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STUDY.   PRACTICE.   SCRIPT.   REHEARSE.   PERFORM.












Thoughts & Essays
These articles were previously published in the following publications: Carpe Chartaes, Cards & Curiosities,
CardWorker and The Linking Ring.  Copyright 2004 by Mick Ayres.  All rights reserved.



DEFINING PROFESSIONALISM

I have a question for you.  If you are reading this manuscript, then you either perform magic for a living or enjoy it
as a serious hobby.  Either way, you’re qualified to answer, so here goes...what exactly is it that makes a magician
a professional?

Now do yourself a favor and think a moment before you answer.  Bear in mind, I’ve seen this question break up
magic meetings.  Not long ago, it was the center of a much- publicized debate in one of our national trade journals.  
Worse, I’ve seen this become such an issue between magic acquaintances that it has ended long-time
relationships.  Why?

There are a good many magicians who argue that a professional is defined by how much of his or her total income
is derived from the performance of magic.  Admittedly, I enjoy being able to say that I make my living as a magician...
it gets startled looks more often than not.  But is it correct to take on the title of professional simply because you
make money at it?

Balderdash.  To use money as the yardstick by which one defines professionalism is like saying a particular novel is
great simply because it has a lot of words in it.  Truly, professionalism in magic is characterized by one’s conduct,
attitudes and mannerisms on and off the stage, period.

Let’s say you have the ability to flawlessly perform a difficult and impressive act which gets you standing ovations, a
solid paycheck and future bookings in Vegas.  But, the moment you leave the stage, your ego kicks in and you
treat people with impatience, indifference and rude intolerance.  What have you truly gained?  Sure, your admirers
respect your ability now.  But one day the novelty will wear off or you’ll get older and won’t be able to perform as
smoothly, then where are you?  Okay, you get a paycheck.  Well, for one who defines his professionalism by
monetary standards, that may be enough.  But not for me.

A true professional should want people to measure him by more than his ability to put an act together.  A healthy
on-stage goal should be to showcase talent and character at the same time.   When you are sitting in the audience,
don’t you appreciate a performer’s talent more when it is complimented by a warm, friendly nature?  Sure you do.  
And it doesn’t matter whether the entertainer is singing, dancing, acting or doing card tricks, does it?  Not a bit.

If you can, review some of the taped performances of the late great Mike Skinner.   He was right, you know;
presentation is everything.  But the tapes prove that Mr. Skinner knew that without character a presentation could
never be great, only mediocre.

And that, of course, is unacceptable.




READY OR NOT, HERE I COME?  

Every Saturday afternoon, a handful of sleight-of-hand enthusiasts meet in a coffee shop on Hilton Head Island for
a round table magic session.  A few meetings ago, I learned a hard and embarrassing lesson about patience.  I was
excited about a new effect I'd created and I didn't resist the temptation to perform the trick before it was ready.  I
knew the trick needed more practice and rehearsal--but I didn't care.  Confident that I could pull it off without giving
it the full measure of rehearsal it deserved, I blundered my way through the routine.  The only thing I did brilliantly
that day was to insult the intelligence of my audience.

In retrospect, I have vowed to never subject any audience to my indifference again.  I don't know about you, but my
audiences deserve better.  Wait a minute--I do know about you.  Aren't we both magicians?  Your audiences
deserve better, too!  Are we so impressed with our own brilliance that we believe our peers will be entertained with
a mere verbal description of a miracle they almost witnessed?  Apparently some of us think so.

Sorry to drag you into this with me, but I know I'm not alone in the magic community.  Statistics show that one out of
every four magicians will perform a trick without rehearsing it properly.  That means, at the next meeting if three
other magicians give strong performances, then you are the guilty one.  (The odds are so good on this that Bob
Farmer is already taking bets and salivating over the potential profits.)

On average, most magicians don't seem to hold themselves to the higher standard even when they know better.  
For example, at the next convention, watch the contests and count the performers who are obviously competing
with brand new material.  Why would anyone hope to be awarded for a performance they have no confidence in
either?  Do you think the judges aren't looking for a routine that is polished and honed to the point where you could
perform it in your sleep?  No wonder every magic publication beats the 'practice, practice, practice' mantra right into
the ground--we're not listening!

But it isn't practice and rehearsal alone that makes the best, most memorable magic happen-- sometimes, it is the
willingness to wait for the perfect moment.  When you've done everything you could to 'set the stage' (study,
scripting, practice, rehearsal), you still might have to wait until the audience is ready.  What if they don't ever seem
ready?  Wait some more.

The story goes that, after a long dinner with friends, the great and irrepressible Max Malini sometimes produced a
large block of ice from under his hat!  Rumor has it that Malini concealed the ice within his coat before sitting down
to dinner.  In the non-air conditioned environment of the day, the ice would slowly melt, but Malini would wait...and
wait...and, only when the moment was perfect, he would toss his hat to the table, lift it and display the ice block for
his amazed dinner companions.  It is believed that the dedicated Malini dressed only in black suits--because if the
perfect moment never arrived, Malini would depart with his clothes soaking wet!  He risked public embarrassment,
cold buttocks, a large dry-cleaning bill and possible pneumonia to pull off this stunt, maybe.  Was it worth the
trouble?  Malini's reputation-making trick is now the stuff of legends, so you tell me.

An incident purposely choreographed by the Professor is my favorite example of 'waiting for the moment'.  During
his lifetime, Dai Vernon mastered many forms of magic...stage, platform and especially close-up.  However, Vernon
had another somewhat hidden talent.  This ability was unseen but critical to his success and it subtly threaded its
way through all these forms of illusion.  It was Vernon's gift for choosing his audience.

The story goes that Vernon once took an evening boat cruise around the Statue of Liberty.  During the excursion, a
fellow passenger repeatedly asked Vernon to perform a trick.  Finally, Vernon brought forth a pack of cards and
had one chosen, noted and returned in the traditional fashion.  The deck was shuffled and handed back to the
spectator.  Vernon stood quietly at the rail of the ship until the ocean breeze came up a bit.  Suddenly Vernon
called out, "Now!  Throw the pack straight into the wind!"  The fellow reluctantly did as requested and pitched the
entire deck of cards over the rail.  Vernon then turned to his companion and quietly said, "Look."

The fellow leaned over the rail and saw the cards spread out over the water.  Then he noticed that all the cards
were floating face down...except one.  He watched in amazement as his chosen card slowly drifted away and
vanished into the depths along with the rest of the deck.

It is believed Vernon only performed this trick once.  Why?  Because his amazed companion was a reporter for the
New York Times who wrote an enthusiastic column about his experience for the morning paper.  The story spread
like wildfire and quickly became legend.  Was Vernon just an incredibly lucky performer in the right place at the
right time?  Not hardly.  The sea island-boy in me says that Vernon wasn't on that evening cruise just to do a card
trick.  No, I think Vernon was on that boat to do a little fishing and he certainly hooked one.

Vernon realized early in his career that choosing an audience wisely can reap huge rewards for the performer who
is patient and willing to wait.  Plus, Vernon understood the strengths and limitations of every one of his tricks.  For
example, this particular effect is certainly powerful, but it couldn't be performed in a theatre with a large audience.  
Part of this trick's strength came from the fact that it played out as an intimate drama between the spectator and the
performer.

Also, a lot of planets had to line up before the performing conditions would be absolutely perfect for this trick.  I
wouldn't be surprised if Vernon had taken many cruises through New York harbour before the wind, the sea
conditions, the moonlight and the spectator were just right.  Ultimately, Dai Vernon knew if he could only do this trick
to one man, then he better choose that fellow wisely--and a journalist with the power to make his experience known
to the world seems pretty good to me.

Study the trick, practice the new moves, write a script and rehearse the routine.  Now, wait for the right
circumstances.  Wait for the right audience.  Wait for the right moment. Your magic will be unforgettable.

Max and Dai said so.




RESORT TOWN ILLUSIONS

Every magician that has ever worked a regular gig in a resort town can relate to the following scenario: another
magician is in town enjoying a vacation with his family and he wants to check out the local talent.  The questions are
innocent, yet curious: How long have you been performing?  What's your favorite trick?  Do you get out to any of
the conventions?  Before long though, it's easy to pick up on the tiny hint of professional envy that invades the
conversation.  It's not hard to understand that most magicians wish they, too, could perform where everyone else
comes to vacation.

Sure, being a working pro in a resort town has it's advantages.  For over twenty-five years, I've worked oceanside
resorts that offer sunny beaches, challenging golf courses and a brisk night life.  When I'm not performing, there's
certainly no lack of things to do and enjoy.  And, since my audiences are comprised of tourists from anywhere in
the world, the reactions and responses to my show are often unpredictable and surprising.

Also, a resort town provides work potential not available elsewhere.  For example, if a resort offers serious golfing,
you can bet that every course owner will be sponsoring a variety of social events with entertainment to lure the
golfers in...and that's a performance opportunity for guys like us.  Then there's corporate events such as trade
shows, annual stockholder meetings, sales seminars that are constantly taking place in the area.  Finally, resort
towns breed restaurants like crazy.  For tablehoppers, this means constant and steady work in the high season.  
With this in mind it's easy to understand why most magicians think that booking gigs in a resort town is a cakewalk.  
Sounds good, doesn't it?

Here's the reality...when word gets out there's work available, that news attracts the trick-boys like moths to a
flame.  Study the demographics.  In the early nineties the oceanside resort of Myrtle Beach, SC had close to fifteen
full-time pros working in a relatively small geographic area.  Yet, surrounding Myrtle Beach are three major cities
with far greater populations and each one hosted only a handful of magicians.

Consider the exodus of magicians flocking to the Las Vegas market.  Sure, there is work to be had in Vegas...but
be warned: for every gig that is offered, there are hundreds of magicians who want that job and the over saturation
of available talent causes the performance fees to be very low.  To address this growing problem, Stan Allen
(publisher of MAGIC magazine) wrote an editorial several years ago begging magicians to stop moving to the
Vegas area.  Yet, still they come.

This scenario is not unique to the world of magic.  For example, Nashville has the same problem with musicians.  
For every available show, there are tons of incredibly talented pickers that want to perform...some want it so badly
they'll do it for free, just for the potential exposure.  Hollywood has the same problem with actors.  New York and
Los Angeles...well, you know the story.

Working as a magician in a resort town means you have to weigh the good against the bad.  If you want high-level
exposure then you have to be where you can be noticed.  In truth, the average resort town simply offers only a few
more venues than a bustling metropolis.  Otherwise, the same opportunities apply here as they do everywhere else.

Another bit of hard news for those of you that want to work in tourist towns: you will probably be working while
everyone else is playing.  This means the majority of your money- making performances will be held at night, on the
weekends and on holidays.  This sort of schedule isn't always easy to live with.  For example, I've found it nearly
impossible to break away for a weekend of fun at magic conventions.  It's difficult to remain at home while all your
magic buddies take off for your favorite convention...it's even harder to listen to their stories when they return.  I
have a personal theory that an untapped source of incredible magic talent lies hidden away in America that other
magicians rarely see.  This stockpile of talent consists solely of working magicians who simply can't break free to
attend the conventions.  In addition to the normal convention expenses (travel, hotel, registration, food, dealer's
room), these magicians have to consider how much money they are giving up by NOT working through the
weekend.  Are their families willing to put up with that burden as well?

Finally, every resort town has what the locals call 'the high season'.  That's when every business in town is hopping,
every restaurant is full, every event is sold out and is, by far, the easiest time to find work.  For most towns, the high
season are the summer months when kids are out of school and families are vacationing.  During the high season
in Myrtle Beach, the boys in Ring 334 have a saying, "If you want to perform, but you're not...then it's your own
fault."

However, all good things come to an end.  When the tourists go home and business slows down, you're lucky to
find work.  Tablehoppers are cast loose from the restaurants ("Hey, if you don't mind just working for tips, we'd be
happy to keep you on"), nightclubs cut back to skeleton-crews and everyone struggles to make it through the winter
season...especially magicians.  Overnight you're suddenly scrambling to book shows at libraries, churches, birthday
parties, civic clubs and schools...just like magicians everywhere else.

So, what's the ideal situation?  Try to find a resort town that features both a heavy tourism season and a strong
industrial base.  Why?  Because if the local population has good-paying, year-round employment provided by a
variety of industries and corporations, then the local economy will be solid enough to support any magicians that
wish to keep entertaining long after the tourists have gone home.  If moving to Reno, Las Vegas, Atlantic City,
Orlando, Myrtle Beach or any other likely resort sounds like the life for you then by all means, come on!  Don't let
any of this information scare you off.  Instead, use it!  Come prepared with a solid, well-rehearsed act and a full
understanding of what you're getting into, then be ready to hustle in the low-season.




THIS TRICKY BUSINESS

Restaurants have become the venue of choice for sleight-of-hand magicians who wish to perform regularly.  Most
towns and cities offer a variety of dining places that range from the family-friendly all the way up to "I'll-make-a-
reservation-the-day-I-win-the-lottery".

The good news is that a truly professional magician can easily work any of them.  In this case I refer to a performer
who can quickly adapt his/her persona, clothing, attitude and material to fit a particular environment.  In other
words, a magician should be just as comfortable working in an elegant, sophisticated, fine dining room as he is in a
noisy, kid-crowded burger joint.

Let's assume you have a good repertoire of solid, close-up magic presentations.  Now, there are two methods of
approaching the restaurant.  The method I prefer is to go through the yellow pages, call the restaurant and get the
name of the manager from the hostess.   With this information, I send a small packet of promotional information with
a letter explaining when I plan to come in a speak to the manager.

Other magicians use the 'cold call' approach.  Simply walk into the restaurant  between the hours of 1:30 and 4pm
and ask to see the manager.  This is usually when the staff is preparing for the evening guests.  Be ready to
demonstrate your abilities and, more importantly, be ready to 'educate' the manager about your services and why
hiring you to perform would be a benefit to his restaurant.

Both methods offer pros and cons that are worth considering.  For example, the first method helps me feel that
some sort of introduction has been already made prior to our meeting.  At the very least, the manager knows I wish
to make a serious business offer well before we meet.  However, the money and effort you spend in your
preparations may amount to nothing if you are not hired.  I approach restaurants or clubs in this manner simply
because I like appearing as professional as possible during every step of the process.  To me, cold-calling makes it
too easy for the manager to just ignore my offer and say, "Not now, I'm busy."  On the other hand, walking in and
walking out of several establishments until someone hires you does mean you will cover more ground quickly.  
Perhaps a combination of both methods is best--it is certainly up to you.  That means, no matter which method you
choose be ready to hear the word 'No' several times before you hear the words "Sounds great!"

You'll stand a better chance of booking the gig if you are able to sell your services.  That means, you must
convince the manager that his restaurant is going to benefit greatly through an increase in business, reputation or
repeat customers--if he hires you to entertain.  If you don't thoroughly convince him then you will not get the
booking no matter how good or experienced you are.  If he is going to spend money on you, then he has got to be
able to show a profit to the owner of the restaurant...or it is his job on the line.  Make him believe you are worth the
risk by proving there is no risk at all.

As you enter this market, don’t make the mistake of thinking that other local magicians are your competition, it’s not
true.  Instead, guitar players, folksingers, karaoke promoters, deejays and house bands are what you have to
overcome.  Since these forms of entertainment are common and familiar to most restaurants, these acts have an
easier time getting booked.  Therefore, guys like us have to let restaurant owners know there is an alternative.

Years ago, I developed a small pamphlet with just this goal in mind--to educate the restaurant manager about
tablehopping.  I began by contacting the local Chamber of Commerce and asked how many restaurants were
operating in the area.  At the time I resided in the resort town of Myrtle Beach, South Carolina, but the number still
astounded me.  Believe it or not, just over 1,500 restaurants were firmly established along the Grand Strand--with
plans to open 100 more within the next year!  So, the cover of my pamphlet read:

You Are
Surrounded by
1,500 Restaurants
That Want Your
Customers.

It’s Time To
Rise Above The
Competition.

My logo resembles a man floating a foot off the ground.  Placing the ‘rising man’ logo between the two sentences to
made the slogan a clever play on words.  When the pamphlet was opened, the copy on the next panel clarified the
statement on the cover and promised to reveal how a restaurant could stand out from the crowd.  When the
pamphlet was unfolded completely, the inside spread had a teaser-headline across the top that read:

INCREASING CUSTOMER RETURN CAN BE
A LITTLE TRICKY . . . SO, HIRE A PRO.

From there, the body copy clearly explained how tableside magic improves a restaurant’s business by providing the
guests a fascinating, personal experience each time they enter the door.  The copy continued to point out how
tableside magic adds atmosphere, improves service, increases public relations, builds return business, enhances
atmosphere, boosts reputation and promotes word-of-mouth advertising.  In addition, the pamphlet offered a short
list of local, satisfied clients and, of course, gave all the information necessary to contact me to discuss
performance availability, fees and scheduling.

It was easy enough to create this economical pamphlet by using a desktop publishing program on a computer and
then having a local printer run off several hundred copies.  Fold them yourself and you’ll save even more money.  
Needless to say, if you decide to create a similar brochure for yourself, then every time you enter a restaurant, one
of these ‘educational’ pamphlets should be left with the manager.

Once you’re booked to perform, what should you charge?  Of course, that varies from performer to performer.  But
I will say this: NEVER work for tips only.  After trying it once, I decided that I didn't spend thirty years of my life
learning this craft just to give it away for a buck.  Magicians that are new to the business should adhere to a rate of
$75 per hour with a two-hour minimum.  This fee is reasonable enough for the restaurant to consider using your
services more than once a week.

Obviously, this is only a brief synopsis of the world of restaurant magic.  For more information, I recommend three
fine books on the subject: Kirk Charles' Standing Up Surrounded; Jim Pace's The Art of Restaurant Magic and Jim
Sisti's The Magic Menu.  Sisti's publication has more tips and tricks on this unique and fun business than any other
source--all contributed by experts in the field.

Now, go break a leg.




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