chinese Sticks or the Cups & Balls nor would we see the prices I noted previously, on effects like a Sword Temple or Crystal Box. Then again, we wouldn't see shows by people most of us have never heard of, that make millions a year and they do exist.
The "Big" trick Colin performed was the Master Prediction system which I believe first hit the scene in the 1970s. It was an exclusive of Dick Zimmerman's for years only to be marketed by Doug Malloy a few years ago, with Dick's blessing. We're talking about a $2,500.00 + effect however. Most of the rest of Colin's stuff involved pre-show, bad actors (confederates) and (to the trained eye) obvious arrangements. . . very little in way of actual talent. Colin got as far as he got because of youth, cuteness, charisma and coming from an "upper-middle-class" background. . . like it or not, such things are always a consideration. Compare Colin to Kevin James who is far more technically savvy, innovative and literally talented. Kevin delivered one of a kind illusions to AGT that got tremendous reactions and yet, he didn't move up the ladder as far. . . why?
Kev is a giant for starters . . . a very big man in his 50s vs. a cute kid in his late teens -- not a fare standing and yet, it is one of those things that will win competitions and jobs. One of my biggest problems in getting work centers on the fact that I'm in a wheelchair and people don't want to see a cripple on stage; it makes them feel awkward and in many ways, it threatens them because we are winning at life vs. feeling sorry for ourselves over the least little thing. . . which far too many "healthy" folks tend to do.
Looks, energy & character are what count the most in this industry called "show". If you have them you can fill the stage in the public mind, doing the Gypsy Thread or Paper Wads Over the Shoulder . . . both Henning & Copperfield proved this.
Bottom Line, bud. . . it's YOU that must fill the stage. . . your personality, not the tricks you're doing. While the effects are important (you are a magician, after all) it's how you present them and "make them your own" that's important. My mentor used to do a two hour grand illusion show, literally featuring the most legendary illusions of magic history (actually using props from the Thurston, Kellar, Dante & Blackstone Sr. shows and then some) but it was the smaller effects, specifically a routine known as the Orange Bowls, that the audience talked about most. . . a simple, elegant bit. Copperfield's top two routines that get the most chatter post show is the Kevin James Floating Rose routine and his Dancing Silk "the Bar" act. not his massive effects.
I hope you can understand what I'm saying here and why 1.) you're very wrong when it comes to "the old stuff" (give me the Thurston Sawing any day of the week and I'll slay a modern audience with it); 2.) it's not the physical size of an effect that's important. I'll point one other thing out to you. . . most of the "New" big illusion stuff you see on the market these days, is just the reworking of a far older piece -- an up-dated version. When Ken Whitaker and I developed Shadow Vision we were referring to it as being the Zig Zag of the 21st Century because it was on so many levels (just not as convenient. . . oi! the headaches).
Ok. . . lecture over. But think about it.