Simple magic often impresses laypeople more than the finger-flicking that most magicians look for. Additionally, I would try to diversify your repertoire and include magic that doesn't involve cards at all. If you're working tables, I recommend making three small routines of five effects each. Perform these 15 effects throughout the entire night. Remember, amateurs perform different tricks for the same audience. Professionals perform the same tricks for different audiences. By limiting yourself to just 15 effects, you won't have to stess out or think about what to perform on location. Just try to hit different crowds with the same material you're comfortable with.
I usually open a set with an amusing gag or joke that introduces who I am and leaves people with my information. This allows you to advertise who you are while showing people what you're all about. I often use a Flaming Wallet to introduce my business card. People will inevitably respond well, despite what magic theory books will often contest.
I then produce a deck of cards, but I don't perform with it right away. I often use Paul Harris' Dehydrated Deck to surprise the audience with the materialization of a deck. I leave the deck on the table and ask for a woman's finger ring.
I perform a few ring manipulations to introduce the concepts of misdirection and sleight-of-hand to the audience. My routine uses a few quick moves of Garrett Thomas' and De'vo's. I give the ring to its owner to hold for something a little more special than mere tricks.
I let the owner peek at a playing card and spread the deck face up on the table. I let her hold her hand above the spread with the ring on her palm. I reveal her playing card by simply animating the ring with a loop. The ring ultimately floats in her hand when the deck is narrowed down to her mental selection.
I then borrow a five-dollar bill and make it vanish at my fingertips. This sets up for a little game with the deck of cards. The bill's owner signs his selection and shuffles it back into the deck. I tell him he can win his five dollars back if he can accurately stop me at his selection as I dribble the cards from hand to hand. As he says stop, I vanish 51 cards into a topit, leaving his signed selection at my fingertips. He wins the game and finds his five-dollar bill safely tucked underneath his wrist watch. Often, the person will give the money to me as a tip for the performance.
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As you can see from my example above, the magic really isn't difficult at all. It's actually mostly beginner to intermediate-level magic that most magicians would often scoff at. I find that laypeople appreciate simple magic more, because it really doens't make a difference to them about how invisible your pass is or that you can perform a perfect two-card pushoff. To use the cliche, simple hits hard and will often pay off better in the long run.
Some recommendations for restaurant magic:
1. Card to saltshaker -- In the past, I've gone as far as loading every saltshaker in the venue with one of three force cards just so I can close a small card act with it.
2. Fork animation and bending -- Go to a flea market and get some cheap silverware. Carry some cheap forks around to perform some animations with a loop and end with some metal bending. I wouldn't recommend borrowing other people's silverware at the venue, because it becomes more of a hassle to replace it in the end, and it can be quite awkward and unsanitary if its already been used.
3. "Twisting arm" -- This is a fun way to break the ice and get everyone involved and equally puzzled. Everyone crosses their arms in front of them and follows your every move. Despite that, you're able to uncross your arms while everyone else remains stuck. This is a beginner trick that everyone responds nicely to.
4. A Bill Switch -- I always try to incorporate money into a routine so I can subtly hint that I accept tips. I always perform the Koslowski and Juan Pablo switch, because they're both extremely commercial and easy to perform. A friend of mine has an awesome line. He pulls a sheet of newspaper cut to the size of a dollar out of his wallet and changes it into a $100 bill. He says, "If I could really do that, I wouldn't be working for tips in a joint like this." He changes the bill back into a piece of newspaper and hands it out for examination.
5. Bottle or glass production -- If you're working a formal event and a table orders a bottle of wine, you can always take the opportunity to produce it from under a handkerchief. Very easy, but always surprises audiences. If you're doing more of a casual venue, I would do King Solomon's Drink and produce the same full glass of beer that was on the table only moments ago.
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I recommend diversifying your act. I can tell you from first-hand experience that paying people don't want to see a full set of card tricks. Regardless of how good they may be, they don't set you far apart from cheesy Uncle Bob or the common street beggar who can do a few swindles. A well-rounded act shows professionalism and reaches a wider audience.
I also recommend looking into material that's quick and has minimal reset. You really shouldn't be at a table longer than five minutes unless your presence is requested and paid for specifically. Remember-- you're not the center of attention-- the venue should be. You should be a mere accent to the venue and need to respect the wishes and intentions of the management. Always namedrop and remind them that they're having a good time at that specific restaurant or bar or party host's.
If you want more information about working tables and professional sets, please don't hesitate to get in touch. I've been pretty successful at it for the past two years, and I attribute it all to what I've learned from other magicians and the personal downfalls I had early in my career. Working holidays is always an exciting time, and I wish you all the best.
RS.
