Large stage magic.
- Thread starter GalenFB
- Start date
The Tarbell Course in magic is a great source for stage magic. Its a great resource for pretty much any kind of magic. The book does show the effects you mentioned like the sword basket and sawing a woman in half, I need to double check but I'm pretty sure it has the zig zag cabinet too.
How new are you to this genre of magic? This is the more important question that's not being asked.
If you are relatively new then you want to invest into the Tabell & Wilson courses in that they will give you a lot of insight when it comes to the "basics". You should follow that up with the Paul Osborne series and most everything produced by Stienmeyer, Rand Woodbury and the two tougher to get your hands on sources; the Byron Wells book set that features most of the Thayer classic bits, and the Harbin Book which, when it comes to legality on things, only a person that owns this book has the legal/ethical right to build and perform the material there in. . . seems a good number of today's biggest named builders found it convenient to ignore that clause given how many hundreds of Zig Zags and Little by Little units were produced over the years.
When it comes to the Zig Zag btw. . . you really need to have the Harbin notes or reliable set of plans from a company like Owen or Bill Smith. There are subtleties in the construction of this prop that many schematics do not detail which makes a huge difference when it comes to the cabinet's size, rigidity and deceptivity. I've owned several such pieces over the years and the only two I trusted in every show were built by Owen.
In the course of this mix I would strongly suggest you get the Darwin Book of Inexpensive Illusions as well as the U.F. Grant books on making magic with cardboard. I can assure you, there will be times when you wish you had details on this type of stuff.
Older Illusions frequently depend on "slight of person" -- that is to say, you are moving one or more people around behind parts of the prop be it for a vanish or production, even an exchange. That means that you need to study angles and lighting in order to exploit these rather genius methods (genius in that very few in today's world know them which means you can be devastating when using such methods) The catch is, knowing and having rehearse the handling into the ground is not all that's needed when using this type of method, you need to know how to use costume, shadow, prop finishes, etc. to your advantage. . . this includes ways by which to use your background and set pieces.
Hope this helps you out. Should you have any specific things you're researching and wish to develop feel free to drop me a PM.
If you are relatively new then you want to invest into the Tabell & Wilson courses in that they will give you a lot of insight when it comes to the "basics". You should follow that up with the Paul Osborne series and most everything produced by Stienmeyer, Rand Woodbury and the two tougher to get your hands on sources; the Byron Wells book set that features most of the Thayer classic bits, and the Harbin Book which, when it comes to legality on things, only a person that owns this book has the legal/ethical right to build and perform the material there in. . . seems a good number of today's biggest named builders found it convenient to ignore that clause given how many hundreds of Zig Zags and Little by Little units were produced over the years.
When it comes to the Zig Zag btw. . . you really need to have the Harbin notes or reliable set of plans from a company like Owen or Bill Smith. There are subtleties in the construction of this prop that many schematics do not detail which makes a huge difference when it comes to the cabinet's size, rigidity and deceptivity. I've owned several such pieces over the years and the only two I trusted in every show were built by Owen.
In the course of this mix I would strongly suggest you get the Darwin Book of Inexpensive Illusions as well as the U.F. Grant books on making magic with cardboard. I can assure you, there will be times when you wish you had details on this type of stuff.
Older Illusions frequently depend on "slight of person" -- that is to say, you are moving one or more people around behind parts of the prop be it for a vanish or production, even an exchange. That means that you need to study angles and lighting in order to exploit these rather genius methods (genius in that very few in today's world know them which means you can be devastating when using such methods) The catch is, knowing and having rehearse the handling into the ground is not all that's needed when using this type of method, you need to know how to use costume, shadow, prop finishes, etc. to your advantage. . . this includes ways by which to use your background and set pieces.
Hope this helps you out. Should you have any specific things you're researching and wish to develop feel free to drop me a PM.
As a bit of hind-sight I though I should tag on a few other "points" if you would. . .
Big Magic means big $$$ -- ignoring the up-front cash layout to obtain the prop you need to invest in costumes, up-keep, storage, insurance, transport, etc. Sadly, it means you need to have a steady and reliable crew to work WITH you in that gigs won't typically run as fluid as most of us would like and the cost for doing even a simple illusion act, can be staggering but think about it this way;
Two assistants alone will run you no less than $150.00 (if you're a cheap skate) to the more typical rate of about $150.00 - $200.00 each depending on the circumstances; in this case we're looking at a rehearsed crew that's ready to go, not a crew that must be trained, etc. In that case you're looking at a minimum of two to four weeks rehearsal time which means your team is going to cost you a few thousand dollars for the one gig.
Business Expenses vary but must be figured in, this would be no less than $500.00 in most cases and can exceed $5,000.00 if you are covering a load of advertising & printing elements as part of the package.
If you are "Four Walling" the event you must cover facility lease fees, union staffing fees, security crew fees, a ticket taker, ushers, etc. This can end up being several thousand dollars and yes, even the big name pros do this sort of thing because they are able to keep more of the profit in their pocket when it happens -- big risk, big return potential.
Being a contracted act still means overhead which can be covered via a writer on the contract that states very explicitly that the contractor is obliged to cover transportation costs, accommodations for the crew, etc. While this is common fare some lesser experienced promoters don't get it -- a very well known Mentalist/Bizarrist just had a very bad experience because of this, that cost him close to $10,000.00 of his own money and serious international embarrassment. So don't assume anything, cover your butt!
I could keep running the numbers here but I think most people can catch the gist of things and why a 20 minute stage act books for $3,500.00 (low) to an average of about $8,500.00 now days. The irony being that you can bring in a full hour show for the same over-all price in that your actual overhead will be about the same, the additional show-time translates as being potential profit advantage.
IMPORTANT: Whenever possible you get the concession and likewise key pitch products. Numerous acts have doubled their fees by holding control on these two additional things. If however, you are doing the fundraising mode of promotion you should investigate the 50/50 Fundraising systems -- Dean Hankey is the man when it comes to this so look him up.
Unless you are a very talented craftsman or have access to such, it is always best to buy magic made by an established pro like Bill Smith.
Why?
Sit a Thin Model Sawing cabinet made by Bill, Owens, Abbotts, and any three other builders and see for yourself which one is the more deceptive, better built and practical to your needs. Bill Smith & John Gaughan are still the two top resources when it comes to such work as far as I'm concerned. But, we all have to start somewhere so when you are ready to start buying you need to seriously think thing through in that investing in a single big piece ain't go'n to hack it. . .so start simple, look at what's practical to your needs and viable when it comes to the kind of markets you are able to work in consistently.
The typical first investment list looks something like this;
This is the kind of "stock" material most acts start off with. The Trunk is logical because it can likewise carry most of the hand-props, etc. A Suspension is always more practical (because of angles, etc.) than the typical levitation unit. The Booms & Swords can be done in the round and fairly close to the audience which is why they are the two most popular suspensions, but if you are a strong and sturdy sort, look at the Seros Suspension. It's rare but devastating when done right, just bear in mind YOU are supporting the girl the entire time.
USED you can obtain most of the pieces noted on this lest for well under $2,000.00 but always buy knowing the prop has a proper transport case. Professional props come with packing cases which means you have something that's been taken care of and too, you will be able to take care of it rather than having to dish out even more cash to have a case made for it (frequently costing you more than the prop did). When you buy used equipment expect to pay roughly 30-65% of the original purchase price.
Hope these added insights help you in making you decisions
Big Magic means big $$$ -- ignoring the up-front cash layout to obtain the prop you need to invest in costumes, up-keep, storage, insurance, transport, etc. Sadly, it means you need to have a steady and reliable crew to work WITH you in that gigs won't typically run as fluid as most of us would like and the cost for doing even a simple illusion act, can be staggering but think about it this way;
- one female assistant (minimum)
- one male assistant (minimum)
- Transportation
- Insurance
- Misc. Budget Factors {general operational costs, advertising, etc.}
- then, if you are lucky, you will get to put a couple of bucks into your pocket.
Two assistants alone will run you no less than $150.00 (if you're a cheap skate) to the more typical rate of about $150.00 - $200.00 each depending on the circumstances; in this case we're looking at a rehearsed crew that's ready to go, not a crew that must be trained, etc. In that case you're looking at a minimum of two to four weeks rehearsal time which means your team is going to cost you a few thousand dollars for the one gig.
Business Expenses vary but must be figured in, this would be no less than $500.00 in most cases and can exceed $5,000.00 if you are covering a load of advertising & printing elements as part of the package.
If you are "Four Walling" the event you must cover facility lease fees, union staffing fees, security crew fees, a ticket taker, ushers, etc. This can end up being several thousand dollars and yes, even the big name pros do this sort of thing because they are able to keep more of the profit in their pocket when it happens -- big risk, big return potential.
Being a contracted act still means overhead which can be covered via a writer on the contract that states very explicitly that the contractor is obliged to cover transportation costs, accommodations for the crew, etc. While this is common fare some lesser experienced promoters don't get it -- a very well known Mentalist/Bizarrist just had a very bad experience because of this, that cost him close to $10,000.00 of his own money and serious international embarrassment. So don't assume anything, cover your butt!
I could keep running the numbers here but I think most people can catch the gist of things and why a 20 minute stage act books for $3,500.00 (low) to an average of about $8,500.00 now days. The irony being that you can bring in a full hour show for the same over-all price in that your actual overhead will be about the same, the additional show-time translates as being potential profit advantage.
IMPORTANT: Whenever possible you get the concession and likewise key pitch products. Numerous acts have doubled their fees by holding control on these two additional things. If however, you are doing the fundraising mode of promotion you should investigate the 50/50 Fundraising systems -- Dean Hankey is the man when it comes to this so look him up.
Unless you are a very talented craftsman or have access to such, it is always best to buy magic made by an established pro like Bill Smith.
Why?
Sit a Thin Model Sawing cabinet made by Bill, Owens, Abbotts, and any three other builders and see for yourself which one is the more deceptive, better built and practical to your needs. Bill Smith & John Gaughan are still the two top resources when it comes to such work as far as I'm concerned. But, we all have to start somewhere so when you are ready to start buying you need to seriously think thing through in that investing in a single big piece ain't go'n to hack it. . .so start simple, look at what's practical to your needs and viable when it comes to the kind of markets you are able to work in consistently.
The typical first investment list looks something like this;
- Sub Trunk
- SUSPENSION: Broom, Sword, Pole, Super X, etc.
- VIVISECTION: Zig Zag, MisMade Lady, Thin Modle Sawing, etc.
- PENETRATION: Walking Thru a Mirror, Lights Thru Lady, Sword Temple, etc.
- BIG PRODUCTION: Usually a complete act such as the Blackstone Flower Garden, Big Load Square Circle, etc.
- BIG VANISH: for most acts it's a DeKolta Chair or similar "small" portable system
This is the kind of "stock" material most acts start off with. The Trunk is logical because it can likewise carry most of the hand-props, etc. A Suspension is always more practical (because of angles, etc.) than the typical levitation unit. The Booms & Swords can be done in the round and fairly close to the audience which is why they are the two most popular suspensions, but if you are a strong and sturdy sort, look at the Seros Suspension. It's rare but devastating when done right, just bear in mind YOU are supporting the girl the entire time.
USED you can obtain most of the pieces noted on this lest for well under $2,000.00 but always buy knowing the prop has a proper transport case. Professional props come with packing cases which means you have something that's been taken care of and too, you will be able to take care of it rather than having to dish out even more cash to have a case made for it (frequently costing you more than the prop did). When you buy used equipment expect to pay roughly 30-65% of the original purchase price.
Hope these added insights help you in making you decisions