Category: Magician Feature

Peter Reveen Profiled

Peter Reveen Featured

The Times and Transcript (CA) has a wonderful profile of an amazing performer, producer, and inspiration, Peter Reveen.

The profile traces Peter “The Impossibilist” Reveen from his early beginnings in the circus sideshows of Australia to his current home in and about Las Vegas as part of Lance Burton’s long-running show.

The paper included the feature in advance of Mr. Reveen’s scheduled run at Moncton’s Capitol Theatre October 26 and 27th.

What’s the secret to his success?  Peter Reveen says there is one golden rule that has carried him through a career in show business that has spanned nearly half a century.

“Keep the show clean. You won’t have people coming back if you keep throwing filth at them. We’ve always followed that rule and its never let us down.”

As hard as it is to believe, Mr. Reveen is 74 years-old.

He is in good health but needs his rest to keep up with the physical and mental demands of performing his legendary hypnosis show. Although the show has changed many times over the years, the premise remains basically the same.

Through the performance, Reveen brings volunteers from the audience to the stage, gives them a quick test and quickly evaluates their hidden talents. He then hypnotizes them and allows them to search for their own inner hidden talents. It’s a scenario he has played out thousands of times over the last 50 years in theatres all over the world, often with some surprising results.

Mr. Reveen easily resists the tendency of many stage hypnotists by always maintained a sense of dignity to the show, never asking the people to do anything lewd or “filthy,” unlike some other hypnotists who play to the darker side for a quick laugh.

“We don’t make fools of people.”

Check out the full article for a great review of Mr. Reveen’s formative years in Melbourne, Australia.  Whilst his dad was fighting in World War II, relatives brought him to vaudeville shows to see magicians, comedians, singers and other performers.

He loved watching the techniques performers used to “lure in the crowds, make their entrance and keep the people interested.”

That interest, obsession, eventually brought him to Canada with less than a dollar to his name.  Through his dedication to the craft and his maxim, Mr. Reveen became a star in his own right.  Read the article, however, to learn why he has an aversion to the title “star.”

Mr. Reveen’s abilities and philosophy have enhanced the success of Inside Magic Favorite Lance Burton.  He describes himself as “settled into the lifestyle of Las Vegas.”

A great and well-deserved profile of one our art’s best.

Inside Magic Review: Mark Kalin & Jinger

Inside Magic Image of Kalin & Jinger Performing Spirit CabinetIntroduction:

We were tempted to be witty and clever when reviewing Mark Kalin and Jinger’s show at the Magic Castle.

But the fact that we resisted the easy and innuendo-laden path for the more noble and professional approach does not mean we have matured.  It simply means we are writing this while on public transportation and afraid the person to our right will find it more titillating and deserving of his attention than his less than furtive glances already indicate.

In a word, Mark Kalin and Jinger perform real magic really well.

Sit back, relax, and keep reading: this may be a long review.  It has already taken longer to write and edit than the act itself.

We have separated the review into its constituent parts only to ensure we do not leave anything out.  But Mark Kalin and Jinger’s act is greater than the sum of its parts.  We have never witnessed a tighter 45 minutes of magic ever or anywhere.

The Venue:

In our humble and poorly informed opinion, The Magic Castle’s Palace of Mystery is a tough room to play well.  We have seen big illusions squeezed on to the platform and performers work through their best approximation of a scaled version of their regular stage show.  While traveling illusionists must constantly adjust to the venue du jour, this stage makes for tight fits and, consequently, less than optimal performances.

On the other hand, the Palace of Mystery is perfect for magic-loving audiences.  Every seat is perfect, no obstructions or awkward tier structure to block views.  The sound system is perfect and the lighting is always professionally done.

We have a chance to see the very best in our business from the moral equivalent of a front-row seat — even if that means they must perform in tight quarters.

Mr. Kalin and Jinger are known for their full-scale illusions and we wondered how they would cope with the restrictions posed by The Palace.

In a word, they owned the joint.

We have longed to see their Magic Underground theater in Reno, Nevada.  The couple built the showplace to serve as the perfect forum to perform and watch magic.

They note on their beautiful web site:

Real magic only happens when all the elements are perfect, the setting, the audience, the stage and the pace of the show. Over the years, we’ve had a chance to present our magic in many different settings, but it has only served to convince us of the perfect opportunity, the perfect showplace. We’ve finally found that home at Magic Underground.

We thought there could be no better place to see their show than in the theater they built.  We also worried we would never have a chance to see the couple live unless we traveled to Reno.

The Performers:

Mr. Kalin and Jinger are wonderful to watch — a plus for performers.  We admit our infatuation and schoolboy crush could bias our opinion but it does not. (The crush, by the way is on Jinger — although Mr. Kalin is no slouch).

Mr. Kalin either truly enjoys what he does or he is the best of all possible actors.  His energy-level is high but not contrived or over-the-top.  We saw the second show of the evening and yet he bounded onto the stage as if it was the first — not just of the evening but ever.

Recall the enthusiasm you felt when first performing a new, well-practiced routine for family or close friends? You could not wait to get started and share the reason for your excitement.

Mr. Kalin was that excited.

There was no question he was well-prepared and what we were about to see had been rehearsed, blocked, and practiced; but tonight was different.  This show would be different than any they ever put on.  Mr. Kalin’s body-language and persona said, “all of our practice and development was to prepare for this very show.”

The Production of Jinger

Mr. Kalin’s first illusion ended with the incredible production of Jinger.

Jinger’s appearance was magical on so many levels.

First, we had not previously seen this production and enjoyed the impossible vanish of a tall male assistant, and the appearance of Jinger.  Note this was not a transformation of the assistant into Jinger.  The assistant vanished, the apparatus was freely shown to be empty, and then Jinger appeared.

But the production of a magician’s assistant — even as lovely as Jinger — is not enough to warrant our high praise.  When Mr. Kalin saw Jinger appear, he seemed genuinely delighted, surprised.  He must have known Jinger would appear at the end of the illusion.  After all, that is what rehearsal is for.  But the couple seemed genuinely happy to be reunited on stage for this all important show.

Finally, Jinger’s smile, poise, beauty, and complete ease on stage brought what appeared to be a natural and involuntary smile to Mr. Kalin’s face.  His admiration for her was clearly shared by the audience.

We have seen many husband and wife magic acts. We have seen very few with the natural charisma and ineffable quality to be endearing rather than annoying or cloying. Mr. Kalin and Jinger have wonderful chemistry.  They share what appear to be spontaneous asides and inside jokes as any would any good friends.

Wakeling’s Sawing

The late Alan Wakeling’s version of Sawing a Woman in Half is one of the most amazing effects we have ever witnessed.  We first saw Mr. Kalin and Jinger perform the seemingly impossible illusion on a television special, and then at the last Magic Live convention in Las Vegas.  Jinger is held to a steel surgical table developed by “Dr. Alan Wakeling” during the Civil War.  The straps holding her neck and feet to the very thin steel platform are threaded through holes and held firmly in place by volunteers from the audience.

So let’s review: Jinger lies down on a surgical table. Her neck is bound with a leather collar and attached to a strap (or “leash” according to Mr. Kalin). The strap is passed through a hole in the table and held tightly by a committeeman from the audience.  Is that fair enough? There are no boxes covering any part of her yet and as the volunteer pulls on the strap, Jinger is pulled to the surface of the cold steel table.

At the other end, Jinger’s ankles are fixed within another leather device, the attached strap is threaded through a hole in the table and pulled taut by another volunteer.  In the course of the next five minutes, Jinger’s body is covered by two wooden cabinets no taller than necessary to accommodate her body.  The cabinets’ side-doors are opened immediately after she is covered, the committeemen verify she is within the cabinets and that they have not allowed any slack in their respective straps.

Immediately, Mr. Kalin pushes steel blades through Jinger’s torso and the boxes are separated.  The effect is like nothing we have ever witnessed.

From the first time we saw the couple perform this effect, we were baffled.  We had no idea how the effect could be accomplished and that was fine with us. We like to be fooled and were very happy knowing Mr. Kalin and Jinger were one of the few in the world performing this miracle and that we had a chance to witness it live.

Unfortunately, in perusing our neighborhood bookstore, we found a book exposing the effect’s secret method to anyone browsing the shelves. We will not identify the title of the book or the author.  The author says Mr. Wakeling approved of the exposure.  We do not doubt the author’s representation; we just were disappointed it was in such wide release.

Consequently, when we saw Mr. Kalin and Jinger perform the effect at The Magic Castle, we knew the method.  We were impressed by the incredible skill necessary to accomplish the effect and certainly the showmanship employed in its presentation; but it did not bring the same sense of amazement.  We were no longer mystified; only impressed by Mr. Kalin and Jinger’s abilities.

The Spirit Cabinet

Next to “Dr. Wakeling’s” sawing illusion, The Spirit Cabinet is our all-time favorite effect.  We were looking forward to seeing Mr. Kalin and Jinger perform the effect live but had no idea we would be sitting within the spirit cabinet next to Jinger during a final manifestation of the spirits.

As one of the two volunteers from the audience, we had the honor of tying Jinger’s ankles together and her wrists to each other and through a wooden post.  We have rarely been as nervous.  There was no intent to tie to tightly but we also had no desire to make it too easy.

Mr. Kalin and Jinger perform The Spirit Cabinet superbly; on par with Glenn Falkenstein and Frances Willard — our gold standard.  Ms. Willard and Jinger are authentic, compelling, and sensual figures within the cabinet.

We were delighted but nervous when asked to sit in the cabinet with Jinger.  Fortunately, our eyes were covered with a very effective blindfold before the curtains were closed.  Almost immediately after the curtain could be heard closing, we were aware of spirit activity near us.

Even without a blindfold, we doubt we would have discerned the method for this illusion. When the blindfold was untied, we found a bucket on our head and our pant legs pulled up to past our knees.

We were asked by another audience member if we knew how the spirit demonstration worked.  We told her honestly that we had not a clue.

Conclusion

We did not expect Mr. Kalin and Jinger to disappoint. Chances are, we would have written a positive review even if their performance was average or even better than average.  But we doubt we would have written a review of more than 1200 words.

Mr. Kalin and Jinger performed the finest magic show we have ever seen.  Their dedication, enthusiasm, choice of effects, and unique charisma are just some of the reasons we feel secure making such an unequivocal statement.  How fortunate to see their performance in such a perfect venue.

As we drove back to downtown Los Angeles from Hollywood later that evening, we felt a pain in our jaw from smiling so much.

It hurt but it was a good kind of hurt.

Some pain is worth enduring.  Do not miss Mr. Kalin and Jinger — in fact, affirmatively seek out their next live performance.  Life is so uncertain and there is no sense putting off such a wonderful experience.

Inside Magic Review:  Five out of Five – Our Highest!

 

 

 

 

Bob Sheets – Guest Review

Guest Contributor Mark Panner submits articles to Inside Magic on almost a daily basis. For the most part, we reject them but still try to encourage his work. He took a break from listening to his Bearcat CB/Police Band Scanner to critique Bob Sheet’s work at this weekend’s Glass City Magic Conclave in Toledo. We began to edit the story but due to time constraints, we decided to just run it as is. This is an encore publication of the original article.


Write this name down: Bob Sheets. I don’t know if he goes by “Bob” or “Robert” but friends, let me tell you, you’ll be hearing from him again no matter what he is called.

As many readers know, we keep our pulse on Magic’s wrist and know just about everyone that is anyone in the business. We’re tight with the big names in our profession like Darin Brown, J. Marshal, Dave Copperfield, and even the first lady of magic, Matilda Saxe. But we had not come across this newcomer before. Chances are that if you are not as connected as we are, you haven’t heard of Bobby Sheets either.

Mr. Sheets was appearing at the Glass City Conclave in Toledo, Ohio this weekend. On the whole, we think he has a chance to go all the way. He has an affable style that reminds us of ourselves. He is unpredictable in his behavior — just like us. He does new magic or at least new to us — and we will be doing the same tricks soon. So, Mr. Sheets struck a chord with us.

We’re always looking to help the new kid on the block get gigs and further lecture dates. He is not really a kid. In fact, we thought it kind of neat that someone of his advanced age would be getting into magic this late in life. But, remember Churchill (with whom we were very tight) didn’t start water coloring until he was 87 — and by then, he’d already out-lived FDR. (FDR, by the way, did a completely nasty version of the slop shuffle, into a Doc Dailey’s trick — no one knew at the time it would be Doc’s last trick).

Mr. Sheets is a sturdy man. He looks to be one who works out or perhaps he has just had a very hard life and earned his muscles and physique by lifting barges and toting bales. His hands, though, are without tremor and his gait appears within acceptable range. He speaks without a noticeable accent or stammer. Despite his marred smile (he has a gap between his upper teeth – we discuss this later), he projects his voice well and without a hissing sound. His eyes were alert and focused on objects without confusion. His posture was remarkable for a man of his age.

What may limit his budding career is his trick selection. We’ve been around a while and know the tricks that sell and those that don’t. No mom is going to hire a magician who stabs cards on her dining room table while blindfolded — it just won’t happen. This kind of magic won’t sell in the restaurant venues either. Managers at the IHOP (where we perform each Tuesday night and then on Thursday night as our other character, Fluffy the Clown) were very clear: no fire, no furniture damage, and no race-baiting.

Mr. Sheets (and we are assuming that is his stage name) doesn’t use any blue material in his act and that is a plus because you will never get the birthday party bookings if they know you say sexist stuff or talk like a drunk sailor — we know this from experience.

Let’s talk for a second about the Knife Trick this novice with potential does.

He invites a young person out of the audience and then has him (it was a boy when we saw it but it could have been a girl) go back down into the audience give four people one card each. They were supposed to select a card freely from the boy but he didn’t really do that. He just sort of handed them to the people. No matter how hard you work with volunteers, you need to remember they may not understand your instructions.

Now, the boy has to walk back up the stairs to look at a blindfold Mr. Sheets is going to put over his eyes. He tells everyone that the blindfold is real and stuff and that no one can see through it.

Now, Mr. Sheets has the boy draw a funny face picture on the card he selected and writes his name. When we saw it, his name was “Gary” but it could have been any name and even a girl’s name if he had been a girl.

So far, so good. Mr. Sheets comes down into the audience and collects the four cards while Gary is writing his name, “Gary,” on the face of the card he picked.

Mr. Sheets then walks back up to the stage and has Gary cut the full deck in three piles.

Okay, let’s stop here for a second. We know that he’ll pick up showmanship the longer he is in the business but tip to Bobby, make your actions logical. The audience knows Gary could have just picked up all the cards while he was down there. You could have thrown him the magic marker so he could write his name, “Gary,” on the card while he still sitting in the audience.

Audiences notice things like this. And why cut the deck in to three piles? Anyway, he’ll learn.

So now Gary puts the blindfold on Mr. Sheets. Mr. Sheets said something weird that no one got about how people think he can still see through the blindfold and “I used to push bread dough in my eyes and wrap my head like a turban but they still thought I could see.”

Excuse us? Bread dough? Where is a magician supposed to come up with bread dough? And who puts bread dough in their eyes to prove they can’t see — or for that matter, wraps their head like a mummy — especially if they already have bread dough in their eye sockets?

We’ve checked all of the big internet magic shops and no one sells Magician’s Bread Dough or Bread Dough Hold-Outs. L and L do not carry a DVD about bread dough. In fact, we have reviewed our entire magic video library and no where does Michael Ammar mention bread dough on any of his tapes.

He was talking crazy talk.

Gary is his eyes for the next part.

He has Gary move his hand and knife over each of the three piles.

Oh, wait, did we forget to tell you he had a knife.

Yes, he did. A big knife.

It was shaped like a lightening bolt and looked more fitting for a gang member or a prisoner during a riot than a magician. Note to Mr. Sheets, knives scare people. Who hasn’t been cut accidentally when they’re trying to use a knife to cut a bagel or as a substitute for a Phillips head screwdriver? You will get a lot further by losing the knife and doing the trick with something less threatening. A knitting needle or even a balloon that is shaped like a knife would work.

One of the balloon objects we’re asked to do all the time at the IHOP when we appear as Fluffy the Clown is a “sword.” We can make them like a pirate sword or a regular sword. The kids love them and the parents love them because they know the swords aren’t real — they can’t hurt their kids. Mr. Sheets, parents are very protective of their kids — which is natural — but they are not going to want you swinging something that looks like a prison shiv near their children even if you weren’t wearing a blindfold or “bread dough in your eyes.”

This may be picky but we need to say it to help Mr. Sheets get better: have a girl come up on stage with you. There were many pretty girls in the audience last night and you could have had one of them help you. You could even have some fun with it by whistling at them as they walked up, or asking if they’re married, or give a big smile when they bend over to pick up the cards you drop.

When you had Gary grab your arm to move the knife over the cards, it sent a mixed message. Two men on stage shouldn’t be holding hands; especially if one has a knife and the other just tied a scarf on the man’s head. We’re not being politically correct here but you need to know that people may not be as tolerant as I am with “alternative life-styles.” If a girl was holding your arm, it would make sense and you could even joke with her about liking pain and so “please grip tight and stick your hot, sexy finger nails in my skin.” With a boy, you can’t do that without offending people.

Anyway, he tries to mix the cards around the table with the tip of the gangster blade.

Another critique: we know you are just starting out in the business but the table did not look magical at all. It looked like a suitcase stand from a hotel room with a board on top. There was no mystery to it.

We love our Black Art Table that we got from Tannens in the late 1980’s. It has gold fringe and two wells built into the table itself. There is even a servante (that’s like a ledge in the back). When audiences see the table, they know there is mystery afoot.

Your table, Mr. Sheets, just seemed like a prop you threw together at the hotel. There was no reason for the audience to suspect anything about the table and so you lose a lot of misdirection potential. Next time, plan your show ahead of time and get the right props. You might want to put a drape on the front of the board so that the audience can’t see that you “borrowed” a luggage rack from your motel room.

Back to the routine.

Because Mr. Sheets is blindfolded, he can’t see what he is doing while he mixes the cards. Again, he needed to think through his routine before getting up on stage. There were cards flying everywhere and some even fell off the table. It looked sloppy and poorly planned.

If he had done this without the blade and without the blindfold, he could have neatly arranged the cards around the table top. Audiences like to know you are in control; cards flying off the table are not control. Moms do not want to have to pick up after you leave the party. Keep it neat and tidy and you’ll get referrals.

Now Mr. Sheets proceeds to stab each of the audience member’s cards. This was neat but too chancy. What if he had accidentally knocked one of the selected cards off the table while mixing them? He’d be stuck. He’d have no trick. And he would get no pity from the audience because they would blame him for making such a mess in the first place. They would say to themselves, “Oh, of course he can’t find the card because he accidentally flung it across the room and it is now stuck in some bread dough or birthday cake.”

The fact that he could stab the right four cards in order was a miracle but not one he can depend on doing again. He was just lucky the cards were still on the table and that he could stab them.

He really took unnecessary chances with the final stab. He kept “mixing” the cards with his knife and pretty much cleared the table of all but a few cards. He then stabbed but because he couldn’t see, he missed the few remaining cards.

This makes sense and is another reason to not be sloppy. If he had more cards on the table, the chances of him missing a card and stabbing just the table are decreased dramatically. Either drop the blindfold so you can see where you are stabbing or leave more cards on the table. To do it this way just made it look like you were stabbing blindly and had no idea what you would hit. Audiences want to know you are in control.

Under the theory that even a blind squirrel finds a nut sometimes, Mr. Sheets got very lucky again by stabbing one of only a few remaining cards on the table. Sure enough, it was Gary’s, complete with his signature, “Gary,” and his smiley face.

Here are some suggestions from someone who has been doing this a long time, Mr. Sheets.

Number one; lose the knife for the reasons mentioned earlier.

Number two, don’t wear a blindfold if you’re going to use a knife — you need to see where you are stabbing.

Number three; don’t fling cards all over the place when you’re mixing them. You got lucky this time, but you would have no “out” (a magic term meaning an alternative ending to a trick that has gone wrong) if the selected cards were on the floor.

Number four; don’t talk like a crazy person. Don’t say crazy things like you’re going to push bread dough in your eyes. No one has ever done it and it sounds like you are a wierdo. You don’t think moms want you to tell their children to push bread dough or cookie dough or, worse, Play dough into their eyeballs.

Number three, why not have the last card appear in your zippered wallet? The knife thing is neat, but as we said, too risky.

When we have people sign their names on cards like Gary did, we make the card appear someplace special like our zippered-wallet. Audiences understand that.

There was no surprise (except for the mixing part) that Gary’s card was on the table somewhere. It was there at the beginning before you started mixing the deck.

You might worry audiences would think it is weird for you to have a zippered wallet. First, it is no weirder than pushing bread dough in your orbits. Second, they know you are a magician and so you would have special, magical things. Just like we have a table that looks like it could be hiding anything, they know there must be something “special” or “magical” about our zippered wallet.

Finally, number four, why not do the act silently or to music? Audiences love music and they love to see magicians do magic to music. You could use some appropriate song like “Mack the Knife” or “Big Spender” or “The Girl from Emphysema.” The “Big Spender” song would fit because there is a line in it where she (the singer) says, “So let me get right to the point.” “The Girl from Emphysema” is a good one because it features Herb Alpert and the Tijuana Brass. They are well-known and catchy. It is one of those songs we have all heard a million times but no one knows the title.

This Bobby Sheets may not make it to the IHOP (I don’t know if he does a clown and balloon act) but he should do well in some other setting. He may want to check out bar magic. Back in Chicago, we had bars where the bartender would do magic tricks and it went over well. They would get a little extra tip for their effort. We’re guessing a week’s worth of extra tips would be roughly equal to our two days at IHOP.

Plus, people at bars are usually sloppy and they would not be so offended by the cards flying all over the place — but please check with your manager to see if it is alright first.

He was good. Even though it sounds like we were picking on him, it was only for his own good. By the way, he should get his tooth fixed. He has a gap in his smile. Someone in the bathroom said they thought that made him look “charming” or “charismatic.”

Take it from a man who dated a girl who was going to be a dental hygienist, get it fixed and feel better about you. We know that it can be fixed relatively easily and it would give you a whole new level of confidence. Maybe you could push some bread dough in the gap and no one would know. We’re joking, don’t put the bread dough in your teeth, all dough made with yeast has some sugar component and that can eat through the enamel of your teeth. Remember, a good smile improves your “face value.”

Well, we’re off to work now. Still intrigued by the bread dough comment though. We wonder if you could do a cut-and-restored Pillsbury Dough boy trick. You could still use the big knife and kids will understand how if you put two pieces of dough together, they will rejoin. Think about it and good luck, Bobby.

Magician as Actor or Actor as Magician: It’s Never Easy

Inside Magic Image of Favorite Melvin the MagicianThe online journal Backstage.com considers the challenges and lessons to be learned by cross-training as an actor and magician.  The oft-repeated maxim of Robert-Houdin, “A magician is an actor playing the role of a magician,” is not mentioned — which is strange. Nor is the maxim of lesser-appreciated Li’l Tom Hardy cited, “an actor will roll a magician for any cash he’s got.”

But the article does get to the lick-log of the issue. Should you use skills developed in your hours of practicing in front of the mirror on stage when you are no longer looking at your reflection but a paying audience.

Three scenarios are considered.

The first involves Los Angeles?based actor J. Todd Adams. Although his role in his most recent play did not require him to learn magic, he thought it would be helpful to play his character. The play’s script identified his character as a magician who had performed in the past.

The play’s director hired a “magic consultant,” Ken Sonkin.

The consultant taught Adams–who hadn’t done tricks since he was a kid–half a dozen illusions, including making milk vanish in a glass, creating fire that “travels” to a book another character is reading, changing a silk scarf from one color to another, levitating a champagne glass, and producing two red roses from nowhere. I was duly dazzled and hadn’t a clue how he did it all.

But the tough part is translating the work of a magician to acting.

Mr. Adams was also required to play the piano during the show.

It was hard to know what to focus on during rehearsal.  If I tried to do the trick right, the acting would go to hell. So for a while I had to focus on the magic and forget the acting, which was frustrating. I sort of felt like an observer watching myself sometimes.

Mr. Adams hit the wall all who practice and perform magic hit: he hit that wall as an actor, however.

He found performing the magic in way that made it appear to be relaxed and second nature was tougher than anticipated.

“Even though they weren’t complicated tricks,” he says. The tricks would look fine at home in front of the mirror, not so fine at rehearsal.”

The other end of the Magician – Actor spectrum is San Francisco actor Christian Cagigal (rhymes with “magical”).

Mr. Cagigal began as a magician and worked his way into acting. He recalls when he was 11-years-old. ”

Whole winter vacations melted away as he stood in front of the mirror with a pack of cards and a library book. “I was the pipsqueak only child with glasses and no friends. It was a form of expression,” he says. Big guys at school would say, “Hey, magic man, show me a trick.”

The reporter noted with a sense of sadness, “Magicians never tell, and actors who learn tricks for a show are sworn to secrecy. Even co-actors who help with the tricks often don’t know all the details.”

Mr. Cagigal wanted to learn acting to help his magic, “to bring more soul to his magic performance.”   This path took him through San Francisco State where he earned a B.A. in Theatre Arts.

Mr. Cagigal suggests there is a decided difference between the aims of a magician and that of an actor: “Acting is about being open, honest, present in the moment, not hiding,” he says. “Magic is about deceit for your entertainment pleasure. It’s about the illusion of honesty.”

We thought his insight on this difference was outstanding:

As a magician, I’m always aware and always four steps ahead of the audience. As an actor, I play director. Where do I have to go emotionally? Is what I’m doing helping the audience get what the writer and the director want to say? What’s the image being given to the audience, and how do I fit into this grand scheme?

Also, as a magician, he is comfortable being in two places at once.  He or she needs to be in the moment, as well as engaging in purely technical activities.

This gives him an advantage, as he can deal with lines and direction and hitting marks while staying calmly present. When he came to acting he found he had to train himself not to over-plan what he’d do onstage. And that’s where acting helped his magic act, aiding him in connecting with his partner, which is the audience, and playing with them–“bringing a little chaos into my magic in a good but scary way.

The consultant to the stars, Mr. Sonkin has worked with a number of actors hoping to find their magician character.

He is a performer at the Magic Castle in Hollywood, the Comedy and Magic Club in Hermosa Beach; and most recently was involved in bringing magic effects into Seussical the Musical in Solano
County. What does a magic consultant do? He tries to match the tricks to the actors’ abilities.

He looks at the size of their hands (for tricks involving hiding things in the palm), and he notes whether they can play a musical instrument (which means good hand-eye coordination and a sense of rhythm and timing, all useful qualities in magic) and whether they have dance, movement, or martial arts backgrounds (suggesting enough body awareness so that if Sonkin says, “To mask this illusion, you’ll need to turn three-quarters,” they’ll get it). Magic in its purest form is a dance with your hands. Acting and magic are both illusions; when done well, you don’t see the homework.

Mr. Sonkin works with actors to use magic as part of their acting rather than divide their time on stage between playing a magician and a character. The article quotes British actor-magician Ian Saville on the similarity between the role of actor and magician.

“The central thing in magic is misdirection, which is…very similar in some ways to some of the things that Stanislavsky was talking about,” Mr. Saville says. “The circle of attention for the actor is similar in some ways to the way the magician manipulates the direction of attention of an audience.”

The deception is impossible without the skills and practice necessary “to be completely natural in their movement; thus they have to observe others and themselves in real life, to see exactly how people do normal, everyday things–just as actors must observe those tiny details of human activity.”

Mr. Cagigal says actors are instructed to avoid watching themselves in a mirror. Magicians, on the other hand, are advised to use the mirror intensively. “Look in the mirror,” says Cagigal. “See if you can fool yourself. After all, fooling yourself–into believing in the circumstances of the script is what acting is all about.”

Media Darling: Misty Lee

Inside Magic Image of Magician Misty LeeThe Detroit News gives the talented and lovely Misty Lee the kind of press you couldn’t buy. In a recent article promoting her upcoming shows, the paper paints a woman
of mystery, “[m]ost magicians like their past partially shrouded in ambiguity and Misty Lee is no different.” She refuses to provide her last name but will admit her stage name is really her first and middle names.

Her rise to her current fame started “in 1999 as the comely assistant to a magician named Kevin. The rest is illusionist history.”

Misty Lee studied under Jeff McBride and Siegfried. “Only six years after becoming one of the country’s few female magicians, she relocated to Los Angeles where she’s working on television and movie opportunities.”

The enigmatic enchantress enjoys performing for children. “It’s a privilege to do magic for kids. They still have their imaginations and even when they become older and become more realistic, magic keeps kids believing they can do anything, even fly.”

The paper describes her on-stage demeanor as a “charming and relaxed performance” with pop music and classical misdirection.

If this type of press coverage isn’t enough, her website is outstanding.

We’ll keep an eye on Misty Lee’s progress and if we can get a show review from a reader, we’ll include it in later editions of the Inside Magic Daily News.

If you haven’t already subscribed to the new, revamped, daily version of the Inside Magic Daily News, you can do so by entering your name and
email address in the subscription box on our front page.

Correction: Longest Magic Show Honor Belongs in Melbourne

Andre Kole’s article urging the IBM to sanction individuals stealing his illusions included a reference to the World Record for the longest magic show. Unfortunately, Mr. Kole credited Dr. Alex with the record.

(Although, if Dr. Alex claims the record for a single person performing, he may be right).

The Guinness people have not yet updated their information but the new official holders of this endurance feat are participants in the appropriately named World’s Longest Magic Show (“WLMS”) including Tim Ellis and Sue-Anne Webster.

In fact, as we typed this late-breaking news, Mr. Ellis said he just received the certification from the Guinness people.  It is now official.

Certainly Mr. Ellis and Ms. Webster can be considered ardent supporters of Mr. Kole’s cause to prevent theft of intellectual property. It is fitting they were instrumental in breaking Dr. Alex’ record.
Continue reading “Correction: Longest Magic Show Honor Belongs in Melbourne”

Derren Brown Reads Reporter’s Mind in NYT

Inside Magic Image of Derren Brown The New York Times has a very flattering portrayal of the always-interesting Derren Brown. The author, television star, mentalist, and media darling, has been on the fast-track over in the UK and now he’s brought his charm and magic to the States.

The female reporter appears to be taken in by the mysterious Brit:

Naturally, none of his clever tricks will work on this psychologically astute interviewer, who plans to use mysterious journalistic techniques to unearth his darkest secrets. But the coolly charming Mr. Brown decides to try anyway. He produces a sheet of blank paper and issues an instruction: draw a picture.

“Try to catch me out; make it a bit obscure,” he orders. “Don’t draw a house; don’t draw a stick man.” Walking to another room and out of sight, he decrees that the picture should be concealed until the end of the interview – whereupon he will reveal what it is.

Right.

Mr. Brown told the reporter that his special gift is an ability to cloud and lead spectators into thinking what he wants them to think or see what he wants them to see.

Mr. Brown, 34, describes himself as a psychological illusionist, meaning that he uses a mix of techniques like sleight of hand, misdirection, hypnotism and subliminal suggestion to perform feats that seem impossible, even supernatural. He has become a British media star, unnerving audiences with his “Trick of the Mind” television programs and sold-out stage performances. But he is no David Blaine, shrouding himself in smoke and mystique, no show-bizzy David Copperfield.

Mr. Brown tells the reporter he does not possess supernatural powers.

But he admits to possessing no magical powers. He is not psychic. He cannot read your thoughts by staring into your eyes. Everything he does, he says, can be logically parsed.

“I could sit someone down and take them through an episode of my show and explain everything,” he said recently. (He could, but he will not.)

The article makes several references to the distinction in style and substance between Mr. Brown and David Blaine. He was influenced as a young man by stage magic, studied hypnotism and moved into his current approach combining “magic and psychology, tricks of the hands with tricks of the mind. Each of his programs starts with a disclaimer in which he asserts, essentially, that he is not supernatural, only clever. He then does a series of stunts.”

Check out the article and read about his upbringing in a conservative Christian church, his search for meaning, and his almost obsessive desire to convince his audiences that he does not possess supernatural powers. (You’ll need a a free subscription to the New York Times).

By the way, we’ve enjoyed Mr. Brown’s books. He has a fun writing style and offers some genuinely new material. More about some chancy use of suggestion in a mentalism routine in a later article.

Smoke and Mirrors Rocks!

Inside Magic Image of Ask Alexander LogoThere are two emails we look forward to each month:

1) Sweet Luvin: Hot Dates from Kiev; and

2) Smoke & Mirrors.

Both bring us the latest news on magic from people who know how to play mind games. Let’s talk about Smoke &  Mirrors here and leave Sweet Luvin for our sister site, Inside the Magic of Russian Brides.

Angelo Stagnaro is the editor and publisher of Smoke & Mirrors and if you do not already receive it, you should.You would join magicians all around the world who rely on it for magic articles, news, updates, history and just great writing.

We asked Mr. Stagnaro to give us a rundown on the demographics, mission and successes of Smoke & Mirrors for Inside Magic readers. He was kind enough to take time out of his writing and editing schedule to author the following. We are also very proud to announce Mr. Stagnaro has agreed to support Inside Magic as a regular advertiser. Please let him know that you read about his journal here; that way, he’ll like us and like advertising with us.

SMOKE & MIRRORS is the Web’s largest international professional monthly e-zine for magicians.

Each monthly issue contains at least two original effects and several articles written by top performers in the field.

SMOKE & MIRRORS is a resource e-zine for close-up, platform and stage magicians of all ages and ability levels.

Most people who subscribe to SMOKE & MIRRORS are professional magicians or semi-professionals.

Every month, each issue contains original magic articles, magic happenings updates, magic history, trivia and new magic links.

Each issue is approximately seventy-pages long and takes up approximately 200K in terms of e-mail space. SMOKE & MIRRORS e-zine is published on or about the first day of every month and weekly magic announcements are sent on an as-needed basis.

So far, many luminaries of magic have submitted effects and articles to SMOKE & MIRRORS including Alain Nu, Jarle Leirpoll, Scott F. Guinn, Aaron Smith, Guillaume Singer, Carl Andrews, Aldo Columbini, Doug Edwards, Paul Gordon, Gene Poinc, Carl Andrews, Mike Bornstein, Dondrake, Jim Keplinger, Bob Lusthaus, Peter Marucci, Eugene Poinc, Daniel Shutters, Aaron Smith, Ed Solomon and Larry White among many, many others.

Subscribers come from the following 63 countries: Argentina, Australia, Austria, Bangladesh, Belgium, Bermuda, Bulgaria, Brazil, Canada, Chile, China, Columbia, Costa Rica, Croatia, Cyprus, Czech Republic, Denmark, Dominican Republic, Finland, France, Germany, Greece, Guam, Hungary, Iceland, India, Indonesia, Ireland, Israel, Italy, Jamaica, Japan, Kuwait, Lebanon, Lithuania, Luxembourg, Malaysia, Malta, Mauritius, Mexico, Mozambique, Netherlands, New Zealand, Norway, Peru, Philippines, Portugal, Romania, Russia, Saudi Arabia, Singapore, South Africa, Spain, Sweden, Switzerland, Taiwan, Tunisia, Turkey, United Arab Emirates, United Kingdom, United States of America, Uruguay and Venezuela. SMOKE & MIRRORS is sent out to 43 American states and eight Canadian provinces.

I started SMOKE & MIRRORS mostly because I hated being the last magician in the world to find out about magic events. I was continually searching the Net and asking friends for information about what was going on and inevitably, the news are more often than not, old news. I would have attended by far more conventions, performances and lectures had I known they had existed. In frustration and because of the prompting of friends and colleagues who similarly hoped for a comprehensive source of international magic information, SMOKE & MIRRORS was born. So, instead of hunting for information on magic, now, magicians and magic organizations now supply me with their information and my subscribers are kept appraised of magic events going on around the world.

I am now in monthly contact with thousands of other magicians worldwide which gives me the opportunity to publish my own ideas on different magic issues. Growth was slow at first, but the current subscription list has over 3000magicians reading SMOKE & MIRRORS. I look forward to increasing the number of subscriptions in the near future.

The more magicians who subscribe, the more magic events and information and ideas can be accessed and shared. Personally, I think it’s wonderful to be in contact with so many magicians around the world. I enjoy sharing ideas with them and learning about the magic scene in different countries and regions. In this world, that is becoming increasingly and dangerously isolated and nationalistic, I hope that SMOKE & MIRRORS will be, in its minor way, a means of reminding people in 63 different countries that our art unites us and that the world is a much smaller place than any of us can imagine. My personal interest in each issue of SMOKE & MIRRORS is performance and magic as art.

Tricks are fine and clearly extremely important for us as magicians. But, as artists, I feel we need to concentrate on other things also. In many ways, I would prefer witnessing a self-working effect which allows magicians to concentrate on his performance than watching a complex manipulation effect preformed by a virtuoso without a shred of stage presence.

Half of each edition is devoted to magic event announcements divided into geographical areas. Magic announcement are always placed in the first half of each issue to deter non-magicians who think they are getting the low down on magic secrets. Magicians, on the other hand, will realize that the information is pertinent and interesting.

Articles, original effects and my editorials start at the halfway mark. SMOKE & MIRRORS is constantly looking for original magic trick submissions, articles, book and trick reviews, event announcements and magic history notes. If you would like to have your articles and original effects examined and reviewed by some of the top names in the business, feel free to submit them to the editor at: KismetMagic@hotmail.com.

Dean Gunnarson – Certifiable

Dean GunnarsonWhat do we do to help the insane in our business?

What do you say about someone who is insane?  One can be solicitious.  One can grin nicely and say, “well, he is just adventurous,” or “it must be a magic trick — after all, he is a magician.”

But those words fail.  They neither diagnose nor treat.

True, Dean Gunnarson is a magician who does magic and performs magic effects.

But the methods of producing a rabbit from a hat or making silks change color do not help one attempting to escape from a straight jacket whilst hanging by one’s toes from a trapeze bar 726 feet over Hoover Dam.

Mr. Gunnarson is crazy about our art as well.

Continue reading “Dean Gunnarson – Certifiable”

Melinda Finds Something Better Than Magic

melinda saxe from days at VenetianMelinda, Our First Lady of Magic, and by our approximation one of the best magicians we have ever seen, has produced something better than anything our Art could offer:  her son, Mason Ray Evensvold.

At just over six pounds, the young child looks just like his father, says the beautiful Melinda.

According to news reports from Las Vegas, Melinda views the birth of Mason as the best thing to ever happen to her.

We congratulate Melinda and her lucky husband, Mark.

The birth of a child is always a miracle and to the parents of that miracle there is nothing more important.

We share in Melinda and Mark’s joy and hope they find the moment they enjoy now to be present through Mason’s lifetime.