There is NEVER enough work!

•March 27, 2013 • Leave a Comment

evolveThe economic downturn that has hit the world has certainly cut down on the amount of gigs that are available for jobbing magicians. Yeh, so what’s new! Ever since I can remember (except for a few golden years in the 80s) there have been people in panic about the shortage of work. However I hear a lot of talk about it now as I travel performing my shows.

Sure there is less money around and things are tighter. Well when the times get tough, the tough get going. This is when you need to think very carefully about marketing to the audiences that still want to hire magicians. It is also the time to make sure your magic product is really top notch. A magician who does a poor job may not only be hurting his chances of future work but he may be spoiling the field for other magicians who do a better job; brutal but true. Having a web site and a video no longer guarantee bookings. This is a good time to stretch the envelope a little.

One of the secrets that a real pro discovers is that when one door closes another one tends to open. You may have to really keep your eyes open for it though, it may just open a crack and there may me a bunch of magicians waiting in line to put their foot in the door. What is interesting is that the real pros usually keep working when each new disaster hits the work scene. They have to– because a true pro has to work or he doesn’t eat, and that really keeps you on your toes. The first thing to do is to look for the areas of work that are still available and paying money.

I would suggest that the most vital and essential skill is the art of adaptability. People usually mistakenly think that Darwin’s theory of relativity refers to ‘the survival of the fittest,’ what he actually says is ‘the survival of the most adaptable.’ Words to live by.

For instance why not try getting a small co-operative of magicians together and staging a show on the quiet night in a local venue. Don’t forget that restaurants Wondergroundhotels and clubs are having some challenging times economically too. Make them an offer they can’t refuse. Comedians work very hard at finding stage time in order to develop their work and to promote themselves. Magicians should too.

Magicians tend to think more in terms of working for other magicians at the local club or magic conventions. A less fruitful way of obtaining work or improving performing skills for real (i.e. paying audiences) can scarcely be imagined. However a small group of magicians can create a showcase that can result in actual paying gigs. Don’t expect the showcase to make much money for you, just use it to garner exposure to some potential paying clients.

Decide on a market that has some serious potential for development in your town. Private parties, fundraisers, kid’s shows, promotional shows etc. Then market your show (case) for the kind of people who book them. Make sure you present the very best entertainers in these areas; not just the hotshot from the local club that the other magicians adore. He might bore the pants of a ‘real’ audience.

shapeimage_1When you get a nibble from a potential buyer is when you can harvest the full benefits of your group activities by engaging in some subtle ‘up-selling.’ See if you can add a couple of close up guys to an after-dinner show or alternatively if someone wants a close-up show then try and pitch an after-dinner performer. There is only strength in numbers when you work together.

Think like a team and work as a team and you might be surprised at the doors that open, at the very worst you will learn a lot about the very real skills of producing an event. The other added bonus is that you will be improving those performing skills that are the true bread and butter of a busy working pro.

Events of this kind are the way comedy clubs sprung up in the early 80s. Plan and execute a successful event on a regular basis (once a week or once a month, as long as it’s consistent) and see where it can take you. Let me assure you that each month Jeff McBride’s ‘Wonderground’ in Las Vegas attracts a sizeable crowd that many major casino showrooms would kill for. Monday Night Magic in New York and the Mystery Lounge in Boston do the same. If you want to be in show business then you had better put on a show! No more bitching about no work, get cracking on finding it!

Check out my line of really commercial routines and products at www.nicklewin.com

 

 

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The Art and Science of Doing Nothing—Apparently.

•March 25, 2013 • Leave a Comment

Nick LewinDuring the last 20 years I have had a goal in my performance of magic, that goal is to make it look as though I am doing nothing at all. This leaves me free to look as though all I am doing is reacting to what is going on. This is a much tougher goal than one thinks at first sight—but well worth exploring.

If you are performing magic the first thing to eliminate is any appearance of doing moves or magician type things. I have vigorously moved  in this direction by discarding the desire to conceal anything. When I want to steal a prop to assist in my work, for instance ‘stealing’ a folding half dollar to stick in the neck of a bottle, I make it a point to find the correct psychological moment to put my hand into my pocket in a natural manner and simply remove the coin.

There was a time when I used to load the half dollar into the top of my jacket sleeve and then, at the correct time, after showing my hands empty I would allow the coin to drop down from my sleeve into my hand. A neat maneuver but totally unnecessary, and while marginally cleaner in some ways, it adds three things to the performing mix that I am now delighted to avoid;

1  A potential disaster like the coin hitting my shirtsleeve in the wrong manner and dropping to the ground.

2   Showing my hands empty when nobody thinks there is anything in them to begin with.

3    Making two moves when all you really need to do is no move.

There was quite a debate amongst close-up magicians at the ‘Magic Castle’ back in the seventies as to whether a card worker should appear to ‘show-offy’ with his handling of a deck of cards or should handle the deck rather clumsily as though he was incapable of doing any ‘wiz-bang’ moves. It was always clear to me that the answer lay in between the two extremes and was totally individual to each particular performer’s personality. This is an extension of that thinking.

The more carefully you study your movements the more naturally you can eliminate the unnecessary ones. Why ‘show’ a hand empty when you can ‘gesture’ with it and prove it empty without making a big deal about it. If you work too hard at making sure the audience knows that your hand is empty they start to wonder if you have something palmed there.  If you have something in palmed in your hand and just hold the hand naturally, then you haven’t aroused any suspicion. Don’t hide if they aren’t looking.

This is just one tiny example that I have explored in some detail but the same principle can be utilized in many situations. Doing things in this way does also causes the performer to look at his act in an overview rather than a trick-by-trick manner. To do this you are going to need to be comfortable having your hands in your pockets during your performance and if this seems strange, then you are going to have to sequence your actions so that you secretly remove the coin from your pocket while placing something else into it.

The only time I ever make any ‘magician type moves’ is when I am doing nothing at all—-and then I am almost always doing it to make fun of the kind of gestures that some magicians make during their show. The best kind of magic just appears to happen. Don’t try to make it look tougher, harder or cleverer than it need be, just let the magic speak for itself.

If you think for a moment that any audience (other than kids) are not aware of the accumulative effect of what you are doing then you are probably underestimating them. By concentrating your efforts into an integrated style of presentation you are achieving a much more sophisticated performance than by letting the trick (or move) dictate the manner in which you perform that particular effect. Is most of this subliminal, YES and all the more powerful because of it.

This approach to eliminating the unnecessary so you can simplify the necessary is to me the equivalent to the way a good comedian ruthlessly cuts every word in a joke that is not absolutely necessary to making it funny. Oh, that leads me directly to eliminating every statement in your show that doesn’t get a laugh or add to the effect—-but that’s another column though.

 

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This Magic Thing—for the comedy magician.

•March 23, 2013 • Leave a Comment

Tommy CooperWell, having given some thoughts about the comedy side of comedy magic in my last blog post, I thought I had better devote a line or two about the magic side. It is obviously just as important as the comedy issue so, speaking for myself, which I am uniquely qualified to do, here is what I think.

Performing good Comedy Magic is walking a tightrope. If the show get’s too funny then it tends to throw of the audience reaction to the magic you perform. Therefore what you have to do is to make sure that the magic in your act is really, really strong. Obviously I am not talking about the ‘Cod’ magic acts of giants passed on like Carl Ballentine and Tommy Cooper, they are from a previous era. I’m sure with the cyclic nature of the entertainment business they will return, but now is NOW. Try talking to an agent or TV booker about a ‘Cod’ magic act and they will just look blankly at you.

The two people who taught me about the importance of keeping the magic in your Comedy Magic act strong were Ken Brooke and Billy McComb. Pretty darn good teachers. Towards the end of his life Billy became very fond of what he called his ‘Hokum’ act, which was a series of gag tricks and items. I will be honest and say that I really missed some of the classical McComb pieces from earlier years such as his Whisky Egg Bag, Ring on Stick, Coin in Bottle etc. If you are presenting a funny magic show, then the occasional real GASP from the audience is needed to keep you upright and balanced on your tightrope.

I am not a great believer in the use of too many ‘Gag’ props or tricks. They tend to smell a little too strongly of mothballs! Worse than that (AHHHH!) they may seemCarl Ballentine like Vaudeville or Burlesque routines. If you think the use of the expression ‘Cod’ magic scares bookers, buyers and agents; just let them get a hint of the word Vaudevillian and watch them head for the hills! It doesn’t matter how you dress it up with expressions like ‘New-Vaudevillian,’ they won’t bite.

Along these lines, there are some tricks that sadly have become a liability to the performer who doesn’t realize that they are quite rightly leading the way on the endangered species list. They might still get a laugh from the audience but that doesn’t matter to ‘The Powers That Be’ and it’s not the audience that can improve your career and increase your prestige and salary. Top of this list is tricks such as the  ’Linking Rings,’ ’20th Century Bra’ and the ‘Bandana routine.’ Up until a few years ago the Bandana/Banana routine was a gem, sadly some idiot released it as a $30 trick and everybody put it into their act. All the performers now use the same tape, the same devils hank and have just devalued the trick as a viable effect. This was a killer routine way back when ‘Allen & Rossi’ were performing it in Vegas in the 60s but its day is done now. The real killing is the guy who started selling them for $30! The ‘Baffling Bra’ still gets laughs but is really quite unacceptable  in today’s climate.  Rather a shame because the props for both tricks weigh nothing and pack flat. I could continue this list but it does more good if you look at your own act with a fresh eye in case it contains one.

Comedy Magicians rightly or wrongly are considered creaky and unoriginal in today’s marketplace and jugglers even more so, thank God! Now I’m not saying there is anything wrong with performing a classic effect if you bring something fresh to the table. Audiences revere classical musicians, they expect them to perform the classics–otherwise they would just be pianists or violinists. What their audience does expect is a different take on the classics in the way they are interpreted and presented. A classical magician must also think this way if they want to remain relevant.

……or to make my point with a Zen or Haiku (or Twitter) style of brevity, strong comedy+strong magic = strong performer with strong bookings.

 

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This Comedy Thing—for magicians.

•March 22, 2013 • Leave a Comment

Comedy Storea while ago, I had the good fortune to attend Mitzi Shore’s birthday party. Mitzi is the driving force and creative compass for the world famous Comedy Store in Hollywood. The party was held in her gorgeous hillside home and was attended by a group of comedians ranging from the very famous to the newest ‘Young Turks’ from the Store. I was delighted to be in the company of Jeff ‘Big Daddy’ Wayne whose skill, tact and diplomacy have earned him a very special place in the heart of comedy.  For those of you who are not familiar with the Comedy Store it has been the training ground for most of Los Angeles’ top comedians. Mitzi has ruled her domain with a combination of instinct and judgement that have nurtured comedians in a very special way. They were actually trained! Trained in front of tough audiences who expected the very best from their comedians.

Unlike the Magic Castle, the ‘Store’ gave it’s top ranking performers to work a short set once or maybe twice a week. You never knew whether you might be following Robin Williams, Richard Pryor or a new promising comedian from Idaho. It trained comedians in a very special way because their chief goal was to fine tune a five minute set and polish it like a gem for that Tonight Show set that might (or might not) be round the next corner. However, nothing was allowed to stagnate and everyone was expected to develop new material. I always say that when a comedian gets the timing, reaction and delivery of a joke just right—–then he drops it from his act. A variety performer when he reaches that same point with a ‘bit’ or gag, heaves a sigh of relief and it remains in his act f-o-r-e-v-e-r!

While I did perform at the Comedy Store, it was never a true home for me in the way that the Castle was. The magic Castle allowed you the ‘luxury’ of Performing

Jeff Wayneyour show 21 times within a 7 day period. You would think that this would lead a performer to experimenting on a night by night, if not show by show basis. I have been visiting the Castle more recently than at any other time in 25 years since I stopped working there. With a handful of exceptions I am amazed by how static the performers material has been. It is as if performers expect to be congratulated because the act is still as good as it was last time!

When I stopped performing at the Castle, I went on the road and headlined in Comedy Clubs across the country. One week was New Jersey, the next Atlanta and then on to Alaska. This meant that you really needed to be able to judge the mood of the crowd or be prepared to die the proverbial death. You try treating a late night night audience in a New York club like a mid-week audience in Greenville N.C. and you are ready for the shock of your life, and not a pleasant one. You suddenly realize why real comedians are always scribbling in notebooks and tape recording their sets, it is how they improve and develop. The path to perfection (impossible of course) is to live up to the real message of Charles Darwin, which was not the often misquoted ‘survival of the fittest,’ but the survival of the most adaptable.

At the very least a Comedy Magician should throw away his dependance on ‘patter,’ joke books, Robert Orben and ‘heckler stoppers.’ Even a newbie comic will hold you in disrespect when you do the same trick with the same patter that the magician they worked with the week before did. That is their definition of a hack, and in the comedy world that is not a place you want to be. Obviously there are similar themes in comedy such as relationships, traveling, childhood, etc. just as in magic there are Masimilarly themed effects; The destroyed and restored whatever or the vanishing/appearing this or that. Just as in comedy jokes riff of other jokes, in magic tricks develop around other tricks. However, you can’t let them remain static. I have featured a burnt and restored banknote in my act for years, but it has been a never ending series of both small and larger changes that has kept it relevant.If you are going to perform Comedy Magic, and not just be a magician who gets laughs, then you need to combine the tough love competitiveness of the Comedy Store with the cheerful glow of the Castle where people laugh at something because they know it is supposed to be funny instead of because it IS funny. Being a comic magician is kinda’ taking the easy way out, if you want to really stretch a little (and improve your chances of working and making bigger bucks) then work at becoming a Comedian Magician, either that or keep well away from real comedians who understand the difference.

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The childhood joys of buying magic, and lessons we can learn from it.

•March 18, 2013 • Leave a Comment

photo-A teenage NickUpon becoming a magician you begin the lifelong pursuit of seeking out new tricks to perform. As a youngster this was accomplished by spending endless hours pouring over magic catalogues and deciding on the tricks one absolutely couldn’t live without. After sending away for it I would wait for the postman to deliver the precious box to my front door. In retrospect the best part of this entire process was the waiting. I would keep reading and re-reading the description of my latest purchase in the magic catalogue, visualizing every aspect of the next addition to my show. The entire process involved more anticipation than anyone could ever imagine.

Magic catalogues both then and now have a language all there own, partly truth and partly fiction!  Certain phrases are special flags to attract youthful customers. My favorites were; ‘Packs flat and plays big’, ‘can be performed surrounded’ and ‘Needs no resetting’. There was usually a list of ways in which the trick was not accomplished. This often included; ‘No threads’, ‘No magnets’ and ‘No mirrors’. They often threw in the phrase ‘No skill required’.

All this was enough to keep my mind racing for days. When the great day arrived and I finally ripped open the precious parcel my first reaction was usually sheer, stark disappointment. What was inside the package seemed like a waste of time and money and even if you could get it to work it wouldn’t fool the village idiot.

However one of the very early lessons in magic is that secrets cost money and you were stuck with it, because another ubiquitous phrase in magic catalogues was ‘No refunds and no exchanges’. Of course, magic dealers have to make their living somehow and I am not saying they are unscrupulous however I certainly wouldn’t let one of my daughters marry one of them. It was all enough to make you forsake magic and take up juggling or ventriloquism instead.

The strange part was that if you spent long enough with that seemingly useless trick, practicing and rehearsing it in front of a mirror, you sometimes ended up with something that actually worked!  Not always, in fact not often, but every now and then you would end up with ‘a keeper’. Even weirder was the way that sometimes a fellow magician would fool and impress you with a trick you had long since discarded either physically or mentally. That’s when you discovered that the magic dealer and postman may have brought the trick to your living room but it didn’t get much further unless you added a little something of your own.

It would be nice to say it all changes as you get older and wiser but it doesn’t.  I have a garage full of props that seemed like a great idea when I purchased them. The older you get the greater the amount money you spend on tricks you will never perform. Along the way though, there is something that does change, you start to develop a style and personality all you own. That is when the magic really begins to happen.

How does this subtle change occur? I believe that it has a lot to do with the power of visualization.  While it is difficult to see the future, with a little practice you can sometimes observe yourself in the present and project that image into the future. Standing in front of mirror you can observe not just who you are, but who you wish to become, this is an ability shared by other performers. Just watch any actor who doesn’t think he’s being observed and you will notice they seldom pass a mirror without a very serious glance at themselves. Who knows maybe a little bit of time travel is involved in this simple action of observation.

Unless I am much mistaken the core message of my teacher is contained in just six words. ‘I am’ ‘I can’ ‘I wish’. It is the intensity and order with which you utilize these three forces that creates your future and turns visualization into reality.  We will discuss these three forces in more detail later in the book but right now I want to see if the postman has delivered the mail. I am waiting for a package that contains a new trick that ‘packs flat and plays big.’

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Remembering Hal Spear. A Great Comedian and Magician.

•March 16, 2013 • 3 Comments

Hal SpearThere was very sad news on the Internet this week about the passing of Hal Spear. Hal was a long time magician and comedian who was a creative and delightful force in both areas. Born in Livingston, New Jersey he was now living in Las Vegas, Nevada—like so many other magicians and comedians. An avid magician from an early age, Hal was creative and persistent in his approach to magic. Ultimately he moved more into the comedy sphere than the magic world. However he never lost his interest in magic and brought his encyclopedic knowledge of comedy to bear on his first love.

As a comedy writer Spear wrote for such shows as, ‘The Drew Carey Show,’ The Tonight Show,’ ‘The Arsenio Hall Show,’ ‘The Howie Mandel Show’ and many others. He also wrote for comedians such as Rodney Dangerfield, Jay Leno, Howie Mandel, Rosie O’Donnell, Tim Allen and Rich Jeni. He was one funny guy. As a performer Hall (Chickie– to his friends) was seen on numerous TV shows and appeared in every kind of live venue. His comedy was always fresh and smart. He was a true comedian’s comedian. However, he never forgot or abandoned his magical roots.

The last full day I spent with Hal was in Victoria BC when we visited Murray Hatfield’s magic store and had a delightful lunch with

Hal SpearMurray and Eric Bedard. You can share some of Hal’s talents in three excellent releases he has recently made via Paul Romhany’s online magic store. They are ‘The Amazing Twenty Dollar Bill Trick.’ ‘CSI—The Case of the Half Died Hanky,’ and his superb book of comedy routines ‘Extreme Magic Makeover—Comedy Classics.’ It is an education to see what a real comedy writer can do in routining magic. They are highly recommended. Check out details at http://www.halspear.com

It is amazing how many brilliant minds are fascinated by magic at an early age, and how often they retain that interest. Hal Spear was a true lover of magic and one of the most friendly and generous people you could hope to meet. He is the kind of person that magic needs more of. I don’t claim to be one of Hal’s closest friends but I wish I had of been, he enriched my life immensely by the contact we had. If you want to watch Hal perform comedy then look him up on YouTube, where he is well represented, and settle back to laugh. The comedy and magic world are both smaller and less interesting places with his passing. I will miss him.

He had a heart attack while away working and returned home, only to pass during the next night. I am not sure of all the details exactly. However, it is worth passing on to our fellow entertainers the incredible benefit of taking out travelers insurance while working overseas or on a cruise ship. You can get full coverage, including emergency evacuation, for about $5 a day. This is about the cost of a Latte at Starbucks and could mean the difference in saving you a great deal of money or possibly your life. I never work an overseas or cruise gig without it. Ever. It is easily obtainable from an independent agent and can be set up with a phone call. At the very least make sure you are traveling with chewable aspirin with you at all times—they too can make a life or death difference.

I have some great products and videos online. Check them out on my web site. http://www.nicklewin.com

Chickie & poster

 

Lunch in Skagway

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Pop Haydn in the 21st Century. All over again!

•March 15, 2013 • 1 Comment

pop HaydnIf you had the opportunity to be at ‘Magicopolis’ in Santa Monica on the 7th of March you have my full permission to skip this blog, You already know how cool ‘Pop Haydn in the 21st Century!’ is! If you weren’t there then I advise you to get your tickets and catch magic’s favorite time traveler when he returns there on April 4th.

‘Pop’ is a creation from the fertile mind of one of magic’s most innovative and accomplished performers—Whit Haydn. At a time where everybody in magic seems to have his own theatrical show this one is a little different. It isn’t just a performer doing an extended version of his show in a hired venue, but is both theatrical and a fully-fledged show.  That’s a neat touch isn’t it?

pop Prior to his current incarnation as time-traveling showman, Whit has been widely acclaimed as one of the top performers in the magic world and has won six ‘Magician of the Year’ awards from the ‘Academy of Magical Arts.’ He also served as Vice President of the AMA from 2006-2010. Another of Haydn’s creations that has become a Magic Castle favorite is his ‘School for Scoundrels,’ a project to educate fellow enthusiasts in the art and practice of ‘scam’ and ‘flim-flam.’

‘Pop’ will be familiar with many magicians for his ‘Post Modern Medicine Show’ which has made numerous appearances across the United States and delighted audiences with it’s whimsical approach to a time honored and specialized style of entertainment. His new show ‘Pop Haydn in the 21st Century!’’ has taken many of these ideas and reformatted them into a delightfully textured and unique piece of show-biz hokum that delights audiences of all ages.

Along with Whit on his time travel extravaganza are some other fine performers who assist in turning this event into a well rounded and not to be missed occasion.  The ever-adorable Sophie Evans will be presenting her uniquely fiery sorcery and also acting in the capacity of ‘Tesla Girl.’ If you haven’t seen Ms. Evans weave her special brand of magic then this is the chance to enjoy her delightful talents.

What is a magic show without music? Oh, it is just a magic show! Never fear— there is some mighty fine music accompanying the prestidigitation at this event, those attending will be serenaded by the Magic Castle’s own delightful Louisiana Songbird Ms. Bonnie Gordon. The musical director is none other than Prof. Dave Bourne and his ‘21st Century Boys.’ I have been a huge fan of the Prof. Sophie Evanssince first appearing with him at Milt Larsen’s ‘Mayfair Music Hall’ in the 70s.

During the program, Pop Haydn will be demonstrating some of his most popular flights of fancy including his ‘Teleportation Device’ ‘Magnetized Water’ and introducing his astonishing new ‘Sphere of Destiny.’ It will be a treat for magicians and steampunk lovers alike. No two performances by Pop Haydn are identical, so buckle up your seat belt, as there might be some radical surprises in store.

Tickets for the show are available via www.pophaydn.com where you will find a great many more details about the upcoming show. ‘Magicopolis’ is the extremely successful brainchild of magic’s original bad boy—Steve Spill, and its intimate style seating for a mere 150 people almost insures a sell out. Take my advice and book your seats early, you never know if Pop will get it into his mind to skip back in time a century or two and re-invent history all over again, for the first time!

I have some great products and videos online. Check them out on my web site.  www.nicklewin.com

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Harry Anderson. A needle in the arm to comedy magic.

•March 13, 2013 • 2 Comments

Harry AndersonI have the greatest respect for Harry Anderson and in all honesty have to say I think he really won the lottery in the comedy magic world. With two successful syndicated television shows he actually won the lottery twice. Harry was a comedy magician who had a very carefully developed image. From his hat to his ties and his material onstage everything about Harry contributed to his unique persona. When I first met Harry he was working in a white suit and already a very funny guy.

Billy McComb always told me I would love Harry and should get to know him and Billy was usually smack on in his opinion of magicians. However before I met Harry in person a very good friend of mine, during a visit to the Magic Castle, was deeply offended by the comedy magician in the white suit. Due to this I became rather negative about Harry and kind of snubbed his friendly overtures. Years later I discovered that it was Larry Wilson (another white suited comedy magician) who had inflicted the insult upon my pal. Oops! I am however a very big fan!

I was working the fledgling comedy club circuit and it was amazing how much reaction Harry was getting with his act. His wise-ass persona and strong magic were making a huge impact on the scene not to mention the incredible audience response to his delightfully icky ‘needle thru arm.’ It was a truly shocking piece of visual magic that left the audience screaming.

What was even more impressive was the way Harry honed in on his stage character and developed a multi-dimensional Needle thru armcreation that worked well with the very strong act he was performing. His exploration of the swindler/con man style of presentation coupled with his ‘needle thru arm’ slightly gory effects must certainly have been a serious influence on a fledgling Penn & Teller.

Harry really clicked with the television audience and his style and attention to detail made him a very powerful TV performer. His success in ‘Night Court’ and ‘Dave’s World’ allowed him to take the style and personality he had forged in nightclubs and slot them into the world of sitcoms. Younger performers would do well to study his carefully developed stage persona and the way he created such a commercial vehicle for his skills.

I have always respected the way Harry has kept his love of magic right upfront in his personal life. He always seems happy and proud of his magical roots, I really like that. I particularly remember an interview where he fact checked the statements that he had been “saved from a struggling career as a magician…” Harry was far from being in ANY way struggling in his career and I really liked him setting the record straight!

It was a lovely bonus for Magic Castle members when Harry visited last year to lecture and perform for a night in the Parlour. He has another visit scheduled this year, but arrive early if you want to catch a show as seating vanished quicker than a birdcage up the sleeve last year!

check out our website at www.lewinenterprises.com

 

 

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Meeting Al Flosso: an audience with The Coney Island Fakir.

•March 10, 2013 • 3 Comments

Al FlossoI recently wrote about the excitement of visiting some of the magic stores from my past. I was amazed and delighted that so many people responded in a positive manner. Almost without exception everyone who emailed me took the time to mention his first real magic store. You remember your first real magic store; that’s the one where the owner actually knew your name and only recommended tricks that might actually suit you!

I had the most fleeting of meetings in a magic store back in the mid-seventies that I want to describe. I was staying in a very dilapidated hotel in New York and had just taped an episode of the popular children’s show “Wonderama.” The taping had shaken my nerves till my teeth rattled. I had never been exposed to overexcited New York pre-teens before and they had been quite a shock to my system.

Never having spent any time in New York I was determined to visit its two most famous magic stores. I had a pocket full of taxi money and was ready to go. To be honest I was very disappointed when I arrived at Tannens; I mean it looked fine, very brisk and organized but something was missing. There didn’t seem to be a lot of heart plus the good tricks were not on display. They didn’t like being asked too many questions either which is a pain.

Looking back I realize that I was a stranger at Tannens not having spent my early years visiting and building up my rapport. However atAl Flosso the time there was nothing to excite a magician who had spent his early years, in London with Ken Brooke in his legendary “Magic Place.”   Fortunately I had saved the best for last and I was in for a treat when the yellow cab driver dropped me of in front of Al Flosso’s magic store.

The moment I walked into Flosso’s shop I just stood there gulping for air! It was without doubt the least tidy, most messy and astonishingly disorganized place I had ever seen. It was wonderful and I loved it. There were just piles and piles of books and props stacked from floor to ceiling in every direction the eye could see. Years later when I served as magical consultant on Steven Spielberg’s “Amazing Stories” part of my work was to create a magic shop.  I simply recreated Al’s amazing emporium and it worked perfectly for the show.

As I looked around the stacks of magic I introduced myself to Mr. Flosso and told him I brought special regards from Ken Brooke. As usual this acted as a perfect opening mantra and Al and I began to talk magic. I don’t remember much that we spoke about but I know I enjoyed his company.

The Coney Island FakirAt one point Flosso turned to me and said, “Did you need anything special?” I looked around the prop filled shop and expecting to get a little laugh I said, “How about a nailwriter. It was the smallest prop I could think off.” Al Flosso was off and running though and dived into a stack of boxes, removed one, retrieved three smaller boxes from within it.Removed an old manila envelope from the smallest of the boxes he then shook a nailwriter onto my palm. I was very impressed. The store may have looked random and disorganized but Al knew where everything was. I loved that quality.

Before I left the store Flosso told me I HAD to get a spotted can trick; it was “A natural” for me.  That’s the dumb trick where the spots come off the can and end up on the silks. I had my doubts, but Al said I had to get it so I did. I never saw Al again but years later finding the spotted can in the back of my cupboard I put it in my act. Flosso was right of course; it was a natural for me and I still use a variation of it almost every show.

It wasn’t till the era of YouTube that I actually got to see what a magnificent performer Flosso was. He was as delightful as any performer I have seen. My greatest regret was not seeing his act live, but I feel privileged that I have spent a few hours in the company of ‘The Coney Island Fakir.’

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Those Magnificent Men in their Magic Stores.

•March 9, 2013 • Leave a Comment

Jules LenierThe 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. 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 Tremain 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 Pat Pagetrick 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 that 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. Which is not to downgrade how much fun it was to drop by Hollywood Magic and spend time with Mike Skinner.

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 schedule 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 Jay Marshalla 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.”

Adding to the Internet sales game, I have some very fine products available on my website www.nicklewin.com

I would often spend time at the magic store with Jules, when fellow Brit Terry Seabrooke would stop in and join in the fun.

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