At home with McComb.

•June 5, 2013 • 1 Comment

BillyOne of my greatest joys in magic used to be visiting with Billy McComb in his various ‘Mad Magician’ residences. I have more happy memories about Billy than one would believe possible, however it was always a special joy to see the deranged magic museums he liked to call home. What follows is just a peep at two of his residences. Maybe I will expand on the list in a future article.

Billy’s apartment house in Tuffnell Park, London, was a classic example of the controlled chaos that was so large a part of the charm of the residential McComb. I have my sneaky doubts that some of his actual tenants might have had slightly more ambiguous feelings though. However with a gentleman landlord with the charm and wit of Billy I’m sure they never dwelled on the negatives.

I remember visiting Billy in the rather quirky and rambling old building once with my wife Susan. Billy had lived with us in Los Angeles for a while and so we were prepared for a certain level of confusion. What we weren’t prepared for was the visceral excitement that exuded from Billy as we entered his basement domain.

Billy had just visited the ‘Ideal Home’ expo and bought the ‘next and greatest new thing’ and couldn’t wait to tell us about it. “It is very simple, old thing” He said, “Perfect for the smaller apartments; it’s a combination wash hand basin and shower!”    The strange part was that it really kind of made sense, in a crazy way. It consisted of a wash hand basin that could slide down to floor level and a faucet that slid upwards to make a showerhead. Only Billy, with his tireless Irish optimism could have looked at this device without foreseeing terrible disaster.

The instillation of these devices was just prior to the flood that enveloped his apartment building and caused priceless damage to his wonderful magic collection. Old Bruno ready rubbed shag.One thing that survived the ‘second’ great flood was the ‘Door.’ This wasn’t any door but the door to the ‘Jay Marshall Suite’ in his building. I have posted a copy of this photo on my Facebook page where you can examine it in detail and revel in the assortment of signatures that adorned it. They are a who’s who of magic.

Any visiting magician in London was casually invited to stay in the ‘suite’ and many did. Not just the famous and the infamous but the regular guys too. Everyone signed their name on the door and it became a wooden artifact equivalent in value to the Philosophers Stone, to a card-carrying alchemist. I am delighted to share a photo of it taken by my good friend, great comedy magician and all round Kiwi good-guy Mike Easterbrook. I took the rest of the photos in Billy’s condominium in Los Angeles.

Billy’s Hollywood Condo was a magic explosion in the nicest sense of the word. Piles of magic books, props, photos, priceless relics and awards were piled in dangerously teetering piles and columns throughout the condo. A small refrigerator in the kitchen was filled with the English candy bars, cookies and muffins that seemed to be the sole food that Billy existed on—other than the occasional scrambled eggs that he ate on the magic summits he held at every ‘Denny’s’ coffee shop in Los Angeles.

BillyOne thing about Billy that people might not be aware of was his total dedication to the cleanliness of the eating (and tea-stirring) utensils in his day-to-day environment. There was a part of Billy that never quite forgot his first incarnation as a fully trained but never practicing doctor. You might not want to look too closely at some of the other elements, but by God, in his establishment you wouldn’t find a fork with a potentially germ containing ridge in it.

This condominium was owned by Billy, however the day-to- day running of things was left to his beloved dogs. They were friendly, loving and on the wall was a sign Billy had placed that said it all. ‘I just want to live up to my Dog’s opinion of me.” As soon as Billy sat down in his comfy chair the two dogs would run at the chair and simultaneously climb to their places on the back of the chair, with each resting it’s chin on Billy’s shoulder.

When Billy had an idea, or thought of something he needed to print out for you, he would make a dash for his desk and rummage through the contents looking for something in particular. The amazing part was——he usually found it! I have tried to photograph as many magicians seated at their desks as I possibly can and the photo of Billy at his desk with this article is my very favorite. It just seems to say it all.

The printer next to Billy’s desk wasn’t your average, ‘Buy it Monday—broke by Wednesday’ kind that you buy to go with your laptop computer. It was a heavy duty and top of the line model that was one of the apples of Billy’s eye. Nothing gave him greater pleasure than to make note of a topic you were interested in and then to mail you copious photocopies of invaluable information on the subject. I have boxes full of them that I prize.

Oh, I could write for hours about the many joys of counting Billy as a friend, but the simple joy of sitting in his condo, eating biscuits and sipping tea as you talked magic would count high on the list. There may be something more fun to do in the magic world but I am yet to find it. I wanted to use this opportunity to share some visual reminders of these special moments.

Billy

Walking through walls……

•June 3, 2013 • 4 Comments

Houdini 1Every magician remembers his first ‘meeting’ with Harry Houdini.  My introduction to the greatest icon in the magic world was at age thirteen when my mother bought a book about him from a local library that was selling it’s excess reading matter. That book started a journey that is still going on.

The book was called ‘Houdini: the Man who Walked Thru Walls’ and she left it out for me to find on my return from school. Mum was away on her weekly trip to her doctor in London.  She visited a psychiatrist for my entire childhood and teenage years with no noticeable improvement to her condition, which was referred to in those days as manic depression.  It wasn’t until after her psychiatrist’s death that she seemed to improve at all.  Coincidence? I will be charitable and say maybe.

Mum always tried to leave a little surprise or gift for me when she took the bus to his afternoon appointments at the busy Middlesex hospital in London. This time she had really picked a winner in the Lindsey Gresham biography of this fascinating man.  In fact to a young man already infatuated by the art of magic it was like pouring gasoline on a lit match!  As soon as I found the book on the kitchen table I made a triple-decker peanut butter sandwich and began to devour them both.

Houdini was certainly an amazing man and like so many other young magicians I fell under his spell and decided that this was the life for me.  As synchronicity would have it, that very week BBC television played the classic “Houdini” movie starring Tony Curtis. As you can imagine this brought the book to life for me in a very special manner.  I was right up there in the screen with the tall, dark, handsome and debonair movie version of the great man.

I was to later discover that as usual Hollywood got it all wrong and if you had to compare Houdini with anyone in a movie it wouldn’t be the roguishly loveable TonyHoudini 2 Curtis, it would be closer to Joe Pesci in ‘Goodfellas’. I was later to discover that Houdini was a short, rough, tough little fella’ with equal parts paranoia, delusions of grandeur and sheer guts!

I was later to discover that Tony Curtis also wasn’t quite the charming figure I remembered. In the late ‘70’s I performed a private, show for him and his guests at the Magic Castle.  What started as a dreamlike experience, getting to sit with my childhood hero and perform an hours worth of my very best close-up for him and his guests, wound up as a major disillusionment when he stiffed me for my very modest fee! I should really have forgiven him by now but I haven’t. However, the theory in Hollywood that if you’re going to be stiffed it is better to be stiffed by a movie star than an average Joe!

My identification with Houdini was the final thing that sealed my fate as a professional magician.  Houdini had been born in Budapest, was short, in great physical condition and dead. I on the other hand was a tall, overweight Londoner who was very much alive.  You need imagination to make it in magic though and the very fact that I identified with him at all was probably what I needed to follow in his footsteps.

I was also fascinated with the curious Houdini characteristic of continually rewriting his past. I certainly didn’t object to this, in fact I really liked it.  In future years my two major heroes shared this same character trait.  I have since come to think that people who are consistent or tell too much of the truth about themselves are at the very best lazy.

It seems to me that what we believe or create about our past is every bit as accurate as what actually happened. It is often more revealing and honest to the ‘I’ we currently are.  If you can’t change your past then you don’t have much chance of shaping your future.  Truth and time is like salt water taffy, it can be pulled and stretched into any shape without affecting its substance.

Costume and clothing ………some thoughts.

•May 31, 2013 • 4 Comments

What they are wearing is the first thing that an audience notice about a performer, and it is widely stated that 80% of someone’s opinion of you is formulated in the first 30 seconds. Yikes, that makes what you are wearing very, very important. One of the easy decisions a performer can make is ‘costume or clothing.’

Costume.

noun |ˈkäsˌt(y)o͞om, -təm|

• A set of clothes worn by an actor or other performer for a particular role or by someone attending a masquerade: a nun’s costume.

CardiniI think the key thing to take away from this definition is the words ‘…for a particular role.’ Obviously, this is a huge part in defining what role you want to play for an audience. It needs to be very carefully decided what impact you are looking for when the audience first observes you onstage. It should be above all appropriate for the show you are presenting.

The classic and iconic image that has defined a magician for decades is the immaculate; tail suit, top hat, cane and cape. This is the standard (somewhat obsolete) clothing that has lodged in the public’s mind and it now functions as a costume. This outfit certainly works better for a manipulative act than a comedy magician, unless he is presenting a pastiche of a magic show.

That classic ‘Cardini look’ is a tough one to carry off unless you are a Lance Burton or Jason Andrews, so make sure that if you are going for this look that it really suits you. If you go for a classic look, it obviously works best for a classic act, an elementary point, but one that is sometimes forgotten by performers. Much of what I have just said is also true for a tuxedo— you don’t want people to think you are the head-waiter.

The other costume that has become popular for manipulative act is a satin/spandex look with the long duster jacket. I’ve seen a lot of performing outfits that look like prom night in Middle Earth!  I’ve also seen a bunch of performers who wear costumes that could conceal a large dog inside their jackets— don’t be surprised if the impact of producing a dove is a little more muted than if you are wearing a tightly fitting tailcoat. Audiences are pretty smart and subconsciously realize if a costume is specifically designed for the loads it conceals.

One very basic ‘old school’ rule is that a costume should only be seen onstage. If you are mixing with the audience before or after the show then you need a nice outfit lancethat can mingle with the ‘civilians’ in an easy manner. Of essence, a costume is intended to be worn while onstage while playing your chosen role, otherwise they probably just look kinda’ cheesy offstage

Clothing on the other hand is worn by everyone, and defines your personality rather than a role you are creating. The old rule of thumb is to wear whatever style of clothing your audience is wearing —but a better version of it. You shouldn’t ever skimp on your wardrobe.  All the ‘old pros’ were emphatic about not wearing their ‘Show Suit’ off-stage. They would also never sit down in their outfit—in order not to get bags in the knees of the pants or wrinkles in the jacket!

A great deal of thought needs to go into the color of the suit/ jacket you are wearing. If you are using small light colored props they will be lost against a white jacket, and the same with dark props and a black jacket. You can, however, ensure better visibility if you wear a contrasting shirt and position props accordingly. If you don’t know what color your performance backdrop is then it can be nice to have a choice of suits to ensure that you stand out. One of my golden rules is ‘If they can’t see you— they won’t like you.

I’m just going to say two words about shoes:

1          Polished.

2           Unscuffed.

I am just about to release some really great new items through the online store on my website www.nicklewin.com — so check them out! Having spent many, many years looking for the perfect microphone holder to wear, I am delighted to say that we are releasing the perfect one. Even if you use a headset you will want one of these totally adjustable holders in your back pocket to use with any microphone should you need a back up!

The always innovative Peter Samelson.

•May 30, 2013 • Leave a Comment

Peter SamelsonThe first time I worked with Peter was probably thirty five years ago when he was the host of a television show filmed at the Magic Cellar in San Francisco. The show aired on PBS and was called ‘Magic, Magic, Magic.’ I really don’t remember much about the material Peter performed during that taping. I do remember that he performed all the magic wearing a pair of white gloves that gave him a most distinctive appearance. I also remember being very impressed with the unusual and thoughtful presentation of the various effects he used.

Thirty odd years later I was once again highly appreciative of his carefully planned and presented magic when we worked together on the East Coast.. The theatrical spirit that Samelson infuses into his work is individual and highly effective. Peter performed some very strong magic that he made all his own by adding this secret ingredient. All the effects featured in Peter’s show were treated like minor theatrical presentations. Each one was a self-contained three-act play that had an emotional arc and a specific mood. Best of all there wasn’t any evidence of that kind of thinking worn on his sleeve to be admired by the audience. It was rather subtle and all the more powerful for being so.

I suspect that the Snowstorm In China is the single most overexposed trick in magic at this time and has been turned into a sentimental exercise by many magicians.IMG_7906 These performers should all sit down and watch the way Peter achieves the reaction that they are working for. He doesn’t do it by using enough extra paper to constitute an ecological disaster or enough saccharin to raise your blood sugar level. He does it with something you don’t see enough of in the magic world; a little bit of good acting! Bravo.

If space permitted I would like to tell you about his handling of the Mutilated Parasol and the Gypsy Thread, as they were superb. However Peter can be seen frequently in “Monday Night Magic” which is New York’s longest running Off-Broadway magic show. If you are visiting the Big Apple why not do yourself a favor and catch him live. The ticket information for Monday Night Magic is available through their website www.mondaynightmagic.com

For me the weekly magic show they provide is one of the best to be found.

Nelson Riddle and the Kid.

•May 29, 2013 • Leave a Comment

Ross PerotDuring all my years performing magic only once did I think about giving it up and doing something different. It happened back in the  ‘70’s in California when I got to work with a musical hero of mine. A call from the Magic Castle put me in touch with a producer from Pacific Palisades. Getting a referral call from the Castle was like Forrest Gump’s box of chocolates, you never knew what you were getting!  The only thing you did know was that Jean had quoted a fee. Jean Cantor was the dynamo at the center of the Castle who kept things hopping. She always quoted a two hundred dollar fee. It didn’t matter whether it was for performing a full illusion show for a thousand people in a ballroom or doing card tricks in a restaurant! The fee was always the same two hundred dollars.

Billionaire Ross Perot was throwing a huge banquet for returned prisoners of war from the war in Vietnam. Hosted by Ronald Reagan, the evening featured an after-dinner show starring Carol Burnett, Edgar Bergen, Sammy Davis Jr. and Tony Bennet. The musical director was Nelson Riddle with his forty-two-piece orchestra. Someone had decided an unknown English magician would be the perfect item to complete this extravaganza. Maybe it was the $200 fee! The most intimidating part for me was doing a band rehearsal with the great Nelson Riddle. I was a huge fan of Mr. Riddle’s awesome orchestral arrangements. For me, Irish singer Van Morrison expressed it best when he sang,  “When Frank Sinatra sings, against Nelson riddle strings take a vacation.” There is just something in the Morrison sings it that says it all.

On the afternoon of the show when the time came for my band call I walked onstage trying to look like this was an everyday occurrence. Mr. Riddle was seated on a

Nelsonpiano stool in front of what seemed like an endless orchestra. In my hand were my band parts.  I had always been very proud of the jazzy arrangement of “Rule Britannia” that had been written for my by the bandleader from a cruise ship.  There were band parts for twelve instruments some of which I had never even heard. Looking at the gigantic orchestra they suddenly seemed very inadequate.

“Mr. Riddle….” I began.

“Call me Nelson.” He replied.  I appreciated his gesture but in honesty it had taken all my nerve just to call him Mr. Riddle.  Nelson looked at my meager stack of music, smiled and said:  “Nick, unless it is very important to you, if it’s just intro and bows music maybe you can leave it to me.” He said with a friendly grin. “I am sure I can come up with something for the band.”  I agreed gladly and that was the end of my band call.

That night prior to showtime while standing in the wings I wondered for the first time about what my intro music. This was the summer of “Star Wars” in Los Angeles the movie was everywhere; the characters, actors, images and particularly that wonderful soundtrack by John Williams.  That is what I heard following my introduction. Nelson Riddle and his entire ensemble broke into the fanfare from Star Wars. “DA DA DADA DA  DAAAAH DA….”  Every single one of those forty-two musicians playing their hearts out, strings were soaring, timpani booming, horns blaring and best of all there was ‘Nelson’ on the keyboard keeping it all together. For a moment it ran through my mind that I should just not bother walking out onstage, quit right there on top of the mountain.  Then I took a deep breath and walked out on to the stage.

Saturday Morning Specials.

•May 27, 2013 • 6 Comments

davenportsThe more I write about magic the clearer it becomes to me that in many ways it‘s the role of the Magic Store that fascinates me the most. Judging from the responses to my articles it seems that many of my readers also have many of their favorite memories carefully polished and centered on this same topic.  I want to explore this area a little more fully because in the age of Internet shopping it seems to me we are at a crossroads and the honest to God magic shop is in danger of vanishing and if this happens we will have lost something very special

The very first magic shop I spent my pocket money in was a tiny, crowded magic oasis on the Tottenham Court Road in the very heart of London’s West End. It was here I made the mistakes we all make in our early purchases!  Gradually the gentleman behind the counter started to educate my fledgling taste.  The name of my first Saturday morning tutor was Jon Tremaine and he began the lifelong process of finding a trick you can truly make your own.

To my delight I discovered that another magic shop called Davenport’s existed about five minutes walk from the Tottenham Court Road.  This was like trading up from a Honda Civic to a Jaguar; much more space and way better equipped! It was here that Pat Page showed me that it wasn’t just the trick that mattered but what you did with it. To spend a morning watching Pat entertain his Saturday morning regulars was an education all its own. Next I discovered Ken Brooke and his Magic Place. I have written quite extensively about Ken and all I learned from him. Suffice to say it was here I learned the skills that really helped launch me into my career in magic.

Upon arriving in Los Angeles there were two major choices when buying magic: ‘Hollywood Magic’ and Joe Berg’s store and of the two I infinitely preferred to visit Joe’s store, Here there was the additional benefit that if you hung around until Jules Lenier’s break you could accompany him to the coffee shop around the corner on Vine Street and talk magic with him drinking endless cups of black coffee, while Jules ate English muffins smothered in butter and sprinkled with salt.

Needless to say there were many other magic stores that I’ve enjoyed visiting over the years. When I was working in Chicago it was worth an extra day on my Ken Brookeschedule to fit in a visit with Jay Marshall. Jay had a way of quietly passing on information that was as wonderful, quirky and unique as the man himself. I never once left Magic Inc. without at least one cool trick to add to my repertoire.  How I wish I had had a chance to spend my teenage years with Jay as a teacher: would I have traded it for the wisdom and help I received from Billy McComb and Ken Brooke in those same years?  No, but Jay is the only magician I have ever met who could take a trick McComb performed and improve it. ‘Nuff said.

Much of the best fun I have had in the magic world has occurred lounging around magic stores on a Saturday morning with the locals gathered to trade stories and tricks and the proprietor tried to balance making a living and making a magician. There is a very special fellowship about these shops that can never be replaced by ordering on the Internet. Convenient as virtual shopping on the Web is, there must always be room for the real thing. Support your local magic shop or it may disappear into some cosmic Toppit. In the words of Joni Mitchell “You never know what you’ve got till it’s gone.”

Reveen Remembered.

•May 24, 2013 • 4 Comments

ReveenIt is quite an amazing phenomena the impact that Peter Reveen created in people’s lives. He touched a great many people in a great many ways. The Celebration of Life—Memorial Service that was held for Peter on May 18th brought together a large group of people whose lives had been changed and improved by their contact with this master showman. Reveen had the capacity, and heart, to make everyone feel special–it was always personal with Peter.

The celebration was lovingly organized by Bill Smith and took place at the Desert Willow Golf Course/Sun City in Henderson, Nevada. Bill began his long friendship and association with Peter, when he traveled to Sacramento with fellow Long Beach Mystics Les Arnold and Stan Allen in 1974 to watch him perform. Bill went on to build many of Peter’s classic illusions, including creating a giant hockey puck for Reveen to levitate during a Canadian tour. It must have brought the house down!

Tyrone Reveen acted as MC for the event and introduced the stream of people who were there to pay tribute and homage to his father. The Reveen heritage has landed in safe hands, after memorizing the nearly three hour hypnosis show that his dad made a legend around the world, Tyrone and his beautiful daughter Morea are now bringing it to a whole new generation. How proud it must make Coral to know that the ‘Superconscious Experience’ is still continuing in the hands of the Reveen family.

The ceremony began with a short prayer by Pastor Terry, then after a video overview of Reveen through the ages were a series of Bill Smith: Reveenheartfelt speeches. The speakers paying tribute to Peter included Bill Smith, Tommy Lang, Dante Larsen, Ralph Craig, Anthony Cools, Bob Brown, Charlie Frye, Amazing Johnathan, Diana Zimmerman, Bob Curtola and Jeff McBride. Each had a story to tell about the friendship and inspiration that Peter had extended to them. Several were very open in expressing their belief that Peter had quite literally saved their lives. The tribute began with Geary Rindels reading a message from television legend Chris Bearde and also included video messages from Jeff Hobson and Fielding West.

There were two songs rendered to great reaction by cantor Phil Goldstein, ‘Wind Beneath My Wings’ and ‘Lord Raise Me Up.’ Cantor Goldstein assured us that his real name was Max Maven! The occasion was also used for John McClenahan from the IBM Fantasma Ring 257 to perform a simple and moving Broken Wand ceremony. Always supportive of magic, Peter was a member of the IBM, SAM, Magic Circle and Magic Castle. Also, he was an avid Mason, Shriner and member of Variety Club.

The Las Vegas magic scene was represented by some of the finest talent in the industry including; Lance Burton, Siegfried Fischbacher, Stan and Rhonda Allen, Norm and Lupe Nielsen, Johnny and Pam Thompson, Mr. Tihany, Bob Rossi, Luna Shimada, Mike Douglas, Mac King, Sonny Fontana, James Dimmere, Jason Byrne, Juliana Chen, Ariann Black, Jason Andrews, Winston O’Rourke, Paul Stone, Gabrielle Lyster, Tyler and Mistie Knight and a host of others. Bob Brown and Jay Alexander flew in from Sacramento and San Francisco respectively for the celebration.

ReveenThe long and warm relationship between Reveen and the Magic Castle was very apparent with Irene, Erika, Dante, Lily Larsen and Joan Lawton all present for the occasion. There were many entertaining stories about the tight bond between Peter and Castle founder William Larsen Jr. Many of us first met Peter through the Magic Castle.

Approximately 300 people attended the celebration and were seated at tables of ten. Wine, beer and a delicious buffet were served to all present and the event closed with a series of long streamers being fired over the audience. The streamers were a nice touch that would have delighted the master showman himself.  Attending the event, were Peter’s wife and partner of 54 years Coral and their four sons Wayne, Tyrone, Calvin and Peter Jr. and daughter in laws Lisa Marie and Cathy. Reveen’s six grandchildren; Alexander, Morea, Carson, Candace, Cody and Taj were in attendance. Morea and Taj each gave heartfelt speeches expressing their love and devotion to their grandfather.

Peter James Reveen, October 8th 1935, to April 8th 2013.

A master magician, hypnotist, showman, family man, humanitarian and friend to all, whose life was one of the most fascinating stories in show business history. Reveen will be sorely missed by his friends all around the world, from Lance Burton whose career he so skillfully managed, to the magic hobbyist he befriended into at a magic convention. Goodbye old friend!

The Art and Science of Travel and Packing.

•May 21, 2013 • Leave a Comment

McComb @ DeskI remember vividly the time that I saw Billy McComb at his most animated and excited; he had just been to the supermarket and bought a box full of clear plastic, zip lock, baggies. He was practically shaking with delight as he showed them to me. It seemed, even for Billy, rather eccentric to get this excited over little clear sandwich containers, but as usual when I got the actual drift of his thinking I started to share his enthusiasm. He wasn’t planning on taking along a ham and cheese sandwich to his next gig but had a loftier vision.

Before long Billy had all the items from his vast working repertoire contained in different sized, heavy weight baggies. Each trick was carefully packed inside its own baggie, with every item needed for the performance contained within it. On the outside of each bag was written in felt-tip pen the name of the trick inside the bag.

The main advantage of this method was of course that you didn’t arrive at your gig and find that a reel, pen, thumb tip or handkerchief that was vital to the effect was missing. In fact better still you could survey the contents of each bag without even opening it and double check that all the replaceable items, for example; thread, flashpaper, envelopes etc. had in fact been replaced.

It was such a simple and effective idea that only a genius like McComb could have developed it. Of course, being Billy, he did get a little carried away and he NL PsyRoyal cover-1extended the idea to coffee shop items. He almost always had a baggie full of miniature containers of sugar, creamer, tea bags etc. in his pocket somewhere.

On one of my very first meetings with Billy at a very youthful age, he showed me the old trick where you appear to stick a coin on your forehead and when you remove it and hand it to the spectator to duplicate your action, there is a blood red nail sticking out the back. It wasn’t the trick that Billy seemed to enjoy so much as the fact that he had fashioned a cork with a hole in it that fitted the gimmicked half crown and made it a considerably easier and safer prop to carry around in your pocket. He gave me the faked coin in its cork as a present. I didn’t realize it at the time but this was to be one of my first lessons in the art and science of packing and handling props.

I remember being highly impressed when I observed how legendary magician Piet Paulo managed to keep his working shoes ‘unscuffed’ and polished on the road by keeping them inside old socks. Simple and easy and something I do every time I pack my suitcase. The shoes packed out with black socks and delicate props from the show.

I have taken these two ideas and combined them into my current system, which involves keeping all my props inside Crown Royal bags. Of course everything looks like everything else and it isn’t half as practical as the baggie system—-however I just love those purple bags!

Needless to say I have many other wrinkles and tips I have learned over the years, if you have an interest I am happy to share them. In fact I have an entry in my blog somewhere entitled ‘Travel Tips’ that lists some of them– including my ultimate TSA deterrent. Not for the faint of heart!

‘Psychometry Royale’ is my handling and work on Fogel’s ‘Second Spot.’ It is a killer light hearted mentalism tinged effect and is available in the online store at my website. www.nicklewin.com

A little about time and timing.

•May 19, 2013 • 4 Comments

Here is a classic column from the backfiles…..

Nick & FinneyI am still working away here in Arizona, just over half way through an extended series of shows and I wanted to write briefly about something we don’t seem to talk often enough about in our magic books, the art and length of the show itself.

I am currently performing 75-minute shows once or twice each day. One has to pace oneself very differently for various kinds of show lengths. By most standards 75 minutes is a pretty long show. Last night I watched Michael Finney perform a killer 13-minute set at a local Casino and it got me thinking about what the difference is that a performer has to think about when faced with different lengths of performances.

I remember when I used to perform at the Magic Castle 15-20 minutes was the performance time needed, and looking back it was a very satisfactory length of time to pace a show. In the Casino last night Michael had to win over that crowd instantly and then keep them with a show that never let down the impact. Without ever appearing rushed or tight on time he achieved his goal effortlessly. It was a joy to watch.

With a 75-minute set you have to win over the crowd just as quickly but then find a way to vary the pace so that you don’t exhaust yourself or burn out the audience. I have been achieving this by doing a non-stop 30 minutes up front in my show, then slowing down the pace a little before putting the heat on for the last 15 minutes.

I have never done an 8-minute manipulative or dove act but obviously an entirely different kind of dynamic is at work. My friend Jason Andrews performs an 8½ Jason Andrewsminute show that suspends time in mid-air somewhere along with the audience disbelief. I can honestly say that the toughest shows for me to perform were when I played briefly in ‘V: the Ultimate Variety Show,’ in Las Vegas. My allotted time was ten minutes and I found it very hard to achieve the momentum needed to achieve maximum impact. I was just getting into the zone and the show was done! After a couple of shows it became easier to pace things.

There is a very different set of tactics necessary for all these different time goals. The secret is that just as you should never appear to be rushing through a ‘short’ set you must never seem to be ‘dragging out’ a longer show. This may be the secret, however achieving it is another story. You need to subconsciously plan an arc and make a mental graph of how your performance is going to be timed and delivered.

There is little or no chance of achieving success in a shorter show while ad-libbing or being too spontaneous. Just as in a longer show, any appearance of trying to ‘get time’ out of a bit, is likely to slow down your momentum and audience reaction. All to often, I listen to performers talk about how long they can ‘milk a trick.’ This is a very incorrect way to go about the business of entertaining an audience. Rather than ‘milking’ a piece, maybe you need to put in a couple of extra shorter segments. Unless you live on a farm don’t ever think of milking anything and unless you have an elastic band or Silly Putty in your hands don’t dwell on stretching anything either.

silly-putty1An extension of this concept is the even more dangerous approach of allowing the size or cost of a trick to influence the way it inhabits the ‘real estate’ of your show. Audiences don’t feel that way about it that way at all. Although it is a highly subjective area, what is needed is the ability to look on each segment of each show as an energy exchange with your audience. Nothing can be taken for granted in this department and that is why it is generally easier to fill a relatively easy space of time such as 20-25 minutes and you don’t have to tackle this kind of problem until you have a better idea of the strengths and weakness of your performance ingredients.

Each performers differences are totally his own to explore and develop but the glue that keeps them together is composed of a very subtle blend of texture, shading, dynamics and variety. The ability to jump nimbly from one length of show to another is a key one for most comedic performers to ensure that they keep their datebooks filled and the checks coming in.

While it is certainly a good guideline to fully develop and realize your personality or ‘character’ as a performer, it is sometimes easy to let the matter rest there, before you understand that this character needs to be fine tuned not just to the needs of the material you are performing but also to the audiences; size, attention span and general characteristics. I have heard many a performer talk blatant rubbish about what is or isn’t correct for his ‘character’ (which should of course be an idealized version of his own personality) as if this is the key factor in determining his audience impact.

Texture, shading, dynamics and variety will take you much further.

Agents and managers and heroes and villains.

•May 17, 2013 • Leave a Comment

In a recent blog I wrote some general thoughts on the various people you will work with as your career develops. I got some great responses from readers about my very simplified primer on this subject matter. This week I thought I would look at the general topic again from a less objective and more existential viewpoint.

Nick The very first manager I worked with was a genial and smart man who was known as ‘JP’ to all his clients and friends. He received my press kit in the mail and was impressed that I had performed for members of the British Royal family. He saw this as a great selling point and it became an even bigger feature in my next press kit. From 4-7 pm from Monday to Friday, ‘JP’ and his current group of confidants assembled in the bar of the French restaurant ‘Maison Gerard’ nestled in the shadow of Universal Studios. A lot of really great people were part of this floating ‘happy hour’ party and a lot of good business took place during these nightly sessions. I was pleased to discover that my new manager was improving my bookings substantially during this period. Yay.

Eventually the work slowed down, and my final gift from JP was in 1977 when he sold a murder mystery book I had co-edited called ‘Sleight of Crime.’  It turned out to be the start of a new career for ‘JP,’ he moved to Chicago and became a very serious literary agent. He was a natural in the literary world and went on to sell many books and screenplays.

Many years later, I happened to meet up with one of my fellow acts from ‘JP’s’ old client list, and they passed on his current phone number. When I phoned up ‘JP’ to say hi, he casually mentioned that during my years with him as a client his business had been a front for the CIA, who were utilizing him to spearhead an investigation into organized crime. Hmmm, who knew!

My next management experience was a big time deal, I was the ‘pocket client’ to a manager in one of Hollywood’s top companies. Other clients included Linda Nick LewinEvans, William Shatner and Joan Collins. The Management contract netted me a great deal of money and introduced me to a strong publicist who did a great deal to promote my career. This was when my television career really took of. The entire thing went to hell when my manager took my best friends live-in girlfriend out for breakfast and then by evening she had moved in with him. I ended up loosing both a best friend and a great manager. Grrrr.

At a later time I experimented with hiring a publicist and an entertainment attorney to handle my career. This worked quite nicely but ultimately I needed an agency to bring in more leads. At this point I had a pretty high profile from my television dates and I signed with ICM, which was one of the two giant entertainment agencies. It should have worked great, however I quickly wished my friends girlfriend had moved in with my agent instead of my manager.

I can’t really say that ICM did anything much for me during our two-year contract, in fact I later discovered they had refused to consider or negotiate dates for me that I would have said yes to in a heartbeat. One thing that my responsible agent did do was to hook me up with my next manager. The new manager was the man who had represented Harry Blackstone Jr. and the idea was that we would continue along the agent/manager path that they had used to sell Harry. Hmmm, it didn’t turn out that way.

Outlaw I later discovered that the manager they had paired me with was worth less than zero to my career. He was charming, chatty and British—-wait a minute, that’s what I brought to the deal! Years later I discovered that I had been thrown to this particular manager because he had set up a deal for cheap roofing for three of the agents at ICM. Bastards.

I have also tried working with small boutique agencies, which in my case seemed to work out the very best. I think I can honestly say, I tried almost every variation that a resourceful performer could imagine. Sometimes it worked well, sometimes it didn’t—the one thing I am convinced of is that it is the performer who needs to keep the ultimate overview needed for his career to flourish.

If the performer has a vision for the future, he needs to hire the people who can make it happen. Never forget that it is the performer who does the hiring; agents and managers like to make it appear that the reverse is true—it is not. The buck stops with the performer……

To get the first information on my upcoming magic releases, check out my website www.nicklewin.com and the pages on my blog www.remarkablemagic.com