Approaching_Tables by Dominic Reyes

Approaching Tables by Dominic Reyes

Copyright 2014 Merchant of Magic Ltd All Rights Reserved

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Introduction I was panicking like crazy. Why on earth had I agreed to do this? That’s what was going through my head as I sat at Table Four and watched my fellow guests finishing their meals. I had agreed to perform magic at a friend’s wedding. This would be the first time I would approach a group of people sat at a dinner table and ask them if they wanted to see some magic. I hoped it would turn out fine. It didn’t go well. I had agreed to do an hour of table magic after the speeches. I was really nervous. My mouth was so dry, I couldn’t even finish my meal as I waited for that moment when I had to stand up and start going from table to table. When it was time, I got up, pulled out my deck of cards, and looked around the room. I didn’t know most of the people there, and everyone seemed deep in conversations around their tables. Where should I start? How do I begin? Why on earth had I agreed to do this? I randomly picked a table, walked up to it, and waited for everyone to stop what they were doing and start becoming an audience. That didn’t happen of course. Instead I was left standing there for what seemed like 10 minutes (although it was actually only about a minute) whilst everyone continued chatting around the table. In the end I butted in, apologised for

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interrupting, and asked if they wanted to see some magic. The two people either side of me said that they did, but most of the guests at the other side of the table just resumed their conversations. I then proceeded to perform two tricks for the couple of people nearest me. Halfway through the second trick, the waiters arrived to clear the plates and pretty much ended the trick right there and then. It was a total failure and shook me up quite a bit. I could have easily given up right there and then. It was right at that moment, during my first attempt at entertaining a group of strangers at their table that I realised that there was far more to being a magician than the magic tricks I had spent years practising. I was going to have to up my game! 20 years later, I now see many magicians that have decided to start performing magic face exactly the same realisation. One of the most common questions I get asked by the magicians I coach, or students that come to the magic shop for advice is: ‘What’s the best way to approach people to perform close-up magic?’ The answer I usually give is ‘it depends’. There are as many ways to approach people as there are situations that require an approach. There really isn’t a single formula that you can learn and copy word for word.

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Why is that? Every event is different, each magician is different, and pretty much all spectators are different too. Approaching people effectively isn’t about following a set technique, it’s about reading the situation and making sure that you are prepared to react to what you see happening in that moment. Approaching people is about people skills. The secret of a good approach is a combination of self-confidence, understanding social cues, manners, and correctly assessing the environment around you.

There are tools you can use Having warned you that there is no set ‘patter’ that will work perfectly for every approach, the good news is that there are ways to easily identify the best method for approaching a group, and several techniques that can make your approach far easier and more effective. In this book I will share what I’ve learned about approaching people to perform table magic over the past 20 years. The tips and advice are intended to give you a feel for what to expect, ways to be prepared for most situations; practical tips that will make a huge difference to the reactions you get when you join a group and the degree of attention your guests will show you right from the beginning.

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If you have any questions, or would simply like to give me some feedback, or maybe some tips that you feel should also be included, I would love to hear from you. You can reach me at www.DominicReyes.me and read the blog at http://blog.magicshop.co.uk

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Close-up magicians versus Stage magicians Close-up magicians have it tough and stage magicians have it easy. OK, that’s not really fair, but magicians that perform close-up magic have some serious issues that stage magicians don’t face. I’m going to start things off by looking at differences between stage magic and close-up magic, so that we can highlight some of the specific issues that need to be handled when you approach a table to perform close-up magic.

Choice The audience for a stage show has chosen to see you perform your magic tricks. With table magic, the audience doesn’t know who you are or even that you will be performing. You need to win over each table as a new audience. This gets easier as the event goes on, as tables hear the reactions from previous tables, but you still have to make a great first impression over and over again.

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Location The audience visits a theatre to watch a magic show. They make the decision to come to you to watch your show. With table magic, you go to them. Because of this, the locations are very different. With a stage show, you create the environment that the magic tricks are ‘staged’ within. Table magicians need to fit into a larger context, so your magic must be designed to complement an existing event. You need to be prepared for surprises.

Lighting Stage magicians can ensure that the lighting for the show is perfect for the magic tricks they will present. If you need a ‘dark’ area you can make sure that happens at just the right moment. If you need the lighting to focus attention away from an object or from you, this can be easily built into the show. Close-up magic happens in random locations, often in restaurants and busy bars. The lighting can be too dark, or very bright, and you will have no control over it. You need to make sure that the magic tricks you can perform are suitable for as many lighting set-ups as possible.

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Sound Stage magic is supported by a PA system so the whole room can hear you. Sound effects can be added, as well as backing music. This can be used to change the mood and attention of your spectators when you need that to happen. Table magic takes place inside a larger event. It’s social in nature and happens in and around conversations. A band or loud music may be the background to your magic tricks, so you can’t assume that your audience will even be able to hear you. This creates a real challenge for you as a close-up magician. You need to engage with the spectators and entertain them, but, at the same time, you need to make sure that your magic can be understood even if the spectator can’t hear you very well. Good table magic is presented in sets of magic tricks designed for different sound conditions. You should have at least five or six magic tricks ready to perform should you find yourself in a situation where nobody can hear what you are saying. If you don’t do this, you may find you are limited in locations that you can work at a gig.

Set Stage magic has the advantage of being able to control the environment to reinforce the magic or the presentation within a particular magic show. Everything can be arranged exactly how you want it to present your magic tricks for maximum impact.

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Table magic has no controlled set. It may be in a bar, hall, café, or restaurant. This doesn’t need to be a disadvantage. The restaurant has objects, rituals and a structure that can be used to your advantage. Choosing magic tricks that complement the situations you perform in can turn the restaurant or bar into a perfect set. You need to be much more flexible and design your magic tricks to use the settings you have access to in a way that will strengthen and highlight your magic tricks. Part of your job as a close-up magician is to define your performing area and communicate that to the spectators very quickly when you join each group.

Costume Stage magicians can tell a story as much through their costumes as the magic itself. From a Chinese 19th century royal court, through to a sinister torture chamber; the act is set in a theme that communicates the story of the show. Magicians that perform table magic usually wear a suit. They match the costumes that their spectators wear. The goal is to integrate rather than stand out. When thinking about approach, this creates an issue. You will tend to look like either another guest, or possibly one of the restaurant staff. I’ll teach you how you can deal with this and use it to your advantage later.

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Seating When a stage audience is seated, they have been arranged in a position to pay full attention to the show. Table magicians have little control over the seating plan of the restaurant. The audience isn’t going to be seated so that everyone can see you. When you perform table magic, you need to move around. You need to engage different groups and capture people’s attention. It’s very important that you take some time to practice this and examine how your magic will work when your audience is not all sat directly in front of you. Beginners often struggle with seating, as they practice their magic tricks as if the audience is watching a stage show. When it comes to performing in a real-world situation, they become confused and unsure how to present their magic tricks as people move around or are seated in a way that could expose their magic secrets.

Attention The moment the lights go down at a stage magic show, everyone is paying attention. The stage magician’s job is to keep that attention and stop the audience either falling asleep or leaving. Table magicians need to win the attention of the group, and then keep it. Spectators can be interrupted, or become

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distracted by everything else happening. The food could be just about to arrive, or an argument could be simmering between the group. Your spectators could be in deep conversation, or even simply show no interest in your table magic at all. Social skills are very important for close-up magicians, probably more so than good technique. The audience has no obligation to pay you any attention, so you need to give them as many reasons to like you and find your magic entertaining as you possibly can.

Misdirection Stage magicians are being watched from the moment they arrive on stage. Many of the techniques of misdirection are different from those of magicians doing close-up magic. Close-up magicians, by definition, are closer to the audience. You will need to use misdirection techniques specifically designed for this situation. Tactics like eye-contact, crossing gaze, positioning, and questioning can all be used much more effectively in a close-up magic setting.

Applause We have all been trained from an early age to clap at the end of a stage performance. This is not so much the case for closeup shows. Because close-up magic is much more intimate, spectators tend not to use applause. They simply tell you how much they liked the magic trick they just saw.

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Unlike stage magicians, close-up magicians need to train their audience to give them applause.

Do This: Take a moment to think about these differences. List the magic you currently perform, and next to each trick or ‘set’ answer these questions: 1)

What practical steps can you build into the magic tricks you already perform that can communicate the need to clap after you show a group your magic tricks?

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Which environmental conditions would be ideal for each trick?

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How can you adapt various performing conditions to enhance the magic?

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What could you say or do to capture attention and keep the spectators engaged?

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How could each magic trick be adapted to increase the amount of participation and connection from the spectators?

So as you can see, life’s a bit more complex for us. We walk up to a table without introduction, and interrupt a meal in progress. We compete with so many other activities and

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distractions. How can we pick the right moment to approach a table? What should we look out for in those few moments before we start performing? Lets start right at the beginning, when you set off for your gig.

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PART 1

BEFORE THE GIG BEGINS

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Getting to the gig Practice, practice, practice, that’s what good magicians do! But now the magic is ready, and it’s time to perform to the public at their tables. No matter how good your techniques are, or how well you have marketed your services, it’s easy to make a simple mistake just getting to a gig. Here’s a few common mistakes I’ve made over the years and learned the hard way, so you can avoid them:

Not getting there early enough This goes without saying, but you never want to be late for a booking. Allow enough time to arrive an hour before you have to; you can wait in your car or at a coffee shop if you don’t want to enter the venue that early. This way you leave enough time to prepare in a relaxed and stress-free way. If traffic was bad, or a travel problem occurred, you have given yourself a buffer zone. Trust me, feeling rushed or worried you will be late for most of your journey is far worse than being bored waiting for your start-time because you are too early.

Forgetting to get the full address Sometimes clients don’t give all the address details correctly, or just give you the name of the venue and town or village. This is quite common for large country hotels. Make sure that you ask for the street name too. If in doubt, Google the venue and print out the address and directions from its website.

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Trusting your sat-nav with just a postcode The sat-nav lady says you have arrived, but you are stuck down a country lane! Large estates and country houses often have their entrance far from their postcode location. Check out their website for directions and try to enter a street name as well as the postcode.

Driving for hours in your suit Two hours in the car will crumple up your suit trousers. Travel in your jeans and have your suit in a good-quality travel bag. You will be able to change there, either in a room reserved for you, or just in a cubicle in the restroom. It may not be glamorous, but you want to look your best as you will be making a first impression at every table you visit. If you change at the gig, you will look so much better, feel fresh, and be smartly-dressed. After the gig, it’s great to be able to get out of your suit for the journey home.

Not keeping the client updated Sooner or later, you will be late for a gig. Train cancelled, car breaks down, sudden heavy traffic... If this happens, phone your client as soon as you know you are looking at a delay. Never leave them wondering why you are not there.

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Forgetting to pack everything Did you put your close-up bag or case in the car? Fresh decks of cards with you? You don’t want nasty surprises like that once you arrive at the venue.

Not checking parking is available Usually large venues are fine, but if it’s a town or city hotel, a restaurant or private home, check in advance with the client that a parking space will be available or a car park is nearby. Don’t trust that street parking will be easy to find. All this seems like common sense and each one is easy to avoid. The danger happens as you get busy and travel to gigs every day. It’s easy to get sloppy and assume everything will be OK because it always has been. That’s usually when a problem pops up. Being mindful and planning your journey to each gig, you get there relaxed and with sufficient time to complete the most important step to a good approach: scouting out the venue before the gig starts.

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When you arrive scouting out the venue Setting up a good approach starts well-before the guests have sat down. The secret is to approach a table without demanding everything stops to make way for you. In order to do that, you need to gather as much information as possible about situations that might have an impact on your time performing. When you arrive, it’s important that you take a moment to look around the area you are going to be working in.

Ask yourself these questions: The layout - Is there room to move between tables? Some restaurants pack tables in as much as possible, whilst others have pillars and archways that can make it very hard for you to move around the table to find good spots to access the guests. Make a note of any problem areas and choose in advance how you will deal with them. Black-spots - Are there places with limited visibility or bad angles? If you will be performing at a long table, will some of the guests be unable to turn around to face you and watch the magic? The serving flow - Where do the waiting staff enter and exit

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the room? Will you be in the way when you are standing at tables near their serving points? Waiting areas - Where are the best places to wait when speeches or awards take place? Is a side-room available? If a speech starts, can you easily leave the room without having to get in the way of the speaker? VIP tables - Where will the client be sitting? Where can you stand so that the VIP table gets to see you working the room and the other guests enjoying your magic? Can you easily get to them to give them some extra time? Bag corner - Where can your magician’s case/bag be stored and easily accessed? Can you find a side-room or quiet corner where you will have some privacy to set up, yet know that your bag will be safe? Table sides - Which side of each table would be best to perform from to get the best visibility, yet provide shielding from the other tables? Table time - How many tables will you need to visit? How much time should you allow per table? Once you have made a note of these points and made sure there are no nasty surprises, it’s time to introduce yourself to some very important people.

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Talking to the boss Take a moment to talk to the event-planner, client, or restaurant manager. Find out: ●

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Which tables have been served first and which tables will be next? In which direction are the waiting staff working through the room? Will there be presentations or speeches starting whilst you are performing? When will the live music start, and which section of the room will be hard to perform in once it begins?

Remember to ask the client if they mind you handing out business cards to guests if they ask you for one. Most clients will not mind at all and will often ask you for a few cards that they can give out too. Don’t be afraid to ask as many questions as you like. Be aware that the client or event-planner may be very busy, so don’t just chat, but it’s fine to ask for information as it shows that you are being thoughtful and professional.

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Talking to the staff When you perform magic in a restaurant you are part of a team. You’re one cog in the machine that is designed to give the guests a great experience, a fantastic atmosphere, and a wonderful meal. Being part of a team means that you need to consider the other team-members. Sometimes the restaurant may not have used a magician before. Take a moment to talk with the staff and reassure them that you will be an asset rather than a hindrance. Here are some points you may want to communicate to them:

When will the magician perform magic in the restaurant? Usually you will be performing magic in restaurants during the waiting time between a guest ordering their food and the meal arriving. Let the staff know that you will not approach a table while guests are looking at the menus, eating their food, or once the guests have asked for the bill. Restaurants care about turning their tables, so your job is to entertain during the waiting times the guests experience, not when they should be doing something to move the process of the meal forward.

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How performing magic in restaurants helps Let the staff know that the magician is a helpful tool for the restaurant. There are many ways that magic can help things run smoothly. If a table is facing a long delay getting its food, the staff can tell the magician to keep the table occupied. Let the team know they can call you over to a table when they need this service.

Magic in restaurants is exciting Suggest that the staff mention to the guests when they are shown to their table that a magician will be performing magic in the restaurant. Ask the staff to let you know as soon as possible if guests have requested to see your magic.

Interruptions If possible, mention that there are applause moments in the magic you will perform. In those moments the guests will be watching closely. Don’t boss the staff around, but if you mention this they will look out for it and soon understand when it’s not a good time to interrupt. This is also a good time to ask that waiters don’t offer drinks or canapés to a group if you are performing for them. Be polite about this and explain that you will not get in their way. If the staff are aware, then it will not ruin the magic for the guests.

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Talk about tips Assuming that you are not working just for tips, I recommend that you pass on any tips you receive to the main restaurant staff. Let the team know that a magician may increase tips because the guests will have a great time. If a guest insists on tipping, accept the gift, but check if the restaurant has a tip jar so it’s shared with everyone working that night.

Let the team know how a magician will help them Performing magic in restaurants is a bonus for the whole team. Let the staff know how magic will help them: ●

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You will entertain the guests and give them a great experience; Long wait times can seem shorter if guests are being entertained; A guest’s special celebration can have a magic trick to mark the occasion; The magician can identify any guest issues and bring them to the staff’s attention;

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Magic in restaurants can increase tip levels for everyone;

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Make regular customers feel extra special.

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It’s also important to reassure the staff that you won’t be a hindrance. Let them know that you will not: ●

Disturb the guests whilst they are eating;

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Interrupt food or wine presentations;

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Take their tips.

You don’t need to give a long speech to the waiting staff, but a quick chat just to mention these points will really help your interaction with the whole team when you start at a new restaurant. Performing magic in restaurants can be a fastpaced and challenging experience, so keep the restaurant staff on your side and aware of the help your magic provides.

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PART 2

YOUR FRAME OF MIND

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Get positive A good approach isn’t just about the things you say and do, it’s about how you feel as well. Many magicians get nervous before they approach a table. Good magic is as much about the performer as it is about the magic tricks. Being relaxed, presentable and communicating a positive attitude is very important. Even today, after many years of performing magic professionally, I still sometimes feel magicians’ nerves just before I start performing. It’s usually when there is something unusual about the gig. I take my time and wander around the event for a few minutes, getting a feel for the venue and the situation. After a short tour of the room, I move up to my first group of spectators and find I relax as soon as I start performing. Getting ready to perform doesn’t start at that moment. There are things you can do whilst setting up for your show, or getting your props ready for a close-up session. Let’s look at a few things you can easily do before you perform your magic:

1) Breathe, relax, meditate Suffering from nervousness before you perform can get in the way of your presentation, but it can also reduce your ability to perform sleight of hand. If you are stressed and unsure, your muscles will also be tense and that’s not good for your performance. Take a few moments to stop and breathe. Slow breaths in and out can really help you to relax. Breathe in

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through your nose and out through your mouth. Count your breaths slowly as you do this, counting to ten and then returning back to one again. As you do this, try to focus only on your breathing. As your mind wanders, gently return your attention back to your breath. Many performers also find that a simple visualisation can help. As you breathe out, imagine all the fear, negativity and doubt being breathed out along with the breath. As you breathe in, imagine confidence and positivity are slowly flowing into you via your breath. Repeat this for a few minutes and see how it makes you feel.

2) Use an affirmation Lift both arms up into the air, as if you are running through the finish line in a race. Say to yourself: ‘I feel fantastic, and everyone will love my magic.’ You will be surprised about how this makes you feel. There is a lot of research in publication about positive affirmation and posture to gain confidence.

3) Laugh and smile Before you perform to your first group of spectators, take a moment to tell yourself a joke, or remember something that made you laugh. Bookmark a few websites that have funny memes or stories that you can read just before the show.

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Laugh and remember that feeling and keep it with you as you start your show. Remember to be smiling as you perform. Even if you are focused on the mechanics or the situation around you, remember to keep a happy expression. You need to communicate that you are having a great time, so that those around you do the same.

4) Act energy You may be tired, stressed from travelling, or feeling a little ill, but you should not show it. If you feel tired and have no energy, fake it! You become how you act. Bound up a few steps to the entrance to the room, check the mirror before you walk in. Imagine feeling fantastic and full of energy and you will really feel it.

5) Be playful Remember that it’s really not that significant. You aren’t a brain surgeon, you have nobody’s life in your hands. It’s just a bit of fun and entertainment for everyone. Nobody is taking it as seriously as you do yourself, after all your years of practice and angst. If something goes wrong, the whole room isn’t going to stop and point at the door for you to leave. In reality, you can just shrug it off and carry on. Don’t give yourself a hard time. One of the most common reactions from magic students that do their first live gig is a sense that it was all worry over nothing.

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Connecting with your audience Rapport is one of the biggest things that will distinguish between a great, memorable performer, and a person who does a few magic tricks. Think of a couple of your favourite magicians. Odds are that they have great people skills, the ability to draw the audience in. How many magicians can you think of that lack this skill? Personally, I can’t remember any. Why can’t I remember them? Because there was no human or emotional connection. It’s not really surprising though, as we have been brought up never to talk to strangers. How do we break this and why is it important?

Emotional connection When we talk about emotional connection, it is too often immediately assumed that we are referring to the art of attraction, or upset. Emotional connection covers all areas of humanity, and the secret to gaining a connection with your audience is actually easier than you may think. Essentially, you need the audience to like you. Fortunately you are already halfway there as the audience wants to like you. People naturally want to be relaxed. So, smile!

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Happy, smiley people The first step to establishing rapport is a simple smile. A smile travels miles. And as a bonus they are free and require very little practice. A person smiling shows confidence, positivity and requires no words. It is universal and inviting. It shows you are relaxed and, in turn, this gives the audience confidence in you, so smile as much and as often as you like. You’ll be surprised how many smiles you receive in return. I find it really helps before I start to have a glass of water at the bar, and strike up a chat with the bar-staff, then crack a silly joke. They may not find it funny, but it makes me smile, which is a great head-start for your first audience.

Maintain eye-contact Picture yourself sat in an audience, and the performer glances across the audience and then looks directly at you. How do you feel? One thing’s for sure, you will feel more involved in the act than you did moments before. Now imagine you’re sat at a table, and a magician approaches the table and begins his act. He spends most of his time looking at his hands, and when he does look up he looks at everyone at the table other than you. How do you feel? Isolated and uninvolved.

Here, are three simple ways to ensure your eye-contact is drawing the spectators in: 1)

Every time you are speaking make sure you are making eye contact.

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2)

Mentally take turns in who you look at. I personally begin making eye contact with the person furthest away from me, on the opposite side of the table. This then involves the whole table. Then I mentally take turns for who to look to next time.

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Talk to the people, not your props. Your props are purely that, props. You are the magic, not the props.

React and respond I think it’s important to ask the audience questions as soon as possible. Involve them. ‘Hello there. How are you all this evening?’ They have to respond. If there is music playing, or they have had a meal, ask them how it was. Let them know you are not there purely showing magic. You are a person, part of the entire event, and you want to hear about their evening. They are investing their time in you. Invest some of your time in them. It will be appreciated. If they like you, they will like what you do. But first they need to know that you like them. Also, react and respond not only to the audience, but also to your surroundings. If something occurs in the background, for example, a waiter drops a plate, comment on it. Involve the surroundings. Turn these possible disruptions into advantages. This will convey to the audience that you are not scripted, you are human.

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Be emotional Reveal your humanity with emotions. You need to reveal a part of you, and you do that by letting us glimpse your innards, your emotions. To show a passion for something is to show humanity. To show humanity makes you instantly likeable and encourages connectivity, which is a natural, human desire in all of us. So show emotions, be as surprised as the audience, be as disappointed that you didn’t find that playing card as the audience is. And should any mistake occur, mock it with the spectators! Share the emotions of your act.

Leave them wanting more Always leave the audience with a smile and a laugh. It’s true that if you leave them smiling and laughing this will be the lasting memory of you. This is also the ideal time to remind them who you are. ‘Thank you so much for your time. I’ve had such a great time. Have a few more drinks and I will pop back and show you the same tricks again. I have been (insert name here). Have a lovely evening all.’ Smile, make eye-contact and shake their hands. Follow these simple guidelines and you will find your reactions to be much stronger, and most importantly, the audience will enjoy you and your time ten times more, which in turn means that they will remember you as a person.

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PART 3

APPROACHING A TABLE

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The five-second scan You walk into the room and see all the tables before you. Each filled with guests enjoying their meals. It’s time to walk up to your first table. Is it the right time? Which table should you choose first? How will the guests react? There are several things that you should do just before you join a new table that will make your approach a success. It seems like a lot to look out for, but in practice you can scan the table in just a few seconds to check the following:

Are any of the guests still eating? Unless you have been specifically asked by the client, it’s usually not a good idea to start performing whilst the guests are eating. Ideally, the guests will have finished one of their courses and their plates will have just been cleared. That’s the perfect time to approach a table. Because of time restraints, you may have to start performing while the empty plates are still in front of the diners. If this happens, be mindful of the fact that waiters may appear at the table to remove the plates. When this happens, step back and allow the waiters to do their work. You can make a witty comment such as “and now I will make the plates disappear”. The only course which is acceptable to interrupt is the first starting course. If you are worried that you may not be able to

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have enough time to visit every table during the meal, you can perform magic whilst the starters are being eaten. It’s not the best situation and you won’t hold the spectators’ attention completely. However, starters are often served cold and the meal has just begun, so many guests will watch your magic before they begin eating. Never interrupt guests while they are eating a main course or dessert.

Has the wine been served yet? Shortly after the guests sit down at the table they will be served wine. You can’t compete with an interruption like that, so it’s best to wait until each guest has a full glass. Depending on the venue, the guests may receive a wine presentation. Find out if this is going to happen so you don’t interrupt it. A wine presentation is just as much of a show as your magic. When you spoke to the waiting staff before you started, did you ask the waiters not to approach the table and offer wine round whilst you are performing at the table? It’s a small point, but it can make a big difference.

Do the guests have bread on their side plates? One of the first things I look out for is bread on the guests’ side plates. If the table hasn’t been served bread yet, it is likely that will happen at any moment. The diners will have just sat down and will be hungry. The ideal moment to approach a table is just after the bread has been passed round.

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Guests that are very hungry will have something to satisfy themselves, so they can relax and focus on watching your magic.

Have the surrounding tables been cleared yet? It’s not great when you start your magic only to find that the waiters are about to arrive to clear all the plates and interrupt the action. Take a moment to look at the other tables surrounding the one you wish to join. If they have all just been cleared, it’s a good chance that yours is about to be visited. Try to work the room so that you visit tables just after the course has been cleared. You will find that the waiting staff clear a room in one direction, so you can work behind them, following in their shadow.

Are there quiz sheets on the tables? You never know how many people have been given the job of providing entertainment at the venue. There is a good chance that somebody has decided that a quiz throughout the meal would be a good idea. Nobody told them that a magician would be table-hopping whilst the guests fill in their quiz sheets. If a quiz hasn’t been arranged, there’s a good chance that a collection, sweepstake, raffle, or auction has been planned in its place. Try to find out if there will be an activity suggested during the course breaks. Factor in this distraction when you plan which table you will visit next.

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Are all the guests still seated, or looking like they are about to leave for the restroom? Check that all the guests are sat at the table. Do any of them look like they are just about to leave? One of the guests may be waiting for the course break in order to visit the restroom. If one guest gets up to leave the table, there’s a good chance that another will follow. If you see guests gathering up their possessions, pause for a moment to observe. If some guests leave before you approach you may want to choose a different table for now.

Can you easily move around the table, or is part of it out of reach? Dining rooms are designed to hold tables of guests and allow the waiting staff to serve those tables. Not a great deal of thought is put into access for entertainers. Check that there will be enough room for you to reach all sides of the table as you perform. Ideally, you would like to be able to move all around the table, making sure that every guest gets to see some magic close-up and participate in the fun. If the table is close against a wall, you may not be able to go behind the guests on that side. Equally, there may be points around the table where chairs are too close and you would need to try to squeeze through to get past. Knowing whether you have full access will allow you to choose spectators in such a way that you can easily reach them without having to ask people to move.

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Is the table located near any large mirrors that could make sleight of hand an issue? It’s very easy to approach a table and start performing only to find that you’re standing in front of a huge mirror. If angles will be an issue, double-check what’s behind you to make sure you don’t give anything away. Mirrors aren’t the only danger. If the tables are very close together you may find you will have your magic watched by the tables around you. Make sure you don’t give anything away to people sat directly behind you.

Are the guests’ drinks running low? Is there plenty of wine still on the table or do guests have empty glasses? If it looks like they need topping up, you can approach the table and tell them that you have asked the waiter to refill the drinks. Alternatively, you can flag down the waiter and ask them to top-up the guests’ drinks before you approach. Always remember that you are not just a magician, you are one of the hosts of the event as well. It’s your job, just as much as the waiters’, to make sure that everything runs smoothly. That means making sure drinks are flowing, everybody has a seat, and people know where the restrooms are.

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Is there an obvious alpha spectator at the table? Just like any social group, a table of guests has its own politics. There will usually be a leader, who in magic terminology is often called the ‘alpha spectator’. How you deal with that person can greatly influence how well your magic is received. It’s important to identify which spectator tends to be holding court around the table. They are usually very easy to spot as the conversation will be directed towards them or their reactions to another guest’s anecdotes. We’ll talk more about alpha spectators and how to deal with them later in this book.

Are there elderly guests at the table? Notice if there are any elderly guests sat around the table. When choosing your position, bear in mind that they may have impaired hearing or eyesight. If you stand directly to the left or right of them, they may not be able to comfortably turn fully to watch you. Think about your positioning around the table so they get to enjoy the show as well.

Do the guests have name tags? We all know that it’s very important to use a spectator’s name as much as possible. Take a moment to glance down at the table and check if each place setting has the guest’s name on a small card. This is really valuable information. You’ll be

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surprised how often you can use a spectator’s name, and have them completely amazed that you just knew it straight away. They will often ask you how you know their name, so it’s a great chance to play with that and have some fun.

Do guests have jackets on their chairs? It’s really not cool to knock things over as you move around the table. Double-check that there are no bags or coats hanging over chairs to get in the way. If the guest has hung their jacket onto the back of a chair, take a moment to think about possibly loading a playing card into one of the pockets as you pass.

Do the guests look relaxed? Don’t approach a table without first checking the mood of the guests sat around it. You really don’t want to approach a table if there is a drama going on. An argument might have started, the guests may have complained about something to the waiting staff and be having that resolved, or some negative information may have just been given to the guests sat at that table. Check that people are smiling, happy, and look ready for some entertainment to begin.

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Is there an involved conversation in progress? If the table is involved in a deep conversation, you may want to wait a while before approaching. It’s not good to interrupt somebody’s anecdote, announcement, or business deal. Approach at a natural break-point, so you don’t have to wait too long to introduce yourself.

Are there table decorations in the middle of the table? Sometimes tables will have elaborate decorations in the middle of them, menus standing up, balloons or central lights. Tall items can block the view of guests sat on the other side of them. It may not be appropriate to adjust the table to allow for a better view, so if you do see an obstacle, use that information to pick the best location around the table to approach.

Is the noise level okay for the whole table to hear you? Tables located near the edge of the room may be positioned near a music speaker. Notice the noise levels around that table. Will everybody be able to hear you? It’s important that you speak clearly and project your voice when you approach a table as you will want to capture everybody’s attention.

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Yes, I know that’s a lot to notice in the few seconds you’re standing around waiting to approach the next table. In reality, it only takes a few seconds to do this and it very soon becomes second-nature. Removing surprises is key to a good approach. Scout out the table just before you make your approach and you’ll always be prepared.

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Introducing yourself Magicians that haven’t performed to the public often tend to worry about how they are going to start off their performance. They may be confident in the magic tricks they perform, but approaching people isn’t a magic trick, it’s about confidence as a performer and overcoming fear of being rejected.

As a magician, you are there with an official role to play. Your job is to approach guests and show them something amazing. It’s just as valid as any other person at the event and you should take comfort in that. You have a purpose for being at the event and you are no more an interruption of the guests’

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time than the waiters that offers them drinks or canapés. Relax into the role of the magician you are playing.

The three keys to approaching people to show them magic tricks Approach a table with a relaxed smile and a confident stride. Do these three things: 1)

Tell them who you are;

2)

Let them know what you do;

3)

Engage them in a conversation or activity.

‘Hi, I’m Joe Bloggs the magician. I’ve been asked to show you some magic.’ That’s a really simple introduction. You told them who you are and what you do. However, adding in a question or an activity will make the introduction more effective: ‘Hi, I’m Joe Bloggs the magician. I’ve been asked to show you some magic tonight. Do you believe in magic?’ ‘Good evening, I’m Joe Bloggs the magician. I’ve been asked to show you some magic tonight. Do know why I carry these strange coins?’

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It’s really as easy as that. Just like any introduction, it’s about the APPEARANCE of confidence and purpose. It doesn’t matter if you are feeling nervous about the approach, so long as you don’t show it. If you edge slowly up to a table and fail to make eye-contact or smile, you are giving signals that you don’t want attention and so that’s exactly the result you will get. Approach with purpose. Speak clearly and with enough volume in your voice that everyone will hear you. You have something very interesting for them and they are the lucky people to get to see you next.

Check your appearance Before you approach a table take a moment to check your appearance and make sure everything is as it should be: ●

Is your tie straight?

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Is your shirt tucked-in fully?

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Is your shirt collar down?

Check your pockets You may look great, but are you really ready to go? Are your playing cards and other props in the correct pockets? Is your sharpie pen where it’s supposed to be?

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Always double-check your pocket management to make sure you are completely reset before you approach a table. There’s nothing worse than making a great introduction and then fumbling around in your pocket to try to find the first prop you want to use. Your introduction should be smooth, stylish, and professional.

Always be upbeat and have a smile It’s important that you look like you’re having a great time and enjoying yourself. The spectators around the table will take cues on how to behave from you. Make sure that you don’t approach with a frown on your face, a shifty look, or nervous expression. You want to appear as if you are absolutely delighted to be at their table. Check that you are smiling, not just with your mouth but also with your eyes.

Eye-contact Make eye-contact with people all around the table. Pay special attention to people sat on the opposite side of the table. If you approach looking down at the deck of playing cards in your hand, or only at the people to your immediate left or right, you limit the range of attention you are applying to the table. Address everybody and make eye-contact around the whole group.

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Speak to the other side of the table In just the same way as eye-contact, your words need to be addressed to everybody around the table. If you speak too quietly you will lose the attention of most of the people in the group. Make sure that you don’t mumble, stutter, or speak too quietly. Match your voice level to the sound around you, and project your voice to the far side of the table.

Use an opening gambit Some magicians like to use an opening gambit when they approach a table. This might be a surprising magic trick which starts the moment the magician arrives. For example, you might approach a table asking if somebody has dropped wallet then proceed to make it burst into flames or disappear. There are many magic tricks on the market designed specifically to be used as an opening gambit. Although I don’t use this method myself, it can be successful if done well. However, it doesn’t suit every magician, and there is a moment when spectators suddenly realise that they’re seeing a magic trick which some magicians feel conflicts with their performing persona. Try out opening gambit tricks yourself and discover whether they suit you as a method of approach.

Interrupting conversations It’s very unlikely that the table of guests will all be sat in silence waiting for you to arrive. Conversations will be taking

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place, so you need to pick the right moment to make your introduction. If conversation is taking place, wait a few moments for a natural break. However, don’t wait too long; if you spend more than a few moments waiting for a break, you’ll start to lose confidence and appear to just be standing at the table staring at the guests. Some of the guests will notice that you’re waiting and this may be awkward, as the speaker will feel natural pressure to stop what they’re saying and pay attention to you. If the speaker is the alpha spectator of the group, and you’ve stolen the attention of a group from them, this can really work against you.

Use group words When you address the table make sure that everybody feels involved. Use words like: ●

‘Everybody’

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‘Everyone’

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‘All of us’

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‘All of you’

When people overhear you using these words they will tend to pay attention and look up.

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Don’t rush in Earlier we talked about using an opening gambit; one of the disadvantages of this is that it reduces your ability to create a connection with your audience. Rushing straight into a magic trick prevents you from creating a bond, a common point of view, and a connection greater than the magic trick you use to introduce yourself. You may find that taking a few moments to ask how everybody is, whether people are having a good time, or simply if they have any idea who you are, will win over the table very quickly. Being interested in how the table is enjoying the evening will get everybody’s attention. It removes the moment of confusion when spectators suddenly find out that you are an entertainer as a result of a magic trick being thrust upon them. Approaching strangers to show them your magic tricks is one of the most common areas of fear for magicians, but it’s as simple as any introduction. Taking time to practice introducing yourself will be time well spent. As you gain experience, you will discover that it’s not as hard as you imagine.

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Delivering your character When you approach a table you are making a first impression. You are introducing yourself. If you’re going to do that well, you had better understand exactly what you will be introducing and how to convey that very quickly to your spectators.

Canned introductions Your well-rehearsed magic tricks shouldn’t be presented in a ‘canned’ fashion. In just the same way, your introduction shouldn’t appear to be scripted or ‘canned’. That is quite hard to avoid. Like everything, a good approach doesn’t sound fake. Your introduction may have been worked out in advance, but it should appear to be honest, natural and fresh. That can be achieved by good scripting, as long as you put in the time to work on it’s delivery.

Be yourself Although it can be done, when magicians try to present themselves in a character that is different from their natural selves it usually looks fake. Successful magicians tend to present their real selves, albeit a polished version of them.

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In just the same way, when you approach a table, relax and be yourself. Be happy and full of energy, but don’t try to play a character that isn’t an aspect of the real you. Imagine you are approaching a table of your family and friends. They all love you and can’t wait to see you again. You don’t need to be anything other than yourself. By making the commitment to be honest in your approach, you will avoid the mistake that many magicians make when they start performing magic:

The ‘stepping on stage’ persona If you script your introduction, but don’t spend the time to rehearse it enough so that it’s completely natural, you can appear to be ‘stepping on stage’. That’s when at one moment you are yourself, then you suddenly switch into ‘magician mode’ and become someone completely different. Changing character like this is really noticeable. Especially if you switch in and out of character between magic tricks. The way to avoid this happening is to make your performance style as close to your real self as possible. If you relax and be yourself, you don’t need to script every introduction you are going to use. You simply walk up to a table, with a nice smile, and explain who you are and what you do. It’s as simple as that.

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Annoying people What’s the difference between an annoying ‘show-off’ and a highly successful entertainer? Why do some magicians constantly annoy people? Have you ever seen skilled magicians that you simply don’t like? They may be highly recommended magicians, but, for some reason, they rub you up the wrong way. Why are some magicians great at entertaining people, whilst others simply come across as show-offs? I don’t think the difference is talent. There are hugely talented magicians who seem to be nothing more than self-promoting egos. Yet at the same time, there are highly successful magicians who only perform very simple techniques, yet hold everybody spellbound. I suspect it’s about the choices that the magicians have made when they have developed their performing characters. Without thinking about how they come across to spectators, some magicians fall into the trap of believing their own hype, whist at the same time becoming generic and interchangeable in their performing persona. I’ve found that the following characteristics can be common in many magicians who have not taken the time to think about their performing character:

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● ● ● ● ● ● ● ● ● ●

Irritating Attention-seeking Cheap and tacky Patronising Annoying Self-promoting Arrogant Superiority complex Fake Generic

Let’s look at a few ways to avoid these characteristics that lead to magicians annoying people with their magic:

Use your natural personality Be who you really are. Develop a stable, consistent version of your own characteristics that you can project into your performing style. This will give you a unique and predictable character that audiences will believe in.

Don’t annoy people Your goal is to entertain and delight people. It’s not a game between the spectator and yourself. Try not to push yourself into people’s conversations, force magic down people’s throats or demand to be the centre of attention.

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Avoid being arrogant You may be a skilled performer, but that doesn’t mean you are better than your spectators. You don’t know who they really are, or what skills they may be an expert in. It doesn’t matter how many years you have been practising your sleight of hand, or how good your misdirection may be. It’s totally trivial to anyone who doesn’t care about it. Don’t fall into the trap of thinking that you are special, simply because you are really good at fiddling with playing cards, following magic trick instructions, or because you can be charming. Respect everyone you show your magic to. Don’t let the status of a magician go to your head. There are experts in their own fields everywhere. Looking down on people is a sure-fire way to lose work, and fail as a magician.

Never be tacky Avoid terrible jokes and one-liner gags as much as possible. It makes you look cheap and generic. Add your own humour and style. Be witty and comic if that suits you, but smutty jokes and put-downs make you look ‘low-rent’.

Do this: Think about all your best characteristics. Take a moment to write down all the best things people like about you. If you are feeling brave, ask some trusted friends to write a short

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paragraph about what they like about your character and personality. Once you have this list, look at ways that you can communicate these characteristics into your performing persona. Perhaps the back-story to your magic powers? Maybe by using presentations that describe a story about you, and how you reacted to a specific situation? Look at one-liners that you may use, and the jokes and gags you like using. Do they fit with the description of the person your friends have described? Decide WHO you want to be. You are what you do, and because of that, you have control over how you will be perceived by your spectators. It’s a fantastic opportunity.

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Alpha spectators and how to take control Have you ever wondered why some tables that you approach are more responsive than others? It’s understandable that some individuals may be less keen to watch magic than others, but why would a whole group act that way together? There could be several reasons for this reaction to your magic. The group could have just been arguing, or they may be deep in a conversation that they are all enjoying. If your magic usually gets great reactions, it’s the group that is generating the negativity rather than yourself. However, one very common reason may be because the group has a dominant member that is controlling the mood and behaviour of the group and you have not approached the group in a way that takes this into account. The next few times you approach a table to perform your magic, pause for a moment. Watch the group before you join it and take over as the centre of attention. There’s a fascinating social dynamic for you to see. Typically, one person in the group will be ‘holding court’ and dominating the group to some extent. Once you start looking

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out for this it becomes extremely easy to spot, even though the other members of the group may not be aware that it is happening themselves. The alpha spectator will be receiving the most attention. Even if another person is talking, the other members of the group will pay attention to the alpha spectator from time to time and notice his or her reactions. The mood of the alpha spectator can be mirrored in the whole group as they take cues on how to react from his or her behaviour. This group dynamic is remarkably subtle, but it’s influence on your performance can be profound. Alpha spectators can be either a magician’s best secret weapon or a real challenge for them. It often depends on how the interaction between the alpha spectator and the magician plays out in the first few moments of meeting.

Ways the alpha spectator can work against you When you join a table, attention is taken off the alpha spectator. They are no longer the centre of focus for the group. Should he or she feel unconsciously threatened by this, they can make things quite difficult for you. Here’s a few of the most common behaviours this perceived threat to their dominance may produce:

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Distracting Example: Offering wine around the table, asking the group if they want drinks or making a phone call in the middle of your trick.

Cutting out group members Example: As you ask another spectator a question, they answer instead, cutting out other enthusiastic group members.

Over-examining Example: Asking you to give them the deck of playing cards to shuffle at inappropriate moments.

Excessive joking Example: Making wisecracks that attempt to draw the group’s attention back to them.

Cross-conversations Example: Starting a conversation with part of the group or telling an anecdote in the middle of the magic trick.

Inviting non group-members to gain attention Example: Suddenly noticing a new arrival, calling them over and starting an introduction to everyone in the middle of a trick. All very annoying, but this can be avoided quite easily if you remember to use a few basic techniques to handle alpha spectators that will get them on your side.

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Ways they can help you Getting the alpha spectator on your side right from the start is the goal here. As well as avoiding the annoyances mentioned above, there are advantages to be gained by having the leader of the table ‘watching your back’, initiating applause from the group, and focusing the attention of the group onto the activity of watching the magic show.

Handling the Alpha spectator Some magicians prefer to dominate the group right from the start and in doing so, they replace the alpha spectator for their time in the group. However, there is another way, and the principle is easy. The most important feeling for the alpha spectator is that they are getting attention from the group, and that their status is not at risk. Communicating that their status is not under threat and that your introduction to the group will strengthen that position, will significantly reduce the risk of being rejected and receiving a ‘cold reception’ from the group members.

Three basic techniques you can use in these situations: Acknowledge - Notice the alpha member of the group and subliminally seek permission to take over control temporarily.

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As you approach a table, make eye-contact with the person you identify as the alpha spectator and smile as you do so. The idea is to make it appear as if you are approaching the table directly to ask that person a question. The goal is to get his or her attention first, so that you arrive at the table with the alpha spectator already paying attention to you. Question - Ask the alpha spectator a question first. He or she does not need to be your first ‘helper’, so it can be a general question such as ‘Is everyone having a good evening?’. It could also be your introduction as a magician. This is done subtly, with eye-contact on him or her first, just for a moment, then moving around the group as you address all the group members. Focus attention - Your opening trick could be done with the alpha spectator’s help or that of his or her partner. This ensures their attention and support, making sure the group pays attention. Use a magic trick that makes the spectator achieve something remarkable or demonstrates a ‘skill’ the spectator has suddenly developed. The goal is to show, without being too obvious that he or she will remain the most influential person in the group and that magic adds to this feeling. Giving signals like this to a ‘group leader’ is not being subservient, or passing on control. It’s simply acknowledging that you are new to the group and it has already developed a structure. Identifying and handling the alpha spectator as you approach a group will not always guarantee you get a warm reception. Human beings are extraordinarily complex, with far

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too many variables at play to control consistently. However, if you bear these points in mind when you perform, I think you will be surprised at the difference it can make to being accepted into a new group quickly.

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Approaching long tables The worst table a magician can ever work on is the long table. It’s easy to approach a small table of four–six people, but what happens when you have a large table of more than ten? This is a popular room set-up for very large events, and can be a particular challenge for new magicians. Often, one side of the table is close to a wall, so it’s not possible to travel all around the group. In these situations, it’s best to break the table into distinct groups and work your way down the table. Treat each section of eight people as their own group. Perform different tricks to each section.

Where to stand When you walk up to a table, look for a gap between two people that are not in conversation. If you suddenly appear between two people who are talking, there is a chance you will be ignored. Not being noticed by the guests next to you is a strong signal to the whole table. Not the impression you want to communicate. Find a space which isn’t hidden by large objects on the table, so everyone can see you. A visible space, between two people who are not already ‘engaged’ will mean that they both stop and look at you. Everyone else can see that you have arrived, and that people are paying attention.

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Capturing attention A large table, by its nature, has a lot of people around it. That means that it will have plenty of stuff happening just as you approach it. It’s easy to go unnoticed, unless you make sure you can capture the attention of the group. When you walk over to a table, some people will notice you and stop their conversations to pay attention to the new arrival. Some may think you are a waiter and have come to bring something to the table, whilst others will simply ignore you because they are deep in conversation. It’s vital that you are confident at this point. If you sneak up to the table and stand there waiting for everyone to stop what they are doing, you may be in for a long wait.

Your introduction It’s time to say something. Address the people on the opposite side of the table. Introduce yourself and say briefly what you are about to do. Make eye-contact with several people as you do this. Your introduction is about starting a conversation with the whole table.

If conversations continue Resist the temptation to ask people to stop what they are doing. Instead, use an indirect way to gather everyone into the show that is starting. One way to do this, is to pick a volunteer

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and ask the whole table to give them a round of applause for helping you, this will politely end most conversations that are happening because something very interesting is going on with the rest of the group. It’s also very enjoyable for the table and a great signal to give to the rest of the room.

Involving everyone Use magic that gets people involved. Ask questions and get people interacting with other people around the table. ●

●

●

If you need a card signed tell a few people to sign their name on it or draw a silly picture on it. Ask a question for a show of hands: ‘So, who here, has ever been a magician’s assistant?’ Get people voting : ‘Please put your hands up if you believe in magic?

Move around Don’t stay in one spot through your whole act. Circling the table as you address people between tricks will make people track you. As you move, ask a question or tell the table something, so they follow you. Moving around keeps the energy going and captures the attention.

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The secret It’s all about giving people something to do. They clap, put their hands up, volunteer someone else, answer a question, follow you as you move to another spot, or get involved by holding an object. If you engage people ALL AROUND the table, you can easily hold the whole group’s attention. Performing your magic tricks at a large table is not as hard as it looks. It’s all about audience control, and that is 99% about giving people fun things to do, a reason to participate, and the social signals that a ‘show’ has started for them.

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PART 4

GENERAL TIPS

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Emailing a client In this book we have discussed approaching tables, but there is another approach that magicians have to make that’s just as important. The main sales funnel for magicians is their website. Clients wanting to hire a magician will usually check out your website before they contact you, which means that most clients will make their first contact to you via email. It’s important to know how to answer emails from people that want to hire you. Here are a few tips:

Keep it brief The client contacting you has already checked out your website. If your website has been built correctly it will already have all the information needed, including a section on frequently asked questions. Your response email isn’t the time to bombard your client with lots of information about you. Keep the email professional and brief.

Thank them for their time The first part of your email should thank the client for contacting you. Make sure you don't miss this out.

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Answer their questions fully Read through the email carefully, making sure that you have fully answered all of their questions. If you can’t answer one of the questions because there is not enough information provided, make sure you ask for more information and explain why.

How did they find out about you? It’s important to ask how the client found you. Your contact source information is valuable for identifying where your leads are coming from. It’s also a subtle way of suggesting that you are very popular, and that it’s highly likely that somebody will have referred you to the client.

Use a call to action Make sure your email includes a ‘call to action’. A call to action is something that you are asking the client to do. This might be to answer a question, download an e-book about hiring a magician, or to fill in a booking form. By giving the client a call to action you are creating continued communication past this initial email. Your goal is to keep the conversation going.

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Use a third-party if possible Is it possible that you could use a third-party to reply to your emails? Many professional magicians use agents that act as a third-party. If you don’t have an agent you may want to get your partner or a trusted friend to act as the third-party and answer your enquiry emails. This allows the quotation to come from somebody other than yourself. That person can answer enthusiastically about your performance skills, talk about your fees, and recommend your services in a way that you wouldn't be able to do yourself without coming across as slightly big-headed. It’s very hard to say to your clients that you are an amazing magician. It’s much easier if a third-party can explain just how awesome you are. If some negotiation about fees needs to take place, a third-party can make a deal without you having to seem mercenary or confrontational. Here’s a typical email from a client wanting to hire a magician that you may receive: Hi Dominic I'm planning a 40th birthday party on the 25th July in Walton Ash. I thought having a magician to entertain the guests would be a great idea. Can you please let me know the cost for a couple of hours of magic. Thanks William Spiget

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This would be a typical reply to the above email: Hi William, Thank you for contacting me about attending your party on the 25th July. I’ve checked my diary and I am currently available. How did you hear about me? Was I recommended to you? My fee to provide walk-around close-up magic is £xxx for one hour or £xxxx for 2.5 hours. Will your guests be having table service, a buffet, or will it be drinks and canapés? Best wishes Dominic Reyes www.dominicreyes.com

Follow up It’s vital that you remember to follow up after you have sent a quotation email. Wait one or two days and then send an email checking that they have received your quotation, and asking if they have any further questions. I can’t stress how important this is. So many magicians don’t follow up. They send out a quote, sit back, and hope that it will lead to a booking. Taking just a moment to follow up will often be the difference between a booking and a missed opportunity.

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The seven habits of successful magicians Over the years, I've had the pleasure of working with some of the most talented close-up magicians in the world. By viewing these successful working magicians in action, it’s possible to spot several factors that they all have in common. We can copy these ‘habits’ and add them to our own practice and performance of magic. Let’s look at the seven performance habits most often found in the behaviour of successful magicians:

1) Keeping control of the audience It’s important to learn how to control and direct your audience. Successful magicians take time to learn how to capture attention, foster interest, and control a group of spectators. Reading books on direct sales and showmanship just as much as you read magic books can help you learn ways to gain control of your audience and keep their attention throughout your performance. Discuss audience management with other performers. Take note of what works well in a live situation. Successful magicians will often spend just as much time relating to their

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spectators as they do performing the mechanical aspects of their magic tricks. Time is taken to perfect posture, eyecontact, and pacing, to control how a spectator reacts. Learning how to control an audience will ensure that you don’t hesitate if a spectator suddenly asks you a question in the middle of your trick. You learn to keep your cool by anticipating this behaviour in advance, whilst not appearing to ignore the interruption that may have taken place.

2) Punctuality Successful magicians make a habit of arriving in plenty of time for their shows. Being on time is vital if you want to build a great reputation. In fact, being on time is not good enough. Arriving early to a gig gives you time to check out the venue, chat with the client and the event staff, and address any unexpected problems that may have occurred. If you are booked to start at 8pm, make sure you arrive by 7pm. An extra hour may seem excessive, but it pays off over the long term. Being relaxed, ready and prepared is far more important than an extra hour before you set off for a gig. That hour is usually spent in ‘preparation limbo’ anyway, so spend it at the venue instead. Being early means that you stay calm and relaxed.

3) Pocket management and resets Do you remember your first magic gig? I remember my first time performing as if it were yesterday. I took way too much stuff with me, and loaded my pockets with as many magic

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tricks as I could carry. I remember laughing after the gig that I really only needed 20% of the items I carried with me that night. In fact, the gig was harder because of all the equipment getting in the way. Successful magicians know exactly what they will need for each gig and streamline their pocket management, so every item has its place. The magic tricks that successful magicians perform tend to be built into working sets. Each set is designed to have the right resets and the magic props have locations on the magician which allow him or her to move through the set without fumbling for pens, cards or any of the props needed for the set. Good pocket management will make your magic seem effortless and spontaneous.

4) Knowing when to arrive and leave The best close-up magicians know just when to join a new group and when to leave. They don’t just plough into a new group as they stumble through the room working. They look for ‘in’ moments, when there is a break in the conversation, and they can engage the group without interrupting a guest’s anecdote or joke. Successful magicians know how to leave a group wanting more. Their magic is constructed to: ●

Introduce;

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Engage;

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Create energy;

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Build to an applause cue.

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Knowing when to stop performing is just as important as the choice of magic tricks that you perform. Successful magicians perform just enough to entertain the group, but not so much that they are taking over the whole event. The secret is to leave them wanting more. Perform a few tricks, and promise that you can return later if they request it.

5) Effective use of space Close-up magicians don’t use a stage for their shows. The magic happens right in the thick of the action. That means there is little or no control over the performing environment. Successful magicians will have already scouted out the venue before they start performing. They know the blind spots in the room, the walkways, serving points and access channels around each table. When they perform, skilled magicians move around through the show, making sure that everyone is engaged and gets to see the magic tricks up close. Motion is life, and motion creates energy. Standing in one spot through your whole set of tricks doesn’t help build energy. It’s one of the reasons modern comedians tend to pace up and down the stage as they deliver their stand-up comedy. Movement keeps people’s attention.

6) Simplification There are commercial magic tricks, and tricks designed for entertaining magicians. One of the most common differences between the two forms of magic is simplicity. Successful

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magicians understand that the magic tricks they perform need to be simple to understand. A general rule of thumb is: A magic trick should be easy to explain in a single sentence. When it comes to casual walk-around magic, effort = boring to the spectators. That doesn’t mean that the magician can’t perform magic that touches on complex concepts, but the presentation needs to be clever enough to reduce the complexity to its simplest form, so most of the thinking has already been done for the spectators. A great example of this in action is the work of Derren Brown. Many of his performances involve quite heavy theories or concepts. However, his entertaining presentations simplify this for the audience, so they don’t feel like they are having a mental workout.

7) Timing Probably the most important skill of successful magicians, yet one that is so often overlooked, is timing. Knowing just when to pause, when to speed up, and when to pass a cheeky smile to the spectator. Timing is everything, once the mechanical aspects of a magic trick have been mastered. Despite this, it’s not discussed in the instructions for most magic tricks. Timing comes from rehearsal of the whole trick, including the patter and physical actions. It’s then developed through live performance and remains in a constant state of development throughout the magician’s whole experience performing the act. There are many courses and books for actors on timing, and it’s effort well spent building up as much knowledge as possible on this key skill to becoming a successful magician.

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Where the seven habits of successful magicians come from What do all seven habits of successful magicians have in common? None of them are found on the instructional DVD that comes with most magic tricks. They develop through performance. Not necessarily live to the public, as performance can be simulated in rehearsal, but they only develop through applying each magic trick into the environment that it will be presented within. To develop the seven habits of successful magicians, I recommend getting as much experience as possible, performing your magic to strangers in a social setting. This doesn’t need to be paid gigs, you can do charity events, fundraisers or community social gatherings. The key is to get out and find out how magic is presented in the real world, with all the distractions and interactions that provides. The rewards you will gain, in the development of your magic performance will be limitless.

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Choosing the best magic tricks to perform This book is about approaching tables, so it assumes that you already have a well-constructed set of magic tricks ready to perform. However, I’m always asked to give some suggestions about the types of magic tricks that are best suited for performing at the tables. I couldn’t begin to suggest a list of specific magic tricks, there are just far too many and every magician is different. However, I can give you some advice on the types of magic tricks that are most suitable.

Sets of tricks As a basic framework you probably want to create three different sets of magic tricks. Each set has an opener, some middle effects, and the closing trick. It’s a good idea to have three different sets because you may be performing in a restaurant with tables very close together. You can rotate the sets so that you not performing the same magic tricks if a table you have already visited decides to overlook the next table’s performance.

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Types of tricks Try to select tricks that don’t require the use of a table surface. Once objects are placed on the table you’ve limited their visibility for most of the guests. You also don’t want to spend any time rearranging the table surface to make room for your props. Keep the magic in your hands or in the hands of your spectators as much as possible. Ideally the trick should be able to be reset very quickly. You want to be able to move from table to table without having to leave the room to reset. If a reset is required make sure that the magic trick can be set up discreetly, so that you don’t have to hide away to do the necessary work. The props should comfortably fit in your pockets. You can carry around an item between tables, such as a chop cup, but most of your props should be able to be hidden away about your person. Try to avoid long-winded multiphase routines. These are great for showing other magicians, but you may find it hard to keep people’s attention at the tables. Ideally, choose easy to understand tricks that have a surprising and visual climax. Avoid magic tricks that could be regarded as offensive. You can’t assume that everybody has your great sense of humour. You are representing both the venue and the client, so you need to be mindful of any message your magic is sending. Performing at tables can be very demanding on the props. Make sure you choose items that are going to be durable and

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easy to replace. Playing cards get dropped in food and handled with dirty hands. Almost every prop you own will be dropped on the floor at some point during their ownership. You need to take pride in the appearance and quality of the props you use, and be able to replace them often. Make sure the tricks don’t rely too much on angles. You are going to be performing surrounded, and have little control over who will be watching you. If you do use magic tricks that have a bad angle, make note of where they would best be performed when you scout out the venue. Try to select magic tricks which work just in the hands and ideally can be placed in a spectator’s hands as well. The more you have spectators interact with the show, the more engagement you create, and the more attention your magic will receive. Not every magic trick will be able to meet all of these criteria, but it’s a good general guide to go by. Sometimes you'll find a trick that you absolutely love and would be perfect for you. In that case, throw all the suggestions out of the window and perform it. It might be the trick that makes your reputation, as nobody else can be bothered to do it. There are so many great tricks available that require a lot of effort to set up. They never get used commercially. Those can be the tricks that separate you from the average magician.

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Creating interest through variation Times have changed, and audiences simply don’t have the attention spans that they did in the age before the internet, TV, and smartphones. Popular culture has taken it’s toll on the ability of an audience to hold fixed attention for any extended length of time. The mission of the press is to spread culture while destroying the attention span. – Karl Kraus The problem of reduced attention spans is only going to get worse over time. Kids are growing up in a new type of society, where they are focused more on screens than real world interaction. Children are developing their minds in a world where everything is a quick ‘Google search’ away. For table magicians, this situation is pressing. The performing conditions at a dinner are filled with competing draws on the spectators’ attention. How should magicians deal with this problem? The secret to holding a spectator’s attention is VARIATION. It’s use within your close-up magic act is a powerful way to keep your audience engaged with the show you are presenting

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to them. People get bored quickly, and that leads to distraction. Making sure that you add enough variation into the magic tricks you perform is a powerful way to keep them interested and involved with your magic.

Variation isn’t speed In an attempt to be interesting, some magicians simply try to increase the pace of their magic. In the hope of keeping the audience on the edge of their seats, those magicians try to cram in as many different tricks and flourishes as possible, and perform them at breakneck speed. The result isn’t usually good. Speed can cause confusion, which in turn leads to boredom and frustration. It’s important that you do vary your pace and keep the energy up throughout your act, but sometimes slowing down can be just as engaging for spectators. The key is to have a variation in both speed and pace, as well as in the types of magic tricks you perform.

You can present only card magic tricks and still have variation In order to vary the content of your act, you don’t have to change the style of magic you perform. If you are a card magician, it’s fine to only use playing cards. If you are a mind reader, there is no need to switch to coin tricks in the middle of your show, to give your act variation. The props can remain the same, but the presentations that you use should have variety. Adding in fast, punchy magic, slow emotional pieces,

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and a little comedy, can provide variation to an act which has a strong common theme running through it. A great example of this can be seen in the work of Derren Brown. His shows are all mentalism, but he plays with pace, comedy and style in a way that creates variation within his show.

Core techniques to create variation in a magic act There are many ways to ‘mix things up’ in your magic tricks set. Speed - Change the speed of your presentations and actions within specific tricks, and also within the framework of your whole act. This gives your magic a dynamic quality and keeps the audience focused on you and your magic. Duration - Work through each of your routines and try to identify any slow or ‘dead’ parts where nothing is happening. Think about how you could change the routines to reduce these dull moments as much as possible. Ensure that each magic trick has a ‘punch’ quite quickly in its performance. Pay attention to how your spectators react when you present a magic trick to them. Could you bring the ‘moment of magic’ forward by a simple change to the method? Could you introduce a little magical event that occurs before the main ‘effect’, so the audience gets magic along the way? As you develop as a magician, your magic will go through a natural process of culling. The tricks become ‘tight’ as you remove unnecessary parts, pauses and procedure from each presentation.

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Shock - The best magic routines add a little shock or surprise into the mix. The audience is led down a false path, an outcome suddenly changes, or something simply appears or vanishes. Structure your act so it becomes hard for your audience to guess what is coming next. Nobody wants to be watching a magic trick when they know what the outcome will be. So you see, it’s quite possible to build a successful act with a specialised theme like mind-reading, playing cards or coin magic. Any collection of magic tricks can be as engaging as the next. Variation is the magic secret to ensure that the shrinking attention spans of your audience don’t work against you. Adding variation techniques to your existing magic act can breath new life into your show, and ensure it’s suitable for a future audience that have been raised in the age of Google.

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Being asked to teach a magic trick Sometimes, you may be approached by a guest and asked if you will teach them a magic trick. You should have an approach prepared for this situation, as it’s a possible point of conflict between you and the guest. I was recently asked this question: I’m often asked if I can teach a magic trick to one of the guests when I’m performing at a party or wedding. What should I do? I’d like to show them a simple magic trick that they can do, but at the same time I don’t want to expose magic secrets. - John Teaching a simple magic trick may not be right for you, but some magicians do like to do it, so they do not disappoint a guest. It’s fine so long as you very careful about what you teach. As magicians we promise not to disclose secrets, we also don’t want to reduce the impressiveness or importance of our own magic by showing that it is only a collection of easy tricks. Technically, it’s fine to teach them a magic trick so long as it is in the public domain and doesn’t reveal one of the core principles of magic technique. So what sort of tricks are okay to teach?

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The perfect magic trick to teach a spectator is one where the secrets of a magic trick are revealed as part of the ending anyway. Bar bets or proposition cons are ideal examples of this. The conclusion of the trick automatically shows the method so you’re not exposing any secrets. There is a huge range of magic tricks like this that you can use. They may not be magic in the strictest sense of the word, but they are entertaining and will satisfy your spectator’s curiosity and desire for a trick that they can do themselves.

Pushing an object through a cup A simple magic trick that you could teach spectators would be a demonstration of how you can push an object through a cup. You take a coffee cup and place it on the table, You announce that you will be able to push a large borrowed object (such as a mobile phone) through the small handle of the cup. It seems totally impossible. The huge object, such as a phone, or maybe a wine glass couldn’t possibly fit through the small handle of the cup. When they ask you for the solution, you place the object in front of the cup, put your finger through the handle hole, and push the object with your finger. There... you pushed the object through the cup! It might not be a stunning example of sleight of hand, no real magic has taken place, but it will satisfy the spectators, entertain them and give them something to try out on their friends later.

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There are lots of books and DVDs which teach bar bets or puzzles like this, and you’ll be able to find them free of charge at your local public library. Being armed with just a few small easy to learn magic tricks that you can teach will mean that you never have to disappoint spectators.

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Approaching agents Mark asked for help finding an agent or entertainment agency that provides work for magicians. Mark writes: ‘I am trying to get an agent. I have a pretty good website, but I don’t know how to go about making a magician’s showreel. I have a resume that my magic teacher made for me, and I think it looks pretty good. I really don’t have much experience performing professionally, but I have performed magic at several weddings. Please can you give me some advice and guidelines for contacting entertainment agents or getting discovered.’ Well done on building up your magic training to the point where you want to make the next big step and start performing magic for the public on a commercial basis! The next step is to start building relationships with either a single ‘management agent’ or a collection of entertainment agents. Let’s look at some ways to get started:

Create a list A quick Google search should be your starting point. Start compiling a list of agencies that list acts similar to your own. This is a perfect time to make a note of the average fees for

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magicians working in your area. Many sites don’t show prices, some show a range, and others will give you the specific fees for each performer. This is very useful information, to that you charge the right level of fee for the market you wish to work within.

The difference between an agent and a website advert You should note that there is a difference between an agent who will find you work, and a commercial website that charges you a fee for listing an advert on their site. Look for an agent who does not charge you a fee to be included in their list of artists. The goal is to be promoted by the agent in return for a cut of the performing fee, rather than simply being charged for a listing on their website.

Walk before you run Many of the large management companies may be more suitable later on in your magic career. The goal initially is simply to create a list of agencies and get listed on a few. The more prestigious companies may not be interested in working with you right away until they notice you and approach you themselves. Don’t worry about aiming at the most prestigious agencies at first. Instead, we will work on getting you noticed by a few general agencies, so you can build up a reputation.

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Make it a daily project To find a reputable agent in your area, talk to some other magician friends and research on Google. Most areas of the country have agents who can get you gigs. Contact an agent each day via email or by post. Give a brief outline of your services, experience, and an invitation to look at your website, showreel and testimonials. Follow up with each agency seven days after you have made initial contact, to check that they have received your introduction letter and to ask if they have any questions. Don’t be a pest, or take up too much of their time. Simply make initial contact, then follow up a week later. Systematically contacting agents in this way will give you the best chance of one agreeing to discuss giving you work. Basically, it’s a numbers game until you hit one that has need of a magician to fill in a gap in their work diary, or that connects with you and decides to give you a go.

Do you need a magicians showreel? You don’t have to have a showreel to be signed by an agent, as long as you have built up some experience and testimonials that prove you ‘deliver the goods’. I didn’t have a showreel for many years, but that didn’t stop me getting work. If your website is professional, and you have plenty of performing photographs showing your audience having a great time, that can be enough to start getting work.

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Over time your reputation becomes far more powerful for getting noticed. Whilst agents do LIKE watching a showreel, it’s not going to necessarily break your chances if you don’t have one. A good showreel can really help you, but a bad showreel can work against you too. You will be judged on the quality of the editing, presentation and footage, just as much as the magic. If you do invest your time and money into making a magician’s showreel, make sure it’s the best you can make.

Keep getting experience Whilst you approach agents in this way, try and get as much experience performing magic as possible. Approach local venues to see if they have need of a magician for an upcoming event. Perform at local community events. Contact local student film societies or media departments and offer your services to student film-makers. Magic is an interesting topic for them, and a great way to build up some footage for a showreel. The more experience you can gain as a magician, the more attractive you’ll be to an agent.

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Conclusion I hope this book has given you some useful information and tips about how to approach tables. The key message is very simple. Approaching a table is much easier than most people think. You don’t need to worry about it. It’s simply a process of walking up to a table with a smile, waiting just a short moment for a break in conversation, and introducing yourself with confidence. There really isn’t anything more to it than that. However, things go wrong when magicians don’t take time to check the situation at the table before they approach it. The main message of this book is that you should pause for a moment and study the table you are about to join. Try to understand the group dynamics going on around the table, and anticipate any interruptions you may face. This becomes very easy over time, and will soon become second nature. Please let me know what you thought of this e-book. I would like to add to it over time and expand the content. You can leave me feedback and suggestions for improvements here:

Click here to leave me feedback

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If you have any problems or questions, the team at the Merchant of Magic is here to help. We produce a range of free e-books that cover all aspects of both practice and performance for magicians. You can get the books and also read hundreds of articles giving advice about all aspects of training and performance on the Merchant of Magic blog. You can find the blog at http://blog.magicshop.co.uk The Merchant of Magic also produces video tips, guides,and advice, as well as a podcast recorded live at the magic shop where we discuss questions that magicians have asked us. Good luck with your magic! Dominic Reyes Web: http://www.dominicreyes.me Twitter: @dominicreyes

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Click here to download this free e-book

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Copyright 2014 Merchant of Magic Ltd. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law. For permission requests, write to the publisher, addressed “Attention: Permissions Coordinator,” at the address below. Merchant of Magic Ltd Bridge House Bridge Street Southwick Hampshire PO17 6DZ United Kingdom www.magicshop.co.uk

Produced and published in the United Kingdom.

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Approaching_Tables by Dominic Reyes

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