Entries from August 2008 ↓

I’ve been doing a number of home parties these past few weeks; not for children, but for grown-ups.

The host has invited his or her friends for an evening of food and drink, and I have been hired as the entertainment. Sometimes I am asked to give a single stage performance and other times I provide “mix & mingle” magic.

I enjoy this type of performance because in this environment I can have a tremendous impact on the evening, and it’s up to me to steer the event to a successful conclusion.

That being said, home parties can also be one of the most challenging environments, and demands a good deal of flexibility and quick thinking from the performer. This venue is not for the faint-of-heart. You’ll need to be able to take charge and also go with the flow — and know when to do either.

Because the host is not a professional event planner, they may only have a general idea that they’d like some magic at their party. You’ll need to ask them whether they envision a structured event (”Everyone please join us in the living room, the show is about to begin!”) or a more informal event (”Drinks are out on the porch, grab a plate whenever your hungry…”).

But even when I perform from the stage (at a more structured event), there can still be a lot of unresolved issues when I arrive. Be prepared to take charge. Sometimes the host will have a performance space set up with seating for everyone, but many times they’ve asked me, “Where do you think would be best?” So be prepared to render your professional assessment, ask some polite questions (”Would it be possible to move the dining table back about 3 feet?”), and do whatever is necessary to ensure that you can give a great performance.

You and the host may have agreed that the show will start at 7:00, but the host may not have considered how to make that happen. Who will announce that the show is about to begin? Who will round up the stragglers and get them in their seats? Will anyone introduce you?

And once the show is over, who will tell the guests what happens next? Would the host like YOU to announce that everyone should go to the dinning room for dinner? Or hould you reintroduce your host and allow them to take over the proceedings? Or do you get to lead everyone in a rousing chorus of “For He’s a Jolly Good Fellow,” as they wheel in the 5 foot tall cake?

Don’t assume that your host will have thought out all these details. So be prepared to take charge and orchestrate a great event. And also make sure you communicate with all of the hosts. Sometimes you are working for more than one host, and if so, they WILL have different ideas about how the evening should go.

Performing “mix & mingle” magic (aka strolling, close-up, table-hopping) can be even more daunting.

True, you can go in and entertain small groups of people for your allotted time, but I prefer to work towards a bigger goal.

The ideal show for me would be to start the evening by working for small groups, and then towards the end of the evening, begin pulling together a larger group by button-holing some people I’ve already worked for. My vision is to finally draw everyone’s attention for one final piece of magic. And then I do a larger bit of magic (stand-up or cabaret, really) that’s a real show-stopper…and I take my bow and leave.

I find that to be more satisfying than just entertaining small groups all night, and then (at my appointed time) stopping and leaving.

So I always come prepared with a larger piece. Upon arrival, I scope out which room will be the best suited for the grand finale, and work knowing that this is where I want to end up.

Sometimes the party will attempt to gravitate too early with the crowd growing larger before I want it to, so I try to work the periphery and pace myself before diving into the center of the party.

Also, because groups will disperse and reform, I make sure that I have 3 or 4 sets of close-up material at my disposal. Early on, I do the same set of magic for every group that I meet. Then later, if I approach a group and find 3 new people and 1 person that I’ve already worked for, I can switch to my second set, and know that everyone is seeing something new.

Again, I’ve just managed to scratch the surface, but if you understand what it takes to make a great evening, and can take charge to make it happen, and contrariwise, if you’re flexible and know when to go with the flow, home parties can be a very rewarding venue.

As I was rereading “An Actor Prepares,” by Constatin Stanislavski I was struck by what he wrote about the actor’s need to maintain focus within a limited circle of attention.

Stanislavski’s actors were challenged to use the circle of attention to create the illusion of “solitude in public” (an oxymoron coined by Stanislavski to describe the actor’s ability to be “alone” on stage while on the other side if the footlights thousands of spectators watch).

The small circle of attention (3 foot radius) is the easiest circle in which the young actor can maintain focus, the medium circle of attention (10 foot radius) is more difficult, and the large circle of attention (30 foot radius) is the hardest.

As variety arts performers, we are not required to maintain the illusion of a “fourth wall,” separating us from our audience. We openly acknowledge, speak to, and perform for, our audience. But we can use this idea of circle of attention to help our performances too.

I’ve met many magicians who have perfected their focus and concentration to such a degree that they can be oblivious to anything that is happening outside their small circle of attention. While this can be a blessing for an actor on stage (for whom the audience — apparently — does not exist), this small circle of attention can be limiting to the variety arts performer.

This is not to say that there is no place for “solitude in public” in a magic performance; it can be used as a very effective device. But I’ve seen too many magicians who cannot expand beyond the small circle.

The small circle of attention is often sufficient for the close up magician who has his or her spectators in close proximity. But there are other performing situations where this will not do.

Busking for example (also known as street magic before David Blaine co-opted and redefined the term). Or trade show work.

The most common mistake I’ve seen close-up magicians make when trying their hand at busking or trade shows, is that they bring with them their small circle of attention (with which they’ve grown quite comfortable, and which — until now — has served them so well). But despite the fact that they perform the same magic as more successful buskers or trade show workers, they fail to draw a large audience.

Unfortunately, it’s not the size of the trick that determines the size of your audience. Great buskers can perform the tiniest of effects, but because they maintain a large circle of attention, they can hold an audience of 300 people spellbound.

And even in the performance of close-up magic where the small circle of attention might work, it is not the ideal. For variety arts performers, “solitude in public” must be the exception, not the norm.

So how does one grow their circle of attention?

• Master your magic, so that it doesn’t draw your attention inward. Contemplating secret maneuvers casts you back down into the small circle of attention.
• Open your posture so you can connect with the audience. If you’re hunched over, gazing at your hands (in the quintessential Dai Vernon pose), you’re minimizing your circle of attention.
• Be aware of what is going on around you. Turn your attention outward to see how much you can embrace. Let nothing escape your attention.
• Use your eyes, your voice, your hands, your body, and your feet to fill the space with your presence. Connect with as many people as you can.

I’ve seen many great magicians perform live (Bob Sheets, Doc Eason, Bob Read, Gazzo, Johnny Fox) and they all know how to maintain the big circle of attention. The time you spend learning to expand your circle of attention will be time well invested and should be a part of the curriculum for every magician.