Lecture notes

Introduction

 The main emphasis of this lecture series is character work and walkabout performance. I will try to reference as much as I can to hospital work. However, I know that applying the thinking in these notes to other forms of performing outlets will greatly enhance your overall skills as a performer.

Many performers start out in children’s birthday parties and progress into adult performances while others stay as family entertainers, each individual is different.

 I started my professional career in the SADF entertainment unit, after that moved into clowning at kid’s parties and then 6 years on circuses both locally and in the UK . Since then I can honestly say I have performed in just about every type of venue as either a magician or circus artist. Circuses, cruise ships, Television shows, restaurants, bar magician, cabaret, walkabout characters, shopping centre promotions,  booking agency, teaching circus skills,  theatre shows and much more.

 I advocate you continually strive to improve your skill base, as this will stand you in good stead over time.

Generally, very few performers consider their performance character as a aspect to work on. Most performers just start and their early career is very similar to the ball in a pinball machine, a hit and miss affair. I have seen there is a lack of knowledge and a naivety in performances both locally and internationally.

I believe your performing character to be your biggest asset and not your magic or juggling skills

 Through the eighties, I developed various characters for the shopping centres. There became a big demand for walkabout performers at shopping centres and for corporate themed functions.

Social dynamics moulded my performance style. The characters where visual in nature, with little interaction with the public e.g. a clown walking on stilts or riding a unicycle at a shopping centre.

 Slowly over time, I learnt to involve the audience in these performances, which consists of close up magic, situation comedy, mime and juggling.

 In recent years, I started developing a character act, which took place in a venue such as a shopping centre. The character would interact as a normal person with shoppers but slowly as a circle developed, I would start a short show, which was a routine and presented in such a way that it appeared impromptu. This is a different form of show to a street show but I feel with background music it is possible to play a character on the street and collect money from this type performance, the venue or festival you perform this type is one where artistic skill is appreciated e.g. The Linz Festival in Austria.

As my experience grew, I was able to incorporate all my skills that I had learnt throughout the years. I had a very successful contract in Dubai in the Mall of the Emirates, which lasted nearly 10 months. There I took my business character to new heights as the audience where very receptive to this type of performance. All my characters where created out of a need or I could see an event I could be booked at with a particular character so I developed it.

My latest character is more artistic in nature, suitable for theatre shows. In fact I am at present preparing the next stage in my career with a contract in a very slick dance revue where I play the role as a zany magician. This will involve interaction with the public before the show as well as performing during the show in various sequences. I look forward to the challenge once again.

  I find life stimulating and enjoy the challenge performing in the different markets. I recently celebrated my 50^th Birthday, which is milestone in anybodies life. This made me reflect that I have achieved a lot and one of my biggest assets is my versatility and experience. I am entering a new phase of my life, and I find I am going back to my roots but want to add more meaning to my performances. I find tremendous enjoyment in giving back to the community both as a performer and as a person in the community.

Performing under the Reach for a Dream banner has given me a tremendous amount in short space of time. The smiles and laughter I receive from the hospital staff, parents, and off course, the most important people, the children really make this experience worthwhile.

This lecture series is simply a way to show my gratitude and I hope it will be of benefit in some way in your performances.  I would like to think that this will be a catalyst and inject new enthusiasm into your performances.

I would like to thank Garth and the Reach for a Dream organization for this opportunity.

I  hope this lecture does not come over as too egotistical by referencing to my acts, shows and achievements but rather as an example of what is possible in terms of performing and that saying “”the world is your oyster”” is very true. Now let us get started.

 1. CHARACTER DEVELOPMENT

 A strong character will enhance your performance, but what actually makes up a strong character?

I believe a character that the audience can relate to will have more meaning and to do this you need to have an awareness of your own personality as well as acting skills to enhance your personality. Other external theatrical dynamics such as costuming, staging, music and even make up will help as well.

I personally feel that I am a better character magician than a so-called normal one because of my performing experience and that the magic has meaning for the audience. Cardini the Magician successfully created a powerful character and incorporated his magic within this character. I believe that to be his success. All successful magicians of past and present all have strong characters that the audience can identify with.

I have found as I have performed over the years that I have naturally acquired acting skills. I suggest a serious study of acting for all magicians and visual performers such as mime artists and clowns.

 a. Acting Skills

 I do not claim to be an expert in acting but I have learnt some of the basics relevant to performing, which I will pass onto you here. I suggest further research and reading into these subjects to be useful.

 Action/Reaction

 A very talented director, Mr. Kurt Wurstman, taught me this technique. For every action, there is a reaction. You drop a bowling ball behind you; there is a reaction to this. Your act can be broken down into more subtle moves, which involve this technique. It is particularly useful in a comedy sketch.

In a comedy magic act, open wallet and it burst into flames (action) you act surprised (reaction) shake wallet to try put out flames (action) flames burn fingers so you slam wallet shut (reaction). There is a tendency to rush the reactions to the actions when playing comedy. You will find however timing the actions and reactions is a feel rather than a set pace the same every night. Sometimes you can split the action into a sub script depending on the situation or type of show e.g. the wallet bursts into flames, act surprised and then add in a verbal joke, its hot cash!

 Timing

 Timing controls the rhythm and the flow of the show and the character in all aspects from emotions to the technical performance. The effective use of Timing will create maximum effect.

There is so little to say and yet it is probably the most important skill to learn. This nebulous skill makes the difference between a mediocre comedian and a great one. The pace of delivery is only a part of it and it has a much more holistic feel to it. You are involving all the body senses with either a verbal approach or physical situation. As the bloke falls on the banana peel with a frenetic fall combined with his look of amazement or surprise, which presented at just the correct moment will make the joke. A delivery of a line at the wrong moment or the surprise production on the wrong music cue will show you a small awareness about timing. I have seen as a rule for me my comedy is much stronger the older I get, as I have more experience in the delivery of the jokes and know myself better, so able to portray a stronger character. All these feature in the performance.

 I find it takes confidence in your acting ability to deliver a new approach to the audience. There is a progression in the learning techniques e.g. greeting people. In the early days I would, as a clown approach a family and speak to the child first, then the mom, dad and finally the granny. As I became more experienced, I would approach the granny first then the child, mother then dad. There is also the psychology of age to think about; if you are in your twenties, a joke such as asking the granny to marry you is not as good as asking the little girl to marry you. You have to have your sensitivity feelers on when dealing with such things. I found it took me long time to burst into tears in front of people and this is because of the perception of crying is for babies or men don’t cry etc.

 Showing emotion is, if you are not use to it can be a daunting task but that is what acting is about, drawing from within you a self representation of your own feelings combined with an overlay of the particular character you are playing.

I firmly believe a good actor can make a great magician but not the other way round. Surely then it is in your interests to study the art of acting as a necessary skill to be used in your presentations be it close up magic or a stage show. Too many young magicians and older established ones are highly skilled in terms of performance of tricks but have the presentation skills of a dead cockroach.

In a silent routine, it is also very important to be aware of the beats in the performance and the pause is a highly effective technique. I will go into more detail further into this lecture. In fact, the pause can highlight the moment in a very dramatic way. If you fan the cards, reveal the upside down chosen card all in one motion it is not as effective as pausing just before the turn over. This combined with verbal presentation will enhance the routine. Other elements come into play such as music, lighting and the staging of the presentation. How you look, your body language, where you stand, subject to other people around you, where you hold the prop subject to your own body space are a few considerations in the final impact. Each aspect might be such a small part of the whole but never the less, take each away and you are left with an amateurish presentation which overall results in a less entertaining piece of magic or comedy.

The first step in the mastery of your act is in the actual mechanics of the act, thereafter a refining of the act by studying the techniques mentioned will result in uplifting your performances.

 It is a good idea to study as much as possible on the subject of acting or comedy. Theatre sports are a very good opportunity to improve your improvisational skills. Belonging to an amateur dramatic society will teach you basic rules of theatre and etiquette. They will teach you voice projection and breathing techniques, which are so important.

If you are studying, comedy and clowning then try to see as many comedians and even try an open mike session if you are brave enough. Join a clown alley near you and network with others in the same field as you. Research the silent movie actors of the past such as Charlie Chaplin, Keaton or Keystone cops for inspiration. Watch modern sitcoms and see how they structure their comedy and look out for the character building actions of the different actors.

  Energy

 This is another subject, be it a little esoteric but nerveless is valid. I have experienced my performances when I have less energy compared to a more powerful one when I have a lot of energy. On many of the long-term contracts where you are churning out shows, you can see the difference in a well-paced show and one where the presentation is just off. I normally find that the timing and pacing of the show are not quite correct. I find personally my mind is not sharp and is not as intuitive in the performance. By that, I mean every single show you perform will be different and you will naturally adapt to the audience in front of you.  There is a natural feeling the energy of your audience in the first few minutes of you going on stage. An experienced performer will immediately know what pace to work at and work within this parameter. I find that listening to the audience reactions to acts prior to yours, should you be in a variety show or in a venue say that presents bingo or other audience participation activities, will help. Obviously the compere or animation staff influence the energy of the audience as well. There will never be the exact same show presented again ever, simply because the audience changes.

In shows where the  venue and technical aspects can be controlled to a degree you find the best presentations, which explains why places like Vegas sees the real stars of Magic and show business. Not only does your energy fluctuate but also the energy of the audience will change. I have watched a top class extravaganza show twice with two different reactions simply because of the audience. The first show had many Japanese tourists who where very tired and you see the lethargic nature and one or two asleep in the show, they had obviously just stepped off the plane and where experiencing jet lag. The second was a large corporate party that had come and where very festive. Obviously, they reacted with more enthusiasm than the Japanese group. The show was a visual extravaganza so there were no language problems. You have to become aware of the audience, which does come from experience, and to feel the audience and then to present your show accordingly. Even when you are experienced, if your energy levels are low, you cannot perform at your best.

  I have high levels of inner energy, my performing character matched this type of presentation, and I have seen on occasions when I have been sick my normal character just does not come out. It actually takes an immense amount of adrenaline to reach that same energy level when you are sick but the danger is once you come off stage you collapse from exhaustion. Continuous performances in high stress situations and weather conditions where you are losing a lot of natural salts and nutrients intake, the same occurs.

 However, each person will find his own natural level. I am suggesting you become aware of your own energy level by asking whether you are fast, slow or hyperactive in your character and to experiment with different presentations, which require you to project a different energy.  Ask your friends to give you a break down of your personality and to study this.

Within  one show or even a routine there are  different levels of performance energy and experimenting with this concept will allow you to see and experience new performing dynamics which will either stay in the routine or show or be discarded as need be. Awareness of what you are capable of is what I am suggesting and is the basis of all acting that of finding parts of you that you thought you never had.

 Pacing

  The pace at which you perform will enhance your character and create meaning.

Pacing and timing are intrinsically linked. Pacing is the speed at which you perform and is determined by your character and your natural energy output. Within each routine, you have the rhythms of the show and the overall pacing is determined by the timing. These moments when changes occur within the rhythms are very powerful.

 Every one of us has a distinct character, which is linked to our energy and vice versa.

 The more hyperactive your character the faster you work. A low energy person will have a slower pace of performance. It is possible to change your pacing with a result your character will have to respond to this. At moments where the pace changes you have a very powerful moment especially in comedy where an experience is created that is subject to all that has happened just prior to that particular moment but is totally separate in its entirety. It is the a moment where say after a manic interaction has taken place, the performer stops dead in his tracks and makes an appropriate comment that creates a funny moment or a powerful piece of theatre.

 Without the lead up to this moment, it would be superfluous and could be the same as comedian saying the punch lines of jokes and nothing else. They would have no meaning without the lead up to the punch line.

Classical actors use this technique in their performances to translate their representation of the character. A good actor does not recite his lines in a single monotone voice but varies the pitch (rhythm) and the speed of delivery (pacing). Within these moments is a specific moment, which I call the pause, which I will discuss further.

 Rhythms and flow

 Your show will run at a certain pace or speed. This is controlled and within this are the waves and troughs of the show. The individual routines make up the rhythms. The way the show is constructed will determine the general flow of the show or smoothness of the presentation. Another example is a river flowing down a sandy bed will have a different dynamic to that of a rocky stream where the water has to negotiate turns and twists. If you took two performers, one experienced and the other a novice or amateur and assuming they both had a skill level to present the trick, each will present it entirely differently not only from an artistic point of view but also from the pacing and timing of the presentation.

 A more experienced performer will be aware of these performance dynamics. This highlights the difference between performances of an amateur compared to a professional. The professional will have a more holistic view of the presentation whereas an amateur will still be fumbling over his costume and looking for a lost prop in his suitcase. The overall theatrical effect will be affected by these dynamics; everything in the show is subject to these rules and dynamics.

Study famous politicians or diplomat’s speeches for examples of how they apply these techniques. Observe the way they accentuate a certain topic with body and voice to make the speech more meaningful. Apply these same techniques to your presentations and see the difference.

 The pause

 A celebrated actor in South Africa , Toby Kushlick taught me about stillness on stage. A well-centered actor or speechmaker creates a more powerful presence. By this, I mean they do not waste energy in flapping their arms around or fidgeting on stage when presenting a line. Standing still onstage when you first start performing is one of the most difficult skills to learn. We all tend to perform too fast and lose those magic moments. Standing still and pausing in your script and presentation will add a sense of dramatic. Again, I refer you to speechmakers for an example.

 Buddhists practice meditation techniques based on their breathing patterns or rhythms, which is what good actors do. The pause is the moment of silence where it is neither the in breath nor the out breath. The monks practice this meditation to enhance this special moment where nothing happens and everything is still.. They will count to a certain beat on the in breath (the rhythm) and then at a certain moment they stop breathing in (using timing).They will now stay in this space for another few beats before breathing out again. This analogy can be applied to a magic or comedy routine

. The in breath of a magician show or comedy act is the set up; you create meaning through tension and other theatrical techniques. The moment the magic happens or the punch line delivered, this is the pause; the moment creates the illusion of impossibility in a magic act or laughter in a comedy act. This follows with the out breath, which is the moment the audience laughs or reacts to the magic.

 For example in a simple coin, vanish. It can be broken down into these parts. Displaying a coin and placing it in the hand is the in breath.

The pause is that special moment just before the coin disappears from the hand that signifies the magic experience for the audience. I believe in some action whether it is a verbal cue or a click of the fingers to signify the moment to enhance it.

 The hand is then opened empty and represents the out breath. You are making the audience feel the moment you are trying to create. It is actually possible to link your breathing to the actual move you are performing. I know that breathing enhances your focus and I have learnt to enter the stage with a full pair of lungs as this enhances your energy and appearance. When I had to perform my seven ring juggling routine I would stop and compose myself (the pause) and then breathe in and at same time focus my mind on the trick at hand.

Try as an exercise the same breathing technique just described when you make a coin vanish. In other words as you place the coin in the hand, breath in, perform the visual vanish as you hold your breath and as you breath out open your hand. There is an inner focusing of your mind in the moment at hand and the audience will pick this up.

Applied to a show you become aware of the larger moments in the show and the quieter moments and then you are able to structure your show with a better flow (or breathing pattern).

 Showing emotion

 I have had fun playing around with emotions. I suggest you try to pretend to cry or feel very hurt during your show. I personally found it difficult at first to show this emotion but now I have developed it into a funny situation. Imagine wanting a bite from a child’s ice cream, and when he refuses, you burst into tears.

  The more you can make your audience feel emotion through your show the better the show. That is why developing your character within the performance is vital so the audience can relate to you and your magic. As you walk on stage, you have to take charge of the situation and project your character, as you want it. A good performance will have the audience in time with you; you can almost feel them pausing and not breathing as you create a moment. Look around you, the next time you are in a movie house at the spontaneous reaction a horror movie creates after the build up of suspense and the tension released. You would find the audience so enraptured that they will hold their breaths until after the scary moment.

Failing to communicate your character within your show will effect the audience reactions to your show.

  I have a personal belief that Cardini the magician was highly successful acting skills combined with advanced sleight of hand routines to enhance his character, that of a slightly drunk sophisticated man. I believe this to be his formula for success. The audience related to him on an emotional level. This is why magicians relate to fellow magicians performance in a different way to laymen. I believe there is too much emphasis on the skill and not on the overall theatre experience.  When a performer merges both skill and meaning, I feel you have a powerful piece of theatre. How many times does a magicians wife complain that she is bored seeing the tricks and vice versa when you can fool your wife with something new you have a potentially strong magic routine to develop into a bigger theatre piece with staging ,costuming ,lighting ,timing ,pacing and off course ….the pause.

We all become aware of a bad performance and we become irritated or bored, with a result, you have a detached audience. This detachment is a result of your surrounding situations just prior to your show or bad publicity and the cultural sophistication of an audience. For example, performing after many children related events would affect your show. The adults will make certain predetermined judgments of you based on their experiences.

  A bad publicity poster will also do this for you. The television magicians of yesterday such as Doug Henning or David Copperfield and the modern day ones such as Chris Angel and David Blaine are enhancing magic as an entertaining art form and keeping the public interest in magic alive.

I have personally had a booking because of a company wanting to book David Blaine but costs and logistics restricted them, with a result, I was booked for the function requiring a street magician. This was when close up magic was in the doldrums. I feel the new wave movement of branded magic and branded magic dealers is a benefit to magic.

The modern day magic star will encompass modern day social images and behavior as well as new magical presentations or old ones revised to look new. This performer might not necessarily wear a tuxedo or sparkle outfit but rather a hooded jacket and tattoos.

 Applause

 Applause is a very powerful vehicle on which to ride and enhance the show. Applause is so much more than just the result of a good trick or joke. The emotional bonding that takes place is immense. At the beginning of the show, a distinct applause cue teaches and bonds the audience into a cohesive unit. That is why a stand up comedian will start with a strong joke or gag. This allows the audience to relax and enjoy the show. Audiences want the performer to be in charge and take the lead role in the performance. There lies one problem in that there can be bad applause cues and then the audience fails to react. In magic, they are in disbelief.

As an example I found at the end of a certain trick I held the applause cue for a few seconds longer I obtained a sudden increase in applause. I realised that magicians have to deal with the audience trying to register what has just happened before their eyes. They experience a moment of disbelief, where all known logical parameters are tested to find a solution. The public will do this automatically. This inner activity can obstruct and distract the audience from the present situation and that of acknowledging the performer. Hence, holding the applause cue a little longer will signal to the audience and they will come back to the present. The funny thing is I became a comedy magician because I did not have much confidence in myself as a performer and so I rushed the trick and made a joke of it. The more I reacted like this the more it became normal for me and so I pushed for the joke rather than the magical effect.

Nowadays I still push the comedy but I now try performing powerful magic as well. Another example is the vanishing tomato sauce bottle, a magic trick that plays very well for me now but when I first bought it, I had the idea of using it simply as a gag. I threw it into the audience, very much like the sponge brick gag causing the audience to receive a fright. One day I thought let me try this as a trick and was very surprised at the reaction for the trick, henceforth it stayed in the show.

 The performer must direct his audience as to when and where they must clap. The trick should not be presented and let to stand alone to find its own applause, while you walk away and reach for the next prop under your curtained table.

Analyze your act, be aware of the applause cues, and make sure you hold them a little longer. You can even create applause for your self. Do not be afraid to ask for applause in the show. (See street techniques) Let the audience applaud without interrupting them and as the applause starts to die down start talking again. Experience will tell you when to start your act again after the applause.

The use of music as a punctuation mark is the most powerful way to allow the public to applaud. Look at good dance routines as an example, they all end with a distinct beat and pose. Magic and juggling acts should be presented this way.

 At the end of your show, the use of clap- along music is very effective in creating a sustained applause. This is very popular in Europe, especially Germany and I have used it very effectively in my shows in Spain . At the end of the show, you leave the stage quickly and then when called back by the compere or with your voice over, you reappear combined with a very lively clap along song and you can stand there for another minute or so extra. The feeling is amazing as the audience responds to all your efforts in one big send off. Use music that relates to the culture you are playing to for even bigger results.

Of course, there are also false endings, which lead up to a main ending. I use to say at the end of my bike act, which was very strong, thank you and good night, after the applause built I would ask if they wanted more and then proceed with my ending routine. Singers use this technique as well. So delay your ending and in fact if you are a superstar then you must also delay your start by having a warm up act as well as a period of waiting, the crowd at any large concert will create the expectation and many occasions a false applause start will happen spontaneously from the audience. By the time the band is on stage, the crowd is ready for a good time.

 Today it is so much easier to create your own music specific to your needs with computers and cheap music programs; it really is in within reach of every performer these days. I feel it should somehow be a standard benchmark on which to grade a performer and to measure his professionalism. There are also very small sound systems, which are light and allow you to have music at any venue even children’s birthday parties. You might say why bother but I say bother because the booker and their friends will notice you and the results are increased bookings.

Another aspect of your show, which can also be used in a very similar way, is the laughter created directly either from a joke or indirectly from something unplanned such as a spectator’s reaction or comment. (See controlled and uncontrolled laughter)

b. Character script

 Write down all the characteristics of the character.

E.g., what is his favourite colour, food, any quirky characteristics such as a funny laugh or walk, how he dresses and what props does he use, does he like people, where does he work and what type work, where is his hometown etc.

 I have a comedy character called Mr. Barnaby Smythe.

Here is a character sheet for him

 Name: Mr. Barnaby Smythe

Age: 40 or so

Work type: Insurance Agent

Employer: Whittlesby and Newcombe Insurance agency, Surry , UK

Favourite colour: Red

Clothes: Bowler hat, suit and red tie, with red handkerchief.

Props: A Red Umbrella and suitcase Glasses without lenses but he is not aware of that fact. Often a yellow sponge ball might appear from the lens only to vanish again.

Shoes: slightly exaggerated pointed brogue style shoe. Every now and again, a can of Coke might magically appear in his shoe. The shoelaces are a constant problem as they are always coming loose and he tries to tie them getting his finger caught in the laces.

Favourite food: Smarties, Pies

Loves women but does not get it right with them.

Clumsy and finds things are caught up in other peoples items. Very forgetful and pedantic about his appearance, Gets frenetic and then notices that people are looking and then is embarrassed.

Strange magical things happen to him; objects appear in his hands and disappear magically. He sees objects on people that should not be there and removes them, e.g. a sponge ball from their armpit. He can perform a bit of juggling, magic. Every now and again, he freezes and does not remember doing that. Objects suddenly get heavier or lighter making it difficult to carry. Sometimes he might be required to deliver a long pole in a cocktail function but cannot find the manager. He is also been known to get lost in shopping mall and will be seen with an oversize map of the mall trying to find the place he is looking for, sometimes he might use a compass to make sure he is correct. He will walk straight and not leave the line he walks; if people are in the way, he will have them move (Mr. Bean, The movie, same gag!)

 The more you are aware of what he does and does not do the more you can fashion your act and skills around the character.

Any character can have this inner script applied to him. Character actors study particular people before shooting a scene to improve on their observational skills. Keep an awareness of funny situations and drunken people can often be an inspiration of some one doing stupid things. The inspiration for my cigarette routine was a drunken woman trying to light a cigarette but it was always the wrong way round in her mouth. Social rules can be broken because of the character, e.g. smoking rules etc.

You know you doing a good job when the security come and want to throw you out.

 c. Costumes

 The costume will have a large influence on the character. My suggestion to you is to have the most professional outfit made. Have a tailor make up the outfit. The payoff in the end will worth it. When you first start, there is a period of trail and error where you try out different styles and colours. I believe if you have written a character sketch this will speed up the creative process.

Personally, I think clowns have had a bad deal in that every person starting out puts on a red nose and calls him a clown (myself included) I think it is better to be a colourful character with certain skills rather than being a clown. This way if you are a natural clown people will relate and if you are not funny then you are just brightly dressed which sometimes is all the client wants for a particular function. The character will help market yourself and if you have something different to the next bloke then you will be booked before them.

 Here are some key points to remember

·         Make sure the costume is recognizable. Think in terms of a brand that you are marketing. People will recognize you from your publicity or previous functions. You might consider using your name within the costume in some way e.g. If your name is Buttons you can sew hundreds of buttons onto your jacket.

·         Duplicate your costume so that you can dry clean or repair one set while using the other.

·         Keep the costume simple in design. Do not use many patterns. The use of primary colors is your best. Study pictures of clowns on internet for input. Children are used to bright colours and of course, this makes you visual when in a large shopping centre or outdoor fete.

 ·         Have your name on a badge, which is pinned onto your costume. I had a badge on my jacket and my name printed on front of my hat. I did this as I was in so many photo shoots and it ensured that my name was visible to all even at a later stage when they had the prints developed.

 ·         Keep your costume neat and clean. This applies to tramp clowns as well, you might be untidy but your costume must always be clean without food stains, sweat and if threadbare should be replaced promptly

 ·         As a magician, you can design something simple or if you are a themed show, you will obviously design the costume accordingly.

·         You should look at your overall image, which encompasses your age and looks when designing your costume. I do not recommend buying clothes off the peg and using them as a costume because they look just that. I first started with bright outfits, which I used as a children’s magician, but as I have got older, I have moved towards all black outfit with a bright waistcoat and hat. I use black a lot in shows where I am sweating and in close proximity to the audience, e.g. my season in Mallorca where temperatures reach 40* degrees plus. White may also be used and is cooler.

·         The choice of hats and wearing a hat can greatly enhance your look and give you more appeal as a character especially for those big outdoor fairs and shopping centers that are requiring large, visual characters.  The hat is an essential to character work in my opinion.

·         You should ensure ample pockets for your tricks and routines especially if you are being booked as a meet n greet character. As a clown, I had pockets on each side of the leg and on the back of the pants leg as well. I obviously am more experienced now as a full time magician ,I have my pants professionally made for me with specific pockets in place for certain tricks For example a low back pocket just under jacket for the can in shoe production. I have found this makes the access for the can so much easier and if it is easier, it will look more natural and hence more magical.

 ·         If you incorporate sleight of hand in your shows and use sleeving or toppits within your routines, I would encourage you to apply this magic to your children’s shows. What I mean is to use these facilities to vanish an object instead of with a known prop for example a change bag. I used to make an egg vanish by throwing it up in the air with the same moves as the throw up dove vanish using the tails. The kids loved it! Of course, they would say it went up the sleeve but that is great because you pull out a big bouquet of flowers or a comedy prop such as a toilet plunger from your sleeve to prove there is nothing there!

 ·         I have managed to place a toppit within a tails jacket and have used baggy sleeves and a tails pocket in my clown jackets very successfully. When you have the costume made, make provision for your sleeves to be a bit longer and have the toppit put in place even if you have not mastered it. It wont cost as much to put these features in from the beginning.

   ·         When designing your costume remember the brighter and visual you are the better, as you will be able to obtain bookings for other functions besides children’s parties. These can range from store openings, shopping centers and outdoor functions such as fetes, picnics and agricultural shows. You will be competing with other attractions for attention. This especially applies if you are a walkabout performer. This is very applicable if you are booked as close up magician at such functions, as close up magic can tend to be played small rather than large.

 ·         An extended top hat can enhance your height especially if you use it on stilts and an umbrella can increase your visual appearance. I have used an umbrella extensively as a comedy prop. In my clown performances, it made a very bright backdrop for photographs when opened up. I also used to twirl the umbrella while walking which further enhanced the look. I once had to use the umbrella rather forcefully on a drunk trying to pull me off my stilts.

 ·         I made my stilt pants the same design as my normal clown or magic costume so that it was the same image but I had just grown some!

 ·         Remember that stripes and careful use of colours can enhance or restrict certain features. Vertical stripes will make you look longer and will be very affective on stilts and mad hatter type hats. Solid dark colors will make you look thinner. Be aware of colour co ordination in your costumes. Study colour charts in basic art books on colour to understand this subject more.

 ·         Have your costumes made by a professional costume designer. You can tell when the wife or girlfriend has put the costume together. You want a well-tailored costume, it does make a difference to your appearance and bookers do notice!

 d. Mirrors and video cameras

 A very useful tool in developing your character is a full-length mirror. I suggest that you play in front of the mirror with facial expressions with your make up (if appropriate). Exaggerate your facial expressions. Learn which ones are the most expressive. I learnt what the best faces with my clown make up were and when people asked for a photo I would strike the same pose and facial expression. Pretend that you are in a show and try to express the emotion that is appropriate for each trick. E.g. surprise, anger, amazement etc

Use your hands and arms in conjunction to your face. I would also recommend studying basic mime skills and studying mime artists to get some ideas for sketches as well as acting techniques. The larger your character is the better.

Remember that self-awareness of your body helps you express more. Dancers are an excellent example of this. Be aware of spaces and shapes you create in your stances and how you can move from one area to another. E.g. Juggling is all too often at hip height whereas you can juggle very high and then drop onto one knee and roll the balls on the floor or in a large shopping centre with a smooth floor, you can use rubber bounce balls and spin the balls every where. I combined the classic billiard balls with juggling and went down well within the character I was portraying.

Movie stars apply this technique all the time; in fact, they will demand the photo taken to their specifications, in other words showing off their best side.

When you are aware of your expressions, you can then apply them to your show.

Just an aside, mirrors are very good for young children as they learn self-awareness. Too many homes do not have mirrors for children.

 Video cameras are essential nowadays in developing a character and an act. I suggest the effort and expense it will take to set up and practice with a camera. This is ideal as you can then see your mistakes and improve on them. Rehearse your show with a camera and video your performances as much as possible. Revue your shows with a critical eye looking out for bad theatre techniques and if it’s magic any giveaway moments and make notes of any new ideas that spring from watching the videos.

 Comedy techniques

 I have listed various comedy techniques that I used or have used in my shows with success. When I first found out that there where actual techniques to comedy I was both amazed and very excited as I now had more of a formula to work with and was able to apply them to my shows. I started thinking about my presentations and scripts more. I feel a good-grounded knowledge of some of the listed techniques will be very useful in building a character.

 Self-deprecation

 This technique the performer allows some of jokes to be at their expense

This is a very good technique to use as it allows the audience to bond with the performer. This is very useful in character work as it allows you express a reaction and emotion.

 My comedy business character is often walking straight into a wall after turning to say hi to some young girls. In kids shows I am about to light the dove pan and tell the kids they must never play with matches, all the while the  match is burning closer to my fingers, the more  animated I become about not playing with the matches the better the reaction when I finally get burnt.

Having established my character as a person who has things happen to him detrimentally, whether they are magical or physical, I then juggle and display a skill that brings the audience and you on the same level again.

You have to judge the crowd as to the level of the joke against you. The environment you are in when performing this will also be a factor.

 The performer in trouble syndrome

 This is different to self-deprecation in that the performer is only temporally in trouble and has an out. A lot of card tricks where the performer pretends he cannot find the card or has lost the spectators ring only to successfully find it at the end.

 In magic acts, this is great form of presentation. The master of this was Cardini and his manipulation act; he managed to demonstrate great skill within the character of a drunken person. I highly recommend this type presentation.

 Repetition/Continuity

 A simple gag/or situation is repeated throughout out a sketch can increase the humour. Sitcoms use this through different programs e.g. Jerry Seinfeld show bloke keeps barging into rooms as if his life depended on it.

Dinner for One uses repetition extensively throughout the sketch. The drunken waiter repeats actions with a progressively more dunk approach. The tripping over the stuffed lion as he obtains a new bottle of wine etc is also very funny.

The gag may be visual, verbal, or combination of both. The ideal amount of times to present the gag depends on the gag itself and the audience. A certain feel and experience will help to determine this.

It is best to repeat no more than three times. E.g., you can ask a bald headed person to polish his head with a cloth, the next time you offer a comedy comb (one without bristles) and the last time a wig. Obviously, you can repeat this gag to different bald people but the structure is the same. Another example is a couple walking and holding hands, you come up and tell them they cannot do that they must have their arms around each other, the second time you part them and take the wife’s hand and on the third time, you take the husbands hand.

I personally try end with the strongest gag last if there are a set of similar gags.  

Delayed Anticipated action

 Sometimes repetition is used to make the audience expect and anticipate an action, which is then delayed, this causes two laughs one when the audience is surprised that the action has not happened and another when the action finally does take place.

For example, the clown squeals each time he takes out a musical instrument from different suitcases and on the  last one, he takes the instrument out but does not react straight away, then looks at audience, who laugh, he then squeals making the audience laugh again.

 Surprise

 An unexpected event happens which causes the audience to laugh. E.g. baking a cake magically with a dove pan and building up how nice, the cake will be and then you produce a rubber chicken. Alternatively, you draw a large bowling ball on a pad and then out pops a real ball from the pages. I believe all basic clown and visual comedy have elements of surprise. Comedy horror movies use this extensively. They continually set you up with a real fright but knowing it is a spoof you then laugh. Normally the character in the movie will receive the same fright as you.

  Here I must labour the point that the best comedy is from your reaction to the gag. If you react as if the situation is an accident and have the people believe it was an accident then you will enhance the reaction. E.g. the pan is opened to reveal the chicken, you act surprised then reveal the chicken. You receive two laughs from one situation. The more people are in tune and following the actions, the more you can delay the ending. The converse is true as well e.g. Performing  close up magic or comedy  in a noisy bar where people are very distracted through the noise or drink and hence can not concentrate requires you  to simplify and speed up the action  to get to the  punch line or end of a trick. If the people do not get the plot, set up of a joke or trick, the punch line falls flat.

 Reversal

 In comedy three types of reversal are used, situation, character, and role.

Reversal of a situation is when an expected outcome is changed. This is quite common in the silent movie era e.g. Charlie Chaplin applies for a job and is bullied by the pompous owner, reversal happens when the owner gets his just deserts. In some of these old movies there was a distinct split normally when the hero has a sleep, waking up realizes there is more to life than what has taken place.

In clown acts, this is also applied and it is a good thing for the underdog to come out on top.

 Character reversal means a character exhibits a trait contrary to what you would expect. The absent-minded scientist or the brainy skateboard kids are common examples of this. A large overweight person who shows off extreme dancing skill would be another.

If you establish your character and then display some strong skill such as magic or juggling you achieve this. Normally in a large acrobat troupes and trapeze artists, the most skilled artist is designated the clown who at first displays he isn’t capable of doing a simple trick, then at the end he strips off and performs the best trick in their routine.

Role reversal. This is where somebody is trying to work at or fulfill an unaccustomed job.

Leon Schuster in some of his funny people movies uses this technique. A classic of his when various people are filmed trying to answer the phone with various strange things like the dustbin exploding around them. The comedy is created by there miss fortune.  

Role reversal is sometimes a component of impersonation.

Impersonation

 This is a character pretending to be somebody else. Initially the audience may or may not know a characters true identity. The performer starts out doing as accurate an impersonation as possible and then little flaws creep in which reveal the duplicity an example is the clown concert pianist who cannot play, but has a recording or another pianist backstage. In the beginning, the clown hits the proper keys in time with the music. After the fists song he stands, takes a bow, and then the piano starts playing again. When he hits the keys to start another song, no song is heard, and has to wake up his backstage accomplist.

 Slow thinker (Buster Keaton and Stan Laurel)

 This is a special application of timing. The double take is another way of using timing. The character observes something but looks away before the vision registers in their brain and they suddenly looks back to see if what they think they see is there.

 Imagined predicament

 The character is misled into believing he is in a spot of trouble and could be life threatening. An example of this is the hypochondriac giraffe in Madagascar cartoon movie believes he is going to die and prepares for his end, he is convinced there is no cure and has not got long to live. The humour is created by his action based around this false truth.

I personally use this often when a balloon pops unexpectedly at a party and I act out that I have been shot and fall down looking for the bullet hole etc. Alternatively, a police siren goes off nearby and I assume it is for me or I see police officer and put my hands up.

 Visual Puns

 American clowns are famous for these types of gags. They walk around showing a sign and then open a suitcase with the visual gag E.g. a large oversized wiener and bun is placed in an invisible dog leash, it is the clown’s pet hot dog. or two dice displayed in a suitcase is  Paradise ( pair of dice) . I pretend a cup of coke with straw attached is a mobile phone. Alternatively, I will display a wig with plastic ears attached to it and say it is an earwig! (I know it is corny but it gets a smile)

 Double Entendre

 This is a line with two meanings, one of which is risqué. Part of its appeal is the feeling of superiority when people can figure out the other meaning. Many risqué pantomimes use this form of humour. I feel any character performer has to be very careful how this is used and the context it is used. In family entertainment, it normally is not a good idea as there will be one person who takes offence.

 Word Distortion

 In children’s shows, this is used a lot and I personally have a lot of fun with this. E.g., scissors is skissors or a jacket is a “jakket”. When the children tell me the correct version, I then launch into a huge argument telling them I cannot say jacket/jakket etc. Eventually I say the correct version much to my surprise and carry on with the show.  

Alliteration

 Alliteration is the repetition of a sound. Ringmasters use this to announce acts: “astounding aerial achievements aloft” etc

Kid love this and you can use to misname children e.g. silly sausage

I used to make up magic words with my clown name so the kids would remember it e.g. my clown name was woody the clown so I had the kids shout “wicky wacky woody”

 Hidden Element

 A hidden element is something the audience sees, but the character does not.

In a ghost entrée the ghost sneaks up on the clown much to the consternation of the audience but the clown fails to see it, finally he does much to the laughter of the audience.

This is a very good way to involve the audience. Children will yell at the performer about what they see. The performer can fail to find the hidden element as long as the audience response continues to build. It is especially effective if finding the element leads into the next gag. For example, a clown who could not find his hat finally does and then accidentally kicks away as he goes to pick it up.

 The die box magic effect is another example of this.

The performer makes the dice vanish but the audience thinks he is sliding it from one side of the box to the other.

 Practical joke

 This is very popular in clown entrees for instance the Honey Bee routine where the clowns are at first fooled by the ringmaster and then the two clowns try outdo each other, only to be caught in a barrage of water. As an individual performer you can set your self up for the joke e.g. You show that you have a water flower in your button hole , but when you try it out on the public it does not work, you fiddle with the flower and receive a massive spray from the flower. The classic garden hosepipe sketch is another example. The pipe is turned off, then the clown looks down the pipe and receives the water in his face.

I do not believe in performing practical jokes on the public, it is in bad taste and there will be a time when the public will get you back.

For example, I was performing at Sun City, was collecting the kids around the pool for the show, and as I walked I made chirpy comments to the adults, so next thing I am picked up and thrown into the pool. Another incident, a very drunk person picked me up from the ankles, which resulted in me falling on my face. I suggest you do not make a scene when this happens and brush it off as silly joke. After the bloke left the room, I went on about him being a mad man. This also happened to be an up market wine farm not some crazy festival.

 Comic Inventiveness

 This has two aspects, using a common object in an uncommon way, and creating an unusual invention. E.g., the coke can with a straw sticking out becomes a walkie- talkie or mobile phone.

Theatre sports often comprise games of this type

The object of the game is to come up with as many unusual uses for the object.

I highly recommend this outlook in your walk around performances. Many of my comedy situations have come about this way.

Controlled and Uncontrollable laughter

 There will be occasions in your performance when something is funny and I recommend that you laugh along with the audience and use the laughter instead of rushing over the situation, this is good and allows the audience into your world as you laugh at the situation that is taking place and adds spontaneity to the show. E.g., the child you have on stage makes some comment and is very funny, by laughing at the comment you create the humour. You never know when another comment follows and you now have an extra gag in your show. For the public those moments become some of the most memorable ones.In my unicycle routine I find it is quite common for the spectator to laugh quite uncontrollably as I land on him and pretend I am falling off the bike, instead of ignoring him and his laughing, I draw attention to him laughing and it will increase the situation.

A person in the audience might laugh out of context to the joke or have an unusual sounding laugh and if you comment about the laugh or noise, it will add to the joke. Apply sensitivity when bringing the spotlight onto the person in audience as it can embarrass the person and alienate the audience.

The uncontrollable laugh is where the comedian cannot keep in character because of the laughter he is trying to suppress. Many stand up comedians do this and actually pretend to be out of control. I have found it creates a few extra seconds of sustained laugh before you compose yourself and continue. The breaks create interest rather than a flat monotone presentation. You must act the part well otherwise you will look stupid.

 Verbal cue

 This is where you cue the audience member with a command, which will enhance the comedy. In my unicycle act, I tell the bloke without audience hearing to push me on the buttocks; as a result, I can play the situation out. This was a comedy situation, which really happened and I strived to create the same situation in future performances. I also will cue the person to play along as it is for the people watching from a distance ( in walkabout situation) For example I come up to a bloke and lift his arms and proceed to search him like at airports with hands down the side of his pants etc. I have looked him in the eye and said to play along for the people watching. The explanation allows him to feel at ease and  normally I explain that the people are watching a show and he is now in it. If you do not do this, they will not realise that you mean no harm and will react defensively and of course most of the time aggressively. The worst thing for situation comedy is for one of the participants to take offence.

 Breaking the fourth wall

 The fourth wall in the theatre is that invisible wall that divides you from your audience. To break this wall is to break character and talk to the audience. William Shakespeare used this in his plays very effectively. The use of the soliloquy was a means of communicating to the more common folk in the audience of that day and allowed the audience to understand what the actor was thinking. This technique which is popular in comedy pantomimes where two actors are bantering at each other with fast verbal lines when one will stop at appropriate timing and talks to audience, normally to comment on how stupid his partner is. The situation becomes more funny especially if the current scene is quite serious.  This is in a way similar to controlled laughter.

 There are many other types of comedy techniques, which are useful and suggest further reading on the topic (see related articles.)

 PRACTICAL GUIDE TO ROUTINING YOUR PERFORMANCE AND CHARACTER

 I wanted to touch on how to routine the performance once you have your character.

I must mention that my approach is from a more commercial aspect rather than the more free arty type. In other words, I have a very clear intent as to the commercial outlets and the performance dynamics that will affect my character.

For example, shopping centres for me were my staple income for many years and I could approach virtually any centre in South Africa with my clown character knowing that I would be booked there at some point. I had such free rein that I would deliberately criss -cross Johannesburg with my marketing so that the different centres did not clash with the same promotion. I did not get greedy trying to do every centre at once; sadly, those days are over.

 Once I have a potential market for my character, I will proceed to put the biography together. The same applies if a client phones and asks for a character for a function. I will need as much information as possible to be able to fit into that function. Obviously, experience will help you conceptualize a character that is considered commercial, and you will be able to present it as a one off show with success. You might come up with a fantastic idea on stilts but the costume is restricted in the performance space e.g. I made a wizard riding a large pink dinosaur all on stilts. The first hassle, besides the making of the costume was that the beard restricted my face thus blocking my natural expressions. The other problem was that I could not walk in close restricted tables, as the tail was two metres in length. At the last function I used the costume I had one of the bolts on my stilt leg come lose and because of the nature of the costume I could no get to the problem in addition I could not convey to onlookers that I was about to fall over. It must have been quite a funny site having this wizard get all animated and waving arms about and mumbling under his beard. I managed to enlist the help of a poor unsuspecting spectator to help me to a nearby tree where I could sort out the problem. This is the epitome of breaking character. One minute the happy wizard the next a very disabled wizard.

 1. Visualize where you will be booked

I have always tried to find a commercial outlet for my character before I take the time and effort in putting the work into making costumes and props for the character. I have in fact sold the concept to the booker before I have the costume! This can be stressful and I would suggest you have the character in place until people know you better and you are confident you can produce the goods.

You must research the performance dynamics and space as much as possible before hand. E.g. where will you perform it, conditions, type of people etc

 Let us use the clown as an example.

 You have the biography of the clown as written up previously and have a good idea of his character. In the market place, you have seen that shopping centres are booking shows and this would add extra income. Take a trip to the local mall on a Saturday, as this is one of the main days to perform, except during school holidays when midweek shows are possible. Observe where the show might take place or if walkabout type show, how many people there are around or the spaces and heights of ceilings. (This is obvious for anybody with established performing knowledge, but I am stressing the referencing of a new performing field as much as possible) If you have fellow performers in that field that will help, then ask them. Nowadays the forums on the internet are a great place to research so things. There are more and more specialized books on subjects such as cruise ship bookings or birthday bookings etc

 The aim is that you are comfortable in the character within the performing space.

It is important to maintain that character throughout the performance. When you are on breaks, it is important not to be seen or to drop out of character.

During my clown performing days I would hide away to go and eat because I did not want the public to see me eating in costume. This is difficult in shopping centres where the public are all around you. I found it tiresome to maintain the character all day. However if you are to be that person then one should act that way all the time. You will require self-discipline and working with the dynamics of the performing environment you are in as best as possible. The less structured type the  show, will require a little more foresight and planning on your side .E.g. Change in the car park and arrive fully dressed or come without any costumes and change in dressing rooms there. 

 The next step is to try integrating any existing skills you have into the character.

This is the most obvious and easiest approach. The alternative approach is to learn specific skills. E.g., an Italian character for a pizza venue requires you to learn to speak a little Italian with accent and to spin pizzas on your hand while riding a unicycle. (This might be a request or an idea you have so that you can approach the client with the idea)

2. Use existing skills and routines

I personally use the performer in trouble technique as one of the main themes of my performances. I then look at all the tricks and routines that I have and see if any will apply to this character.

This could be juggling, magic and mime, balloon modeling, unicycle or stilt walking. You can immediately see that with an idea as to who this character is, will help you in your presentation.

For example, he ( a drunk character ) can pick up the clubs the wrong way around, think they are bottles of wine and try drink from them, throw them up and drop them or throw up one and to his own amazement, he catches the club. He would then proceed to juggle as per your normal routine with drunken overlaid features.

With balloons the same the drunk picks up the balloon and stretches the balloon and releases it in his face, then places the balloon the wrong way in his mouth or he eventually manages to have the balloon blown up and tries to tie a knot in the balloon and it flies away.

 The drunk on stilts is a little difficult but can be done. Obviously, the performing area and function will dictate when and how you are able to do this

 2a Alternative creative approach

Here you would create a character that is completely uncoordinated with the surrounding environment; he could even be alien in concept. Eg a stilt creature made of plastic bubbles or a large silver tube that bends and twists into different patterns.

 This method is normally ideal for the festivals where the emphasis is on performance art rather than the commercial type. Here you can brainstorm a come up with exciting concepts but the negative of this is ensuring a booking or sponsorship for the cost putting the costume and concept together. Stage shows and festivals are the outlet for this type of performance. I feel that this type of performance should be only tackled after many years of experience or with acting skills. However, saying that it is possible to adapt some of these ideas to mainstream culture and make them usable for commercial usage. Something my creative spirit abhors!

 The burning man festivals and larger art festivals as well as performance art festivals in Europe allow for creative character performances. South Africa has small art awareness within the festival booking community and most still book mainstream normal concepts. E.g. clowns and stilt walkers

 Some crazy ideas I would love to see in South Africa , are a newly married couple leaving the church suddenly break out into a huge choreographed fight, or escaped insane asylum inmates running through the festival with ambulances chasing them. I did see at the Edinburgh Festival, so called tourists dressed in naked costumes (costumes that suggest the actor is naked, false flesh and pubic hair) photographing the buildings and talking to themselves completely oblivious to anybody. And lastly my alien character that has landed and comes to observe humans with only a few references to  human behavior  sourced from watching you tube snippets!( this would be an interactive show with public with  small AV  screen on which material from you tube snippets are edited together allowing the character to communicate. This would entail a complex amount of editing. The closest I have seen to the idea is the Transformers movie where the one character communicates with snippets of different radio broadcasts all spliced together to make a sentence.

South Africa has its own special uniqueness and you have to adapt to this. Funnily enough, I tried to go African to the Edinburgh festival by dressing in bright African costume and props, only to be told by local performer that I looked like a kid’s performer and needed to change my outfit to fit in!

 3. Building a routine

Let me say your ultimate goal is to entertain your public not the local magic buddies or worst your ego. The selection of routines should be based on maximum entertainment and not on the latest magic method. The only exception to this is when you add a new routine into an existing show to break into a new routine. This must be done with caution, and I suggest you play around with your show once you are very confident and have an established show.

There is a classic expression, which says start well and end well and let the rest worry about itself, I would like to amend this and say start well and end fantastic after a good well-structured middle. Each routine I perform has a distinct start and end. My whole show has a good start as well as an ending. I applied the same formula to my appearance on the television program 30 seconds to fame. Even though the performance was so short, I made sure I started well and ended well. In two programs, I came second so was happy. I remember the performance time on stage was as stressful as an hours show. However, that was to do with having to grab your audience very quickly before they voted you off.

I have over the years built up a number of different types of acts that I can plug and play into my program so that each show is designed for that particular venue and circumstance. On long-term contracts with each venue different, you have to come up with a happy middle road where the show will cater as many types of venues as possible (see show management section for different situations to encounter). The best are where you have control over all the technical requirements and the only thing that changes are the public each night or so you think! (See show management for more details)

 List all your tricks on computer (or old way, flash cards) and designate all opening tricks, middle tricks and ending tricks together. Work a list of tricks that make up variety, visual and exciting with audience appeal. Make sure there are no repeat themes  or similar methods e.g. cut and restored rope  as well as cut and restored neck tie in same routine  or  say using same method to produce a girl from illusion ( there are exceptions.)

 Select the best opener trick middle and end trick, which gives you your best show, based on the performance space and other dynamics. Be prepared to adapt your show at a moments notice to change things around. The classic case is at a magician club show and the first three performers before you; all come on and perform the same trick or use similar gags, which are only funny once.

 4. Constant performing

There is no other way to improve your act and performances except through performing. Try to use routines that are adaptable to many types of shows so that you get your performing mileage out of the routine and eventually become very slick and entertaining.

You also get your moneys worth in terms of financial investment from the props themselves. It is vital to keep alert and maintain a high standard during your performing, always striving to improve your self whether it be a better prop or simply a new gag. Polish and more polish your routines. The actual performances will teach where you act needs attention (see show management) through trial and error and unfortunately those disaster shows, we have all had.

I have always advocated performing small shows during your walkabout performances as this gives you an outlet to try out material and polish existing stuff.

 5. The rainbow

I have to admit that you will never get there; striving for perfection within a routine or your act no matter how much time you put in will always have something to improve. The higher the entertainment ladder you climb the more refined the improvements will be but there will always be something that can be changed for the better. Your own personal character will determine how far down the performing rainbow you push yourself.

 It must be stressed that the routine should be approached form a holistic point of view rather than simply the method.

 STREET PERFORMING

 I feel that knowing the structure of street performing and some of the crowd control techniques used will be of use to the general performer. By applying these techniques in your performances will help improve your show and entertainment ability.

Street performing is relatively new concept in South Africa . There are not many venues for a successful street show to take place. I consider a good venue, one that makes you the money. It is one thing to perform in the street but to make money is a different story. South Africa is culturally different and although we have the crowds, they will not pay, through lack of either education and financial constraints or the opposite where they do not pay because the audiences are used to free entertainment in venues. This is relevant in Johannesburg . I have performed at various venues and festivals and the only success, on a regular basis has been at the V and A Waterfront shopping area in Cape Town . The basic concept is simple. A spot is chosen which looks like a good area with good flow of pedestrians and you then proceed to stop the people, create a crowd and then most important you get them to part with their money! The performer at no time suggests that you have to stay or any reference to money when he starts the show but as you are drawn into the show you eventually, if has done his job properly, want to pay him.

 The basic structure of a street show can be broken down into three simple steps:

 The build

The object is to stop the audience and build them into a cohesive unit, which will respond to your commands and if you have achieved this, they pay you at the end.

 The trick

Once the crowd is at an optimum size (too big a crowd will result in the people at the back leaving too soon, other techniques are needed to keep them involved.

The trick itself will help keep the people at the back attracted, as the best street shows are visual. In other words, the performer climbs onto something (unicycle, ladder or pole) and then proceeds to continue building the show from there. The more experienced performers will have the front row of the audience sit down which allows more people to see and traps those that arrived first, whom might decide to leave.

Just prior to performing their main trick, the performer launches into his bottling speech.

 Hatting or bottling (The street terms for collecting the money)

 Once the crowd is at an optimum size or if it is at a festival and you have time constraints with other artists waiting, you then give your bottling or hat speech. I have seen some performers spend up to 5 minutes explaing, normally with jokes spread through about how you should now reach into your wallet and take out any amount of money, just fold it up and place into your hat! There are a lot of stock lines used in the speeches which lighten the punch a little ,but the nuts and bolts of it is the better your show and your bottling speech the better the hat ( money). For those of you thinking this form of performance is begging well it is! But they guys make a very good tax free living from it and although most artists do not go around sharing what they have made I can certainly say the average hat for a European show is anywhere from 150 pounds and more. I personally made a average of 220 pounds /show with my best show just short of 300 pounds. I know of artists that have made up to 600 in their shows, so this type of show is well worth it in the end. I was attracted to fact that I could travel light and just turn up at a festival and make my money. There are certain preparations, especially permits and insurance.

 Anyway, back to the show, now the crowd knows what to expect and are primed to pay after the show. If the trick they perform is, spectacular enough the crowd will come forward and pay. South African audiences are not used to this type of performance and are resistant to paying, especially in Johannesburg . Europeans are culturally aware of this theatre form as it is one of the oldest forms of theatre available. I was quite proud to see a little sign at Covent Garden indicating that punch and Judy shows where performed in the same area I was standing some 300 years later! There are many performers who have made a very good living from this form of theater and others have reached stardom in other areas of entertainment, Eddie Izzard the well know UK comedian who recently visited South Africa started his career as a escapologist on a unicycle!

 I do not feel knowing the complete show technique is required but the build can be of benefit as it has been for me. I continually use these techniques in my shows whether they are in a large auditorium, cruise ship theatre or an outdoor company party.

Knowing these techniques will enhance your ability to hold an audience and make your present shows more entertaining.

 Let us assume you are in a large shopping centre, school fete or company family function held at the local zoo. All of these types of venues will require you to draw in the crowd before you can start the performance. In a shopping centre, this might be a structured performance on stage or if it is a big one mall, you perform spot shows in and around the mall. All of these types of performances will have people walking by not interested or not expecting a performance.

 The procedure is to draw the crowd slowly, very much like fly-fishing, at first tentatively so that the public do not find you intimidating and then more forcefully as the performance proceeds. Once there is, a basic edge (circle established) established you move onto more advance techniques where you involve the audience in your build.

 Costume and props

 This will help let the crowd know that you are an entertainer and something might be happening. A bright waistcoat or an unusual hat e.g. bowler hat or top hat. In addition, your props will help if they are bright and attractive. Walking into a mall in Dubai with a unicycle does get you noticed! In Edinburgh , I eventually came up with a big show. I made a 4 m pole with a little platform on which I juggled fire torches! I certainly blocked the street!

 During the step up one can be making a noise or talking a lot about what is coming up, this can also help stop the crowd.

 Noise (beating your suitcase, verbal, whistle)

This is probable the most popular technique used as it will attract attention.

You can beat a juggling club against your suitcase, drop your suitcase, clear your throat, and play music loudly while setting up or blowing a whistle. I used mime techniques and my props as a means of stopping the crowd (I pretended not to see the people walking in my way; I would then deliberately drop my stuff in front of them.

 Dressing up for the show

 Once you have established that a show will happen very soon, you proceed to change into your performing costume. The Australian performers use this lot and some create very edgy situations as they strip off completely with a little sign covering the important parts. Sometimes the sign might say Free Sex!

 Prop placement (setting up in the space)

 This is also very popular as it serves two purposes in one. There is a ritualistic style to this as the props are placed in the space. Sometimes the props are set up only to be taken down and moved to a so-called better spot. This is sometimes combined with music and talking or the audience can be completely ignored.

 Music

Loud music played in the background is a very good and easy way to start a crowd as it attracts attention and creates the mood to the show with clever choice of music. However, some festivals e.g. Edinburgh fringe do not allow amplified music so alternative methods must be used.

 Using the crowd (clap n cheer)

This technique is the one of my all time favorites and is very adaptable for different performing situations.

You teach the crowds how to clap and cheer then you have them proceed to repeat that.

 The power of audience clapping and cheering is a very strong method to draw in the crowd. People will assume that the audience are clapping spontaneously and will come over to see what all the fuss is.

Sometimes the performer will place a small child in the performance space holding a fire torch or some strange prop. When the public come close they see the little kid holding the prop and make assumptions. It allows a little in-joke with the existing people and the performer. This method used in the middle of a show, to bring up a volunteer from the audience, is also very successful. This particular method I use in my current cabaret show with much success. It has a great effect on the audience in that you are teaching the public to clap. In fact, there are jokes that highlight the person who has his hands in his pocket or is clapping apathetically. (“”Sir! it is dangerous to clap with your hands in your pockets”” )

 Creating the wall/edge

 A large rope laid to delineate the edge of the circle also helps in stop and creating a crowd. You can make the whole procedure a comedy situation especially if you are working with a partner. You lay out an area, which allows the audience to come and stand close to it. When the audience come forward they are a bit nervous so a gentle approach is required and they are reminded it is a free show and they can walk away if the want.

Some performers use a large amount of charisma, literally do nothing except chat and smile at the audience, and yet still manage to draw a crowd. A well know street performer, Pepe, was famous for his mime antics and situation comedy that he created with the walker by. His whole show was based around allowing the circle to form in a three quarter circle and the back edge; he allowed the public to continue to walk across. He thus had a continual flow of people to use in his impressions.

  In shopping centres, you can apply this same technique using the seated restaurant patrons as your audience or if there is a static cue of people, you can entertain them in the same way by approaching the walker by behind or near you while the cue of people watches.

When building an edge the performers are very particular in closing gaps in the circle by encouraging the public to fill the gaps and coming forward off the street if they have lagged back. A large tourist group or school group outing that stops to watch the show, might seem like an instant crowd but they can also make a very good show disintegrate when they all get up to leave to catch the bus or whatever. It is better to chase them away or keep them to one side or even wait and do nothing so they wander off naturally. I have been caught and it really destroys your show.

 Visual and height

 Once the performer, has a large crowd he must keep them there and to do this he must be direct in his approach and visual, so the crowd can see what the plot is so that if they fail to hear him they can at least see him. There is a cut off point as to the amount of people that will stay in the show area before they start leaving. To increase the amount of people, the best technique is to obtain height in your show. There are various methods to increase the height such performing your main trick on a unicycle, on a stack of chairs or crates, balance on a Rola Bola on a table or even standing on spectator’s shoulders. In my case, a 4-metre pole with a little platform to stand was fantastic way to draw them.

 Introduce one trick before the last one has ended

 This technique maintains interest in the show. The performer will either verbally remind the audience of his big trick to end the show or will have the next prop eg juggling clubs or even their hands up before the end of current trick. This will let the audience know that the routine coning to an end is not the lat routine. It is important in a street show context not to have too strong a trick in the beginning as this can result in the audience leaving after that particular trick. There is a fine balance between keeping the interest with something good and performing rubbish.

 I strongly recommend all young performers to try out this type of performance and to work at the shows and make a success of it. My street performing period has given me so much value that I simply cannot see where I would be today without the experience. I also enjoyed the freedom that it gives you, as nobody is your boss. You decide when you want to perform and where. However, I must say this type of performance can be very daunting and I would suggest trying out in your local city or as I mentioned in Cape Town waterfront shopping complex. The very nature of the performing will tell you if you are lousy or if you have potential simply by the amount of people that stayed to the end and then if you are really lucky the paid you and how much.

If one is keen, you can contact me for more info.

Good Luck!

 PERFORMANCE HINTS AND TIPS

The following hints and tips are from recent performances and contracts. I have only included the magic related problems as I perform with a variety of different skills. I have listed the tricks and topics for easy access so you can source information that might be relevant. These solutions come from my contracts where I was traveling from one venue to the next each night with different conditions and staff and off course audience types. It is also long-term contracts with over 100 to 200 performances. It is essential that your show is of a professional standard and that you are fully prepared and rehearsed. I do suggest practicing a new routine an extra 100 times before putting it into the show and also try to look at the new routine based on your previous experiences and assess what might go wrong, I have found if you can visualize a problem occurring then there is a good chance of it happening.

 Music

 Have both mini disk and CD options as well as copies of each with you. Make sure you have both a jack and pin adapters for your microphone. An adapter plug and an electricity extension lead are also useful. Keep a spare battery in your sound case. Have copies of your cue sheet in the prevalent languages with lighting plot on same sheet. Add an upbeat pre showpiece of music that sets the theme and atmosphere. This is because sometimes the venue plays bad background music just prior to your show, which has put the audience to sleep; this allows you to set up knowing how much time you have before the introduction. Supply your own voice over recorded onto the music. Most people have no clue how to introduce you and it will make a difference when entering onto the stage.

 Posters and publicity

 Have a say in the design of poster or supply your own posters, as this is what the people judge you on and decide whether to come to your show or not. Use the comments that audience members have mentioned to you about your show in your publicity.

 Show type

 Make your show shorter in the beginning of the contract and add in extra through the season. There is a natural increase in length as you add gags and extra effects. Have adaptable parts in your show that you can slot out and change for another type routine, Have routines that you can present with a child or with and adult. Prepare for outdoor shows and weather conditions. Have a pack small, play big mentality. Be aware by the end of a season the prop trunk seems to get heavier. Visual shows are better than slow talking routines.

 Emergency kit

 Have small box with useful tools such as a leather man as well as super glue and a selection of scotch tapes. Black marker pens are good for white spots on clothes. Have another box with duplicate items such as silks and gimmicks. This should include your regular replacement of items such as mouth coils, cards, batteries and other disposable items. Have a glue gun and a small torch available as well as a small mirror stuck inside the lid of the box. Liquid shoe polish can also find a place in the box.

 Prop boxes

 Have sturdy boxes made with one main box with large rubber castors. Pack all the others onto this main box. Make the main box narrower than a normal household door. Pack your boxes exactly the same way each night, that way you know if something is missing.

 Costumes and Make up

 Have duplicate costumes or parts of the costume for washing each day. If you are in close contact with the audience during your show be aware of body odours and general cleanliness. Do not leave the make up case in the vehicle should you be in high temperature areas. Sweat dries; as white streaks or blotches on your black pants so make sure, you have duplicate clean costumes or air the costumes at night. Obtain a good quality suit bag to carry the costumes. Patent leather shoes look smarter but are less durable, have two pairs if your act is physical. If you wear, black shoes in the show make sure you only wear them at the show and not for general use as you might forget them one day.

 High Humidity and Temperatures

 Drink plenty of water and have extra supplements to relieve the excess loss during peak summer months. There are many energy powders on the market with good electrolyte replacements. Check you CD disks after performing outdoors in high humidity near sea air as it is highly corrosive. Do not store props outdoors in such conditions.

Mouth coils and packs of cards stick in your pants pocket from sweat so set them at the last minute as well as pulling your trouser pockets inside out once you have your costume on. Cigarette lighters also do not work well with excess sweat; always have a duplicate lighter with you. When choosing a lighter, go for the bright colours as back stages can be dark.

Insulation tape becomes sticky and peels off props in excess heat or humidity. Carry a hand towel with you and wear dark colours to the show if you sweat excessively. Do not leave plastic props and modeling balloons in you vehicle during very hot days.

Assistants

 Working with a good assistant will enhance your show in many ways. With this dynamic comes the human factor of working and living with another person.  It is better to hire an assistant for a long-term contract from a dance school. They are aware of show business problems and lifestyle and are more disciplined in terms of rehearsals. They also know how to stand on stage and apply make up correctly. Be aware of human dynamics that take place and your assistant have his or her own problems. If you are in a relationship with your assistant this can make more hassles when you are having a bad day. When you are sitting on a cruise ship and you have broken up from your girlfriend /assistant but still have to work together makes for quite an intense time. Working without an assistant is how I have performed for many years but the down side is stress and loneliness. It is better to keep a portion of the assistants salary in your bank as a means of advantage should you have problems in the contract. On completion of the contract, you pay out the balance. This is also good if you hire casual students at functions and they have to wear costumes you supply, you can deduct from their salary for damages.

It is better to use one of the dance girls on the show as an assistant and pay them extra for their services, that way should there be a problem you can always rehire another girl from the same troupe.

It is best to have an established act and have worked together a few years before attempting a long-term contract away on ships or foreign countries. The best is a loving wife who is equally committed to the show and the lifestyle. Things do change dramatically however when babies turn up!

Audience members

  Seasons change so do the clientele. You will be surprised to arrive one day at a venue and find the clientele have all changed normally to a lot older crowd as the main seasons attract the families. Certain venues only have adult audiences. Others the venue is over run with children’s promotions and loads of kids sitting in the front row. The smarter the venue the less inclined the audience are to actually participating in the show especially if it is comedy related. It can be a factor in who you chose as assistants. Always scan the room prior to the show when at these more difficult venues so you are more prepared and aware of who is in the audience. The worst stress  in choosing an assistant is coming through bright spotlights into a sea of faces and then having to try decide who to use and then to persuade them to come on stage. There seems to be a psychological moment when all the audience suddenly refuses to come up on stage. When they refuse a certain amount of psychology is necessary to coerce somebody on stage. Approach the person with a big smile on your face and acknowledge the other people he is with as they can sometimes help in making him come up.

Chose somebody who does not have a drink or cigarette in his hand as this slows the routine. Do not bring up the loud mouth person. I had a very difficult function once, where I was asked to perform a trick and make fun of the MD who was retiring. I had never met him and when I arrived at the function I realized there was going to be a problem. He was such a loud and ego based person that it made for a very difficult show, as he was the boss. I could not make fun of him or tell him to shut up to bring him into line so overall one of those knock it up to experience shows.

 It is better to speed up the routine and it is better to leave out parts to get to the climax of the trick sooner. These types of audience members are distracting and the audience cannot follow what is happening to the fullest so your end applause and general entertainment value of that routine will decrease.

 Generally, it is better to rush the audience member so he does not have time to refuse you coming on stage and also it is good to get the rest of the audience to start applauding him if he is hesitant, this will normally work. If you force a person against his will, he will be less likely to enjoy himself on stage and will be a rather grumpy assistant. Be careful not to assume a shy assistant is unhelpful. Handle all audience members with utmost respect during and after the routine. Draw applause for them as well as yourself.

 Lighting

 It is better to ask for lights to be reset, than expose the trick, especially back lighting. Normal hassles are the lights are set incorrectly and are all over the stage with big white patches and large dark areas. Try to be aware to position yourself in the light all the time. If you use assistants from the audience be aware that stage lighting is just as hot for them as well.

 Last word on lighting, if you are able to set the lighting have them put the house lights on for the bits where you go into audience and if they can it is better to have ambient lighting on the audience so you can see the reactions of the people. When you can see the audience then look them in the eye as this increases and makes the bond.

 Other things

 Be aware of refueling your vehicle on weekends. This applies for banks as well to draw money. Expect the unexpected such as the garage is closed or the bank machine broken and you are in a remote area. Make sure your mobile phone has airtime, and is fully charged. Double check names of hotels as there can be various hotels in an area with similar sounding names. Have the list of hotels you are working sent via email to you especially when there is an extra show or a change in venue. How an English person pronounces certain words and a Spanish person is two different things all together.

Animation staff members can sometimes take a disliking to you, it is best just being civil and carrying on with the job but sometimes they will try ruin your show by playing your music incorrectly, take the matter up with your company. Do not leave the issue as your show is on the line.

There are venues where the planning dept have not informed you of certain dynamics and can be emotionally stressful, especially if you are alone, visualize how you will tell a friend the next day about that show. I find this takes the emotion out of it and you deal with the problem at hand. Always be at least hour and half early when going to new venues to account for getting lost and unexpected traffic problems. It always happens that on the days you are late there are other problems at the venue to deal with. It is easier to deal with problems when you are calm and not rushing around.

Where there is alcohol there are going to be problems, be aware of drunken audience members and do not chose two people from the same table that have been drinking. Notice how many empty beer cans are on the table and you will see whether that table is sober or not. Outdoor shows near pubs can be a problem with hecklers. It is better to ignore the heckler than try out all your new heckler lines as this will provoke him and you lose the continuity of the show. If you have choice of where to set up your show, then chose an area away from the bar.

 Once again, I hope performers will find this useful and maybe make somebody think, I had to learn the hard way

   BONUS MATERIAL

 SHOW MANAGEMENT

Prop Management Part one

The following notes are from my book I have started writing but I have so much to put to paper that I felt it might be useful information for magicians today and not in a year’s time!

I wanted to pass on some advice from my experience of working long-term contracts and my present contract is no exception. I am performing in Mallorca, one of the Balears Islands of Spain every night for 6 months. With such an intense contract, I have found you have to develop personal skills that enable you to maintain such a high standard of performance. The odds are increased that something will go wrong within a long term a contract that is a fact! Prop and personal management is vital.

I feel that the following advice can be applied to other fields of performance even if you do not perform as regularly. In a way, it is a success formula for life in general.

Even though I give the advice, I still find I am learning all the time and I get annoyed at little things that go missing or there are breakages or I do not get to bed early enough and exhausted the next day. I am still striving for that perfect state!

Performance wise I have a new adage, which is, I am now as good as my venue! There are such variations of venues that sometimes it is quite frustrating. I will discuss those hassles in Part 2.

I also believe your show in general is a direct result of you and your personality. Obviously some of the hassles I have encountered will not mean anything to another performer who does not have the same personality traits but for the record I will pass on what its worth!!

It might be pertinent to explain my personality and performance character if you have not seen me is one of high energy so I mention energy levels quite often. I perform a routine at a fast pace pertinent to the trick itself and once  completed I move quickly onto the next routine and working alone I have to clear away and set new props within the show itself. Therefore, prop management is very important for me. This means finding the balance between having a very structured show with props in place and a faster moving show but with chaotic prop management as well as sustaining the speed of performance night after night.

There are other factors, which can influence the show and prop management, which I will discuss in Part 2 and 3 in forthcoming weeks. These are venue problems, sound equipment problems, untrained animation staff, lighting, difficult audiences, over zealous bar staff and the most insidious of all, your own personal problems. These are things like family connections, depression, burnout, finances, relationships etc

 Self discipline.

 This is for me the most vital attribute for anybody who is going to sustain a long-term contract of such intensity or a career in show business. There is a performance a night with one day off per week and sometimes you are on standby that day as well. The day-to-day running of your show has to come first and you have to develop a system for everything. My most taxing problem is keeping my energy at peak levels without burning out. Personal discipline and good living habits such as eating and sleep patterns are vital. I perform alone and do not have anybody with me so keeping sane is also a requirement! A good balance of work and relaxation is necessary. With this present contract, my apartment is about 400 metres from the beach so there is not a problem in that regard but late nights in the pubs is a lot more taxing as the nightlife here is amazing. Sometimes I want to go to sleep early but the noisy revelers keep me awake!! This is fine for a while but week after week, it starts to take its toll.

In Dubai last year, I was not on a fixed time slot and could perform within a certain period. This was very demanding as there was nobody to check up on you and you have to be very focused in your work ethics. I have performed with fellow artists not only magicians who have not been able to maintain a high level of discipline. Any personal manager will tell you this is the same in all occupations. The hiring and firing of job applicants is a worldwide problem. A friend told me he used to hire an applicant simply because he did not smoke; in his opinion, a smoker had less self-discipline and value for himself. I make no comment in that regard.

 I don’t have a problem performing and it is my life, but my focus is  to maintain my energy levels as the success of my  show is directly related to my character and performance level which encompasses such things as timing etc. It is difficult sometimes to be the happy and a high level performer when you are suffering from a chest infection induced from 10 months of living in a shopping mall with air conditioning and you find each day you have less and less energy.

This topic of self-discipline is actually much bigger than this and encompasses goals and personal drive and determination, which I will not go into here.

 Packing and traveling with props.

 The easiest way to have a system is to have a place for each prop and every night you pack the prop in the same place. You are then able to see if you have everything. On occasions, I have left a shirt or a plug or whatever at a hotel. One prop can serve as a bag for others, my change bag that holds balloons in the show now carries my silks and small gimmicks. My vanishing bottle of tomato sauce is kept in a water bottle with the end cut off. (Alternatively, preferably keep the container it arrives in). I use mouth coils so the used mouth coil is stuffed into the bottle to retain its shape. Just by the way I do so many shows I have found I wear out those bottles and they tear and lose there shine so I order a new  one each season. You receive a plastic label, which has no adhesive with the bottles. I recommend a small amount of contact glue applied to the label to keep in place as the standard water method does not work and you do not want a label half falling off during a show. I do carry spare labels and stick them on as required.

 I will pack one routine after the next and vice versa with unpacking that way I methodically prepare the show. With everything in its place I can easily see what’s missing.

A quick mental recap after everything is in place is also vital, there will be a time you forget something.

Pack small play big is also useful when choosing your show. Your props somehow become heavier after each months performances. The less loose props the better as there is less chance of something going missing. In addition, sometimes the car park and the performance venue are far apart. A good set of casters on your prop trunk will help. When choosing a size, larger is better to get over little bumps and loose carpets in the hotel foyer. There is nothing worse than your prop box jamming the entrance to a five star hotel with guests trying to leave. It happened to me in a lift once; I pulled the box in from the front and then tried to push the box out. Because the lift did not align properly, there was a small lip to get over but I was trapped behind my own box and had to go down to lower level and try again.

Be aware your prop box if seen by the audience before and after the show reflects you so no tatty boxes.

 The Replacement and Repair of props.

 You must keep adequate stocks of replacement items and have an extra set with you at the show. Extra batteries for your head set, mouth coils etc.

My odd box as I call it is a small little wooden suitcase containing extra supply of things needed. I leave nothing to chance and I will go so far as to keep extra silks for a routine in there. You just need one show where you lose your system and find that special silk is in the wash in your other show pants!

Be aware that props break unexpectedly and wear out if there are moving parts so maintenance is required and if you make your lively hood from one show type such as a specialty act on cruise ships or a Vegas type venue I would buy two sets of the same prop. Imagine you are off the coast of Northern Africa and have just docked in a hellhole of a town called Djibouti , and your Kevin James snowstorm illusion packs up, there goes your ending. I have spent a few days in the dark depths of cruise ships trying to repair something. Glue guns are great but not long term as the nylon glue will melt in extreme temperatures.

  I have an adage if you can imagine something going wrong, chances are it will happen. Continuous performances night after night are a different ball game to the once a month type show or the occasional show at a magic meeting.

I am fortunate the company I work for at present has a well-equipped workshop and a permanent handy man operating it. This is the exception rather than the rule. Some venues do not have adequate maintenance departments. I recall a time in Doha, Qatar in the Middle East many years ago trying to find a person who  first speaks English and then is able to help with your problem.

Another thing, if something breaks do not leave the problem until the last minute, there is nothing worse for stress levels than banging away just before a show trying to fix your cutting in half illusion. Also glue and spray paint need time to dry and in subtropical conditions, it can take longer.

 Do not expect local suppliers especially for modeling balloons to be of the same standard as the well-known Qualitex brand. When it comes to liquid fuels to use in fire torches or fire eating or illusion effects there are different brand names for fuels and adequate time is needed prior to your show to source such fuels. I have two bottles of liquids here at present that although they say flammable, they do not light!!

Travel nowadays with all the safety and security restrictions has made it difficult to carry such fuels on board cruises and aircraft. I do remember on a recent contract in Dubai I had to fly out from London and they had such high security, as there was the recent bomb scare there. In my suitcase was 20 sheets of flash paper, 3 or 4 lighters and a can of lighter fuel all in one packet and I managed to get it through!!  

Many years ago, I declared a lighter that looked like a hand grenade. Although I had declared the lighter, the Germen Captain refused it onto the plane. On another occasion many years ago, I made a joke about carrying a few bombs in my bag, not a good joke and the check in clerk told me so clearly. Then there are the South African security forces at our airports where one magic trick for their friends gets you through with a lot of stuff that should have had duty paid or a false pass as I pretend to ditch the leather man in the bucket suffices. I was lucky once I completely forget I had my starter pistol in my hand luggage and was able to come out alive!

 Prop storage  

I work at different hotels each night so I need to pack up after each show and store my props for the next night. I leave my props in my vehicle, which is in a locked car park, and my windows of the car are covered, it is not ideal but saying that I would not do this in South Africa ! The problem is do you take out all your props and store within your apartment every night an extra time consuming and exhausting exercise one which I couldn’t do as I don’t have the energy and I stay on the third floor !!. The problem with this is extreme heat variations that you experience here and will affect the life span of certain props mainly balloon and plastic items affect the van. These types of props I take inside with me.

My props are packed into my vehicle in a certain order to facilitate easy loading and unloading. I have one large prop trunk on wheels with three other items on top of the trunk. I have to make an extra trip for my unicycle and costumes. I pack these items from the trunk into the vehicle the same way each night with each bag placed in the same position each night again so I know if I have left something behind.

 I have made my prop box deliberately thinner but longer to facilitate easy entrance through doorways and back alleys. I highly recommend that any large trunk or illusion made either to dismantle or to fit through a standard doorway. On an early cruise which was a barter agreement, to enable to me to carry my large illusion show to London . I found that my sub trunk did not fit through the doors and had to stay out on the back deck under a cover. I do not know if you know that salty air is highly corrosive and I had to repaint the box on arrival as the enamel paint was severely damaged and all the hinges where rusted beyond repair.

I also learnt that trip that although large illusions can carry a lot of extra equipment within them they also increase in weight and I had a nightmare trying to find somebody to help carry my large illusions off the ship. Last thing if disembarking and have to clear customs it is vital to have a concise list of every item within your trunks right down to the extra shoelaces. This allows the customs to see exactly what you are carrying and wont ask you to open your boxes on the key side .Also declaring equipment when you leave the country is vital otherwise you pay duty on the items when you return. I declared a TV I bought in the UK and had a license inspector turn up at my door demanding my TV license.

 I am aware that many magicians will never perform a long-term contract of such nature but you can apply this technique to other types of performances where a regular system is required. Kid parties and restaurants performed regularly come to mind and in fact, a contract for a week in one place has the same requirements.