If you are interested to perform at the bar, here is what you need to know:

You will need a 20min set that will be performed as one continuous show behind a long bar counter. A combination of varied effects (genres) as well as visual & interactive routines will be required. A show with only cards will not work. Likewise a 20min book test routine will also not work for this venue.

You need to have some experience performing for “real” audiences but it is perfectly fine if you do not have an extensive portfolio of previous performing experience.

I would also go so far to suggest that you have to be at least 21 or have a maturity that can entertain and communicate with the specific clientele of the bar.

Check out my one time behind the bar to see what to expect.

We are holding the audition on 28 May 2013, Wed from 4pm – 7pm at the Concept:Magic studio. If you are interested to audition, you must contact us first – NO WALK-INs. Contact us at adeline(@)conceptmagic.biz

We look forward to hear from you! Spread the word!

Check out Ning in a fantastic light-hearted interview with DJ Charmaine Yee. The girls have great chemistry and their banter is funny, cheeky and sexy!

Thanks to Ashraf for recording and uploading the radio interview. You can listen to it here.

We will return to the studio in Aug where we will be talking about our next mega stunts!

We intend the performance of this particular illusion to be the best ever seen in the world. An ambitious goal? But hey, why strive for anything less? One way we are doing it is by adding elements that no one has ever done before. The other is the fact that we are an equal magic duo so the dynamics of the illusion performance is inherently different from the traditional illusionist and assistant.

You might be wondering, what’s the difference between practice and rehearsal? I’ll explain the difference by outlining our typical illusion process.

Pre-production

Pre-production is done before we physically fabricate or order the illusion.

We create the conceptual storyboard and think how we can make the performance and presentation of the illusion “ours”. Specifically, we try to design elements or sequences that are original and make the performance unique. We never intentionally perform an illusion similar to anyone else in the world.

Personally, we can’t see why magicians will spend so much money, time and effort just to perform the Fire Cage/ Fire Spiker/ Suspended Animation like Hans Klok or the Wakeling Sawing like Mark Kalin & Jinger or the Sub Trunk like the Pendragons did or Snowing like Kevin James.

While it is impossible to create exact refinements and performance twists without the physical prop, we are experienced enough to know what will generally work and often come up with several “outs” in the event things don’t work out. There have been times that we had to do complete reworks because the mechanics of the illusion did not allow us to perform it the way we wanted. But, this is rare.

The point is, we plan out the entire performance of the illusion from the starting pose to the finale pose, choreography, movement, design, lighting, special effects, modifications and extra props before we even get the illusion. This is written down and even drawn out as a storyboard most of the time.

Pre-production also includes music selection and design. Music selection alone can take weeks. If I’m lucky, I find a piece after 12 hours of searching. Thank god for the Internet! Traditionally, I would have to spend hours a day at Borders or HMV sampling music. And later, when I shifted to licensed music, it would be a game of hit or miss with production music libraries.

After selecting the piece of music we want to use for the illusion, I lay out the track and edit it with a music editing software. I design the music based on our conceptual choreography of the illusion and design specific moments in the performance which must change or build up. It is during this time that I also get a gauge of the duration of the performance.

Pre-production generally takes between one to two months.

Besides making practice and rehearsals more productive and efficient because we do so much work in pre-production, it also ensures we are making a good investment as we have mapped everything out.

In fact, we have not followed through with illusions because our pre-production work did not convince us the illusion was worth the while or was different or good enough to add to the show.

Practice

The practice sessions refer to the learning and practicing of the illusion method, handling and technical movements of the illusion. This is akin to learning sleights required for a card routine. Repetition, review and fine-tuning is emphasized during this period.

Practice for illusions also includes blocking through the choreography of the illusion, stage movement, stage set-up, economizing actions and timing the performance to music (that is edited and fine-tuned as necessary).

All bad habits are eliminated in this early stage so they do not set in later when they are harder to break.

This part of the process requires a structured approach and is generally broken down over several days or two weeks, depending on the complexity of the illusion and assuming we are practicing at least 4 days a week.

We set milestones and generally break down the performance into three parts. On the first day(s), our goal is only to learn and practice the first part of the illusion. Subsequently, we reach the other milestones.

We also set aside time for individual practice sessions for specific parts of the illusion before coming together as a team to practice.

Practicing is done in front of wall length mirrors in our studio, similar to mirrors in a dance studio.

So, the learning and practicing of the illusion is progressive and not rushed. We found this to be the most productive and effective way to practice an illusion.

Rehearsals

Rehearsals start only when practice sessions are completed. By this time, the technical handling and choreography must be mastered and everyone must be familiar with their individual roles.

The goal of rehearsals is to perfect the performance of the illusion and make it artistic/ entertaining. The choreography is also tightened so that there is no wasted action. Music is edited as necessary to reflect the changes. Sound effects and sound beds are also added in to enhance the performance.

If stage crew members are needed in the performance of the illusion, they are involved in the rehearsals.

Rehearsals are no longer performed in front of the mirror. This is so that we do not become mirror dependent. Many times, performers who only rehearse in front of a mirror develop a dependency or comfortable zone with the mirror. As such, when they perform in front of a live crowd for the first time, they freeze up or get lost because they cannot see themselves. Instead, rehearsals are filmed for review so that adjustments can be made.

Depending on the complexity of the illusion, rehearsals take between 2 – 4 weeks.

Our typical entire production period for an illusion is about 3 – 6 months, not counting the build time or delivery of an illusion, if purchased from a builder.

However, an illusion can also take years to get from plan to stage. For example, we have a completely original theatrical illusion act, different from anything we have done before, but it will take maybe three years to complete. I came up with the first design in 2011 and it went through at least a dozen changes and redesign. We have finally settled on the final design (in 2013) but due to our busy schedule, will likely only be able to build it next year.

At the end of this month, we will be prepping and packing our props to be shipped for another stint of shows that will run from the beginning of June to the 2nd week of Oct. This time, we will travel to China, Japan and Korea.

However, we will be back in Singapore for a big project in Aug but more on that later.

Question: David Beckham, Madonna, Ellen DeGeneres and Leonardo DiCaprio… What exactly do they have in common?

These stars are all hugely successful mainstream artistes who have kept themselves in the spotlight by creating their own unique brand of entertainment (sports, music, comedy/ talk show, acting, etc) that hold a wide mass appeal. These individuals have also put much effort and thought in constantly revamping their style, image and chops to ensure they remain interesting and current to their audience.

As fellow entertainers, we magic folk can certainly learn much from our sassy commercial counterparts. Magic performers need to do the same constant evolution, prob­ably not at the same radical level but it is so very essential for your magic to be current, relevant and mirror mainstream pop culture entertainment.

Shift and dare to change, or be left behind in today’s fast moving world where the Internet is a double-edged sword. Like with any art or entertainment form, the image of magic evolves over time. The trend of today’s magic is incredibly different from the style magic from just last decade. If you are still performing for today’s audience in top hat and tails, producing silks from a classic change bag, or making a rabbit appear, you are unfortunately behind about three decades.

The recent movie, “The Incredible Burt Wonderstone”, poked fun at magicians and showed how “out of times” and “out of sync” they are with modern pop culture. In fact, the movie showed how lame magicians generally are. Sad… but true.

The only thing constant in life is change, and I’m sure that you would have noticed that the image of magic worldwide has always been constantly evolving. Every two decades or so, there is a dynamic shift in the presentation of magic. The look of magic is usually set by the most influential magicians of that particular time. Top performers like Robert Houdin, Harry Houdini, Channing Pollack, Doug Henning, David Copperfield and more recently David Blaine & Criss Angel have all been responsible for creating the image of magic of their time.

If you acknowledge your show is not in line with modern audi­ence’s expectations of magic today, there is hope yet because you see the possibilities of growth. Set aside your pride and ego for a bit and challenge yourself to explore what can be done better, since you are a living reflection of the image of magic as much as any other magician.

Now, I am in no way encouraging or even suggesting that you should be a clone of David Blaine, Criss Angel or whoever that may be the hottest flavour of the time. Jumping on the fad bandwagon will just make you look like a carbon copy and part of the indistinguishable ‘me-too’ crowd. So, bad idea to be a cookie cutter! You owe it to yourself to be your own person.

Consider for a moment, without pride or ego… When was the last time you revamped your act or added an act that elevated your performance so that it is reflective of current times? Have you been performing the same material for the past 10 years and not given it a commercial overhaul? And, I’m not talking about technical refinements or changing the colour of your cards/ silks/ birds/ canes/ parasols, so please, don’t even go there, unless you’re a jackass. Then I’ll personally come over to smack you in the face with your plastic appearing cane.

Thanks to globalization, our world is getting smaller and life seems to move faster every single day. Social media, the Internet, growth of new economies and countries influence pop culture trends and trends. There are fads and there are trends. Fads last months, trends last longer. Trends used to last around 5 to 10 years, now they last just 2 to 3 years due to the speed the world moves. Of course, this is dependent on your target market but I’m using international standards as a benchmark. People are easily bored and want to be wowed by the next ‘in’ thing.

What’s needed is to identify and pick elements, which reflect the current evolved image of magic as well as pop culture and infuse it into your style and/or act. Here’s some tried and proven things I’ve personally utilized in my commercial magic career, that you can also use to spruce up your unique image and brand of magic. Dedicate some soul-searching time to consider…

Choice of Material:

Is your choice of show material and props used considered current to your audience  If you are performing an act still using cassette tapes, Walkmans, old-fashioned bulky TVs, ancient typewriters, bulky mobile phones or other things that society has pretty much considered “retired”, your act will inevitably look dated. That is, unless you’ve structured your show to be themed in a “blast from the past” type of feel.

While some things may be respected as iconic and classic in magic, do bear in mind that while these are things magicians embrace, the rest of the world (i.e. mainstream public and media) may regard otherwise when they see top hats, canes, and rabbits. Don’t fall into this trap because when you follow the herd, you step on a lot of crap.

Structure of Magic:

Is the structure of your act just like everyone else’s? Certain acts have almost a template feel to them and the only difference (to the lay public) is just the magician performing it. At one time, everyone was doing doves, zombies and cards. Then it was the incorporation of canes, silks and snowstorms. Now, one of the magic fads is the CD manipulation act.

Can you honestly say you have a uniquely different product, or does your act/ show have the same formulistic structure that other magic acts commonly have? Can you change your act or show order, so it breaks the conventional rules or typical structures of magic shows? Award-winning mainstream movies like “Memento” and “Usual Suspects” did not follow conventional storytelling of film making and stood out from the norm. Use that for inspiration, to shine out!

Dressing:

What do you wear when you perform? Are you still in a 1990s Matrix-style black leather trench coat or god-forbid 1940s black tuxedo or even worse, painfully shiny 1970s sequined jacket? Are you in an obvious costume or dressed in something more normal? Where do you get your clothes from? A high-fashion retail outlet? A costumer? Does your mother/ wife/ girlfriend dress you?

Sure, I understand that magic attire has specific needs, but that is still no excuse not to have a current look that is fashionable or stylish. Consider what celebrities wear. Would they get their outfits from the same place that you do? I’m not asking you to shell out tons of money for designer wear and don’t be a wise ass about Lady Gaga’s Kermit the frog get-up *wink*

Hairstyle:

What do you sport? Does it feel dated? Is it the same hairstyle you’ve had since the 1980s? On the flipside, is your hairstyle too extreme for the general audience? If you are losing hair, do something about it! Comb-overs maybe only work if you do comedy, but you really don’t want your audience feeling sorry for you.

Grooming is important, and whoever said your hair is one’s crown­ing glory, really got that right. But! Here’s a tip from a female of the species. If you are seriously losing hair and can’t get a good wig or hair plugs, just consider shaving it all off. Grow a nice goatee, stay in good shape, tweeze your brows… You may just look sexy and badass. Women love that. Trust me!

Music:

Music is always an accurate reflection of the current time and a fitting piece of music for an act or routine makes a good act, great. Besides creating the perfect mood and feel for your magic, music also puts a time-stamp on your act. If you are do­ing a deliberate classical, themed, or period act to a time period, your music choice will be specific. However, if you are doing a general magic act or illusion, then your music needs to be up­dated every 5 years.

Please refrain from copying the music from other people’s per­formances, though you may find it perfect for whatever your intended purpose is (a similar act or otherwise). If I collected ten bucks every time I hear that particular soundtrack from string-quartet Bond blasting in a magic performer’s show or card manipulation act, and gave all the money to World Vision, I think my adopted kid in Mongolia can afford a PhD by now. LOL!

Script:

How do you write your lines, plan your story, and work on your all-important script? Where do you research jokes or lines?

Unfortunately, many magicians tend to use the exact same lines and this is evident if you attend magic conventions or magic production shows. It does get old quickly for an educated audience and that obviously, works against the performer. Ensure that your jokes are “fresh” and your script is topical. Throwing in current buzzwords are good if they are in context because people like that.

That’s something the most successful comedians and speakers use, so it’d be wise to follow in their footsteps.

 Case Study

As I think it is always important for one to practice what they preach, I thought I would share with you my own process that I have used to evolve my image and magic as my stage character, ‘Magic Babe’ Ning.

When I first started out professionally, I was pretty clueless about most things. Dressed in a dark trench coat, I wore a white long sleeve shirt and black leather pants.

Subsequently, I swapped my conservative top for something a bit more showy. It was a bareback silver sequined number that is held together only by 2 strings. One tied to the back and the other at the nape of the neck like a halter. Obviously, it sold sexiness much more than the previous costume and I used it because my skill sets to agents and bookers were already established. Every year, I changed my wardrobe to keep it fresh; from a sleek black corset, fitted with boning within to a sexy red vinyl corset to a black sequin bare-backed top, which I had professionally customized for a better fit.

Earlier last year, I had my long tresses chopped off, a big sacrifice since most women regard long hair as a symbol of femininity, and instead I had my hair layered short with shocking purple streaks. I was completely comfortable being in my own skin. My attitude oozed that, and that gutsy part of me was reflected. FLY Entertainment, my artiste management company, supported the move and the media and fans loved it. Comments started coming in that they liked the fresh change. Now, my hair is actually hot pink! Something, I’ve always wanted to do at least once in my life.

Besides my image, my material has also evolved over the years. The illusions I perform with my partner J C Sum are constantly being tweaked, whether it is a change in choreography, update in illusion design or update in music. We also add/ replace one or two illusions every two years to our show.

My favourite illusion “Crystal Metamorphosis” went through multiple changes over a 3 year period. An illusion we are quite known for “360 Sawing” has gone through two complete redesigns to make it even more deceptive. You can watch us perform the 2nd version in the recent NYE 2011 taping of Le Plus Grand Cabaret Du Monde in Paris and the 3rd & current version that we performed on Italy TV.

2009 – 2011 Design

2012 – Present Design

However, my personal solo acts have also evolved since over time. I started with softer acts like a cut & restored rope performed under UV light and a linking coat hanger routine. Now, I perform more edgy acts such as a razor blade act, but with the addition of eating a torch of fire. I also added a “Human Block Head” routine (nail up nose) but with a 4” drill bit. This fits my more matured and edgy image.

For the longest time, I performed my “Straight Jacket Striptease” routine with a custom burgundy straight jacket. The routine has now been improved to a double straight jacket routine where I’m strapped up in two regulation-looking straight jackets. I still perform the “striptease” part but with two jackets “wink”.

For the sake of your pursuit in magic and for the sake of the art, please evolve!

Best of luck with your journey of evolution in magic!

illusionbooks.wordpress.com

The website includes FREE essays, links, DVD & book recommendations as well as FREE audio shows for magicians and illusionists.

It also details ALL my original illusion books, plans, props and DVDs.

This replaces my original illusionbooks.com to take advantage of a more user friendly content management engine with wordpress.

There is a TON of info in this website and if you are serious in the art of illusion, you have to bookmark it and share it!