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voice and an effective command of the English language. However, except in rare instances, you will not overcome the next show business hurdle.
Most fans of Johnny Carson probably feel as though they know him. After all, look how much time you have spent with him. You know his mannerisms, you can anticipate his "shtick". Why, he's been invited into your homes for years. I am convinced that much of David Copperfield's success comes from his personality. And that is even more true for Harry Blackstone.
So, while your crew positions the Asrah table ... and the lovely lady you employ dons the French-cut leotard you have selected she wear for the illusion ... and the stage crew lowers the shimmering Mylar curtain into place behind the prop and a technician begins to lay a dry ice fog carpet on the stage floor ... and your male assistant carefully folds the lame' cloth you have provided to cover the form - you are standing onstage with the curtain closed behind you to conceal this frenzied activity. What are you doing?
Here are some effects that have worked well for me. There are others, many others, but I do endorse these effects and while you will not find success with all of them as I have, you may achieve something with several.
I like to begin shows with a fast-paced routine without talking. When that includes I almost always perform an "explanation" effect. I state that I will reveal how one magic effect is done so the audience can better appreciate any magician. There are three in my repertoire to choose from. I regularly perform the Torn and Restored Napkin, the Color Changing Silks, and Dinamo. This last effect is Norm Nielsen's excellent version of the changing spot card. It differs from the more well-known Japanese prop (What's Next?) by being a larger, black card with flat white spots. For the Color Changing Silks I use twelve inch Rice silks and the small Johnson Products dye tube.
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I have some bits and pieces of leftover material and unused items piling up in my office (and in my head) that I hope to clear out with this month's column. You will, I hope, excuse the fact that I will not address one subject exclusively. Perhaps the term "hodge-podge" will seem appropriate.
As I've often said, virtually all illusionists are also magicians, but not all magicians are illusionists. Possibly, only, Siegfried & Roy come to mind as magical entertainers who perform illusions exclusively with no smaller effects in evidence.
For the rest of us the smaller effect, a magic trick rather than a stage illusion, serves several important functions: It allows for the set-up of a major prop behind a closed curtain, when the artist is working "in one"; it provides contrast in both size and pacing to the staging of the illusions; it is the surest way for a performer to become human, to reveal his/her personality and to develop a rapport with the audience.
This last attribute cannot be emphasized too strongly. Several years ago in Las Vegas I witnessed one of magic's "also-rans", a reasonably well-known performer who has made a nice living by appearing in various revues in all the gambling areas of America. The magic was well executed. It was flashy and performed very fast, with a minimum of talking. Many of these acts, as you are well aware, include no talking at all. Don't get me wrong - it is perfectly all right to perform silently and, in fact, a good idea if you are not a good speaker v/ith a pleasant
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