With regards to sponge balls, I only work adult and corporate shows, and when I do sponge balls I get some of the loudest reactions. Last year I had one lady who as soon as she opened her hands and saw two balls instead of one, she screamed, launch out of her chair and shove me with both hands. The table roared with laughter. It’s a great effect.
i was thinking of introducing myself and ask them there names
Then get into the set
I want to open with
ODD by Marcus Eddie
Then
Spongeballs
Then
pull out regular deck and do a card trick
Thanks
As for the routine, the tricks and their order don’t matter much unless they inherently build on themselves. For instance recently I have been doing coins across as an opener, (I leave the coins on the table), then Joker’s Wild, then have them sign a coin and use the joker for Cointum Leap. So the props are being used in tandem.
If you are not doing that, then the most important part is to consider your transitions. Why do you do the next trick? Why would you go back to cards after doing something else? Create reasons for the transitions and communicate that to your audience through your banter. For example, in your approach, say that you want to show them something unique (or ‘odd’). Do the ODD trick for them and comment how they picked that one unique card. Then say that you have something else unique (produce a sponge ball). Ask something like “It’s a sponge ball! Have you ever seen anything like it before? You might think a sponge this size would be useless, but you can actually do a lot with it…”
To be honest, in a busy walk around setting, that might be all the time you have. But if you wanted to add another card trick (or any other trick for that matter) you might finish by saying something like “now I want to show you the most unique (or ‘oddest’) thing of all…” That way the effects can all tie in together.
The basic principles of Openers should be quick, more visual, and have catchy presentations; closer should be the strongest piece of magic etc. apply of course. But the combinations are so so many. In my head, it’s the transitions or themes that really bring it all into one cohesive strolling piece.
Remember, you are not just showing a table some tricks, you are giving each guest a mini magic show. You want it to have the same exciting beginning, growing action, and climax of an actual show. Shows are cohesive and fluid. Props are managed and their introductions make sense. There is a focus in a show (theme or purpose). The best part of walk around is that your connections with the audience are more intimate.
Which actually makes me think of the last part I was going to mention: for me, when a stranger asks my name, I’m cautious. I would worry that asking all their names upfront might hinder the approach (does anyone else do this? I could easily be wrong). Also that uses valuable time. They want to know you and why you are there. Asking names is a perfect thing to do, but that might be the wrong timing. I do it as I ask people to participate. I may only learn 3-4 names at the table, but more than that I would forget anyway. If you can remember 8 names per table without struggle, you should make that part of your magic! Ha! “My final piece is that I still remember your names!” Dale Carnegie talks about how forgetting people’s names can be a terrible thing when trying to make a good impression.
Walk around is the bombdiggity. You will enjoy it!