Trying to Start Restaurant Magic

[strudles]

This summer, I would love to try getting in to restaurant magic. However, I have a few questions. The most important of which is my age, and how it affects the feasibility of me being able to work at a restaurant. I will be 15 at that point (birthday tomorrow), but I have always interacted well with adults even from a young age, preferring to be with them at recess instead of with the other kids (mostly because I didn't really get a friend until third grade). I interact well with children too, and often perform magic to them when they look really bored while I wait for my guitar lesson to start at the music shop. My dad also told me that the minimum age for getting a job is 16, and I'm not sure if this would apply to a restaurant magic type of job, where I would probably only show up for a couple hours during either lunch or dinner.

Another question is how do I go about asking for a job? I know that I should not be afraid of failure (especially since I am so young), as it will take many tries for someone to say yes. What is the best method to do this? Is it to simply ask and show them one of your strongest effects, making sure that you highlight the personality that you have in your magic, or is there some other, better method? Also, is there a different approach I should take due to the fact that I am very young?

Do you guys have any tricks that you recommend I get because they play very well in a restaurant setting? The books I currently have (which I know would have been asked if I didn't mention it here) are Paul Harris's "Art of Astonishment," Erdnase, Bobo's, Magic with Everyday Objects, and Mark Wilson's complete guide.

I know it will take a lot of practice before-hand to even THINK about asking for a job, and I will do some of the things that you have recommended previously when I asked about the best way to get rid of being nervous (going to hospitals and senior centers and performing). I will not try to jump into a job I am not ready for, I assure you that.


P.S: No, I won't be doing only card tricks. I currently know a lot of rubber band tricks, things utilizing loops, sponge balls, and am trying to make the jump in to coin magic. I only say this because I know many of you would say "FOR THE LOVE OF GOD, DON'T ONLY DO CARD TRICKS!" (I'm looking at you, Steerpike and Krab, and your advice is very true). Also, I ask this early because, as stated in many previous threads, it is recommended you give yourself a good amount of time to work on an act.

Thanks for your advice,
Peter.

 

[meggisonj]

Seth Godin's advice. Someone who turned a 20,000 dollar business into a business sold for 30 million in 3 years.

"Start! We need you." So go out anywhere and get your chops up. You have enough to go get it going. Pick your favorite 3 tricks, and walk into the ocean of magic until you float.

 

[krab]

The issue will be age. Either from labor laws or for places not wanting a 15 year old working in their establishment. There are a few states that let under 1 work but for farm jobs or for like 5 to 10 hours a week. I would also really try to hook up with the local IBM or SAM group to talk to the other magicians. Make sure you are not really under cutting them and maybe find one that will take you under their wing at one of their strolling gigs to get a feel for it. I would also get the Jamie Grant book.

 

[strudles]

The issue will be age. Either from labor laws or for places not wanting a 15 year old working in their establishment. There are a few states that let under 1 work but for farm jobs or for like 5 to 10 hours a week. I would also really try to hook up with the local IBM or SAM group to talk to the other magicians. Make sure you are not really under cutting them and maybe find one that will take you under their wing at one of their strolling gigs to get a feel for it. I would also get the Jamie Grant book.

Thanks Krab. The only reason I ask if it is feasible for a fifteen year old to try doing restaurant magic knowing that the child labor laws require you to be 16 is because of the fact that I wouldn't be working that often. I will try to get a magician to let me see how they handle restaurant shows, but I'm not sure how my parents will like that... I'll look up this book too.

 

[krab]

Having said that there are normally provisos for child performers. What i would do is call the local wage and hour and ask about the child labor laws for your state and or even county because ti can change by county.

 

[strudles]

Having said that there are normally provisos for child performers. What i would do is call the local wage and hour and ask about the child labor laws for your state and or even county because ti can change by county.

I've looked up the laws for my area, and it says you can work at 15 as long as you obey a certain number of hours per week, and you have an employment certificate.

 

[Steerpike]

(I'm looking at you, Steerpike and Krab, and your advice is very true).

Oh my god we got through to somebody. Today is a good day.

I've looked up the laws for my area, and it says you can work at 15 as long as you obey a certain number of hours per week, and you have an employment certificate.

Such laws are in place to prevent a higher drop-out rate. They don't want work to interfere with your schooling. I'm going to leave it at that before I derail the thread with my polemic.

Anyway, the challenge you will still face is that most employers do not take teenagers seriously. One thing you're going to learn in short order when you join the workforce is that 99% of all problems in a business are management's fault. The other 1% are also management's fault. Everyone knows this except management. When dealing with management and whoever is in charge of booking talent at a venue, you have to assume that you're talking to a sociopath. Everything has to revolve around benefiting them and making them look good. Have you read my Crash Course in Business threads yet?

 

[strudles]

Have you read my Crash Course in Business threads yet?

I have not read that thread, I'll look at it now.

 

[strudles]

P.S: No, I won't be doing only card tricks. I currently know a lot of rubber band tricks, things utilizing loops, sponge balls, and am trying to make the jump in to coin magic. I only say this because I know many of you would say "FOR THE LOVE OF GOD, DON'T ONLY DO CARD TRICKS!" (I'm looking at you, Steerpike and Krab, and your advice is very true).

As much as I love card tricks, I know that they aren't always the best medium to use considering that they:
1. Play into the traditional cliche of all magicians only being able to use cards.
2. Women tend not to be very attracted to cards as it doesn't often fit their demographic very well (not to be sexist, it just so happens that women don't play cards as much)
3. If you had real magic, wouldn't you be using it to make your printer print real money or something? Why would you want to be able to change the identity of a card?

I never open with cards for this reason. I start with rubber bands which I have with me at all times (also they're easy so I'm not nervous at first while I get used to doing magic for the spectators). As often as I can I try to do card tricks that don't seem like card tricks instead; ones that are different from what they expect, like a torn and restored card, or card to pocket. If I am performing for a group I think won't be very receptive to card tricks, I just won't show them any.

 

[krab]

The other issue you will run into is not only the limited number of hours a week and in a day but how often you must take a break. There are many many rules for under 16 and under 18 workers.

 

[strudles]

The other issue you will run into is not only the limited number of hours a week and in a day but how often you must take a break. There are many many rules for under 16 and under 18 workers.

The site I read says that you are required to have a 30 minute break every 5 hours.

 

[Randy]

When performing restaurant magic there is no chance that you are going to be performing for 5 hours straight. Most guys who do restaurant magic are only there for an hour to two hours at the most. Specially when starting out, otherwise you run the risk of completely burning yourself out right out of the gate.

 

[strudles]

Yeah, that's what I thought.

 

[strudles]

A few more questions regarding what effects play well. These questions are not of what I should purchase, as I well know that you ought to get whatever best plays to your style. The first of these questions is whether or not it is advisable to have a spectator stand up from the table, say, to hold a rubber band for Daniel Garcia's Jacob's Ladder. How bold can your misdirection be in a restaurant setting? Say, I was doing card to mouth (not to say that I do this, but I do know it is often accomplished very close to the spectator to mask the action where the card "travels" to your mouth). I find it hard to believe that one could get away with doing this type of effect in a restaurant, but of course those with more experience could say otherwise, thus is the reason I ask.

Thanks,
Peter.

 

[RickEverhart]

When I perform in restaurant settings I do not have the spectator stand while everyone else is seated at the table. That puts too much additional attention on that person which may make them a bit uncomfortable. I will normally seat myself with the group if there is a chair empty or I will perform to the people who are seated on the ends of the table and allow them to sit. Jacob's Ladder, as well as many other rubber band effects are fine for restaurant magic because they always instantly reset and when you wear them on your wrists this helps your pocket management.

As far as card to mouth in a restaurant setting I would advise against that as it is a bit unprofessional in that you are putting cards in your mouth and then the table next to you sees that, when it comes time for them to select a card, none of them will want to even touch your cards. Now, how would I know this? Because I've been there and tried it in my rookie years and boy did I feel stupid. It was a good thing I had a brand new extra deck with me. Eric Jones says to do card to upper suit coat pocket instead.

As mentioned....I highly suggest your purchase Jamie D. Grants The Approach as this book as well as David Stone's Close Up Book are outstanding resources to guide you on your way.

 

[strudles]

When I perform in restaurant settings I do not have the spectator stand while everyone else is seated at the table. That puts too much additional attention on that person which may make them a bit uncomfortable. I will normally seat myself with the group if there is a chair empty or I will perform to the people who are seated on the ends of the table and allow them to sit. Jacob's Ladder, as well as many other rubber band effects are fine for restaurant magic because they always instantly reset and when you wear them on your wrists this helps your pocket management.

As far as card to mouth in a restaurant setting I would advise against that as it is a bit unprofessional in that you are putting cards in your mouth and then the table next to you sees that, when it comes time for them to select a card, none of them will want to even touch your cards. Now, how would I know this? Because I've been there and tried it in my rookie years and boy did I feel stupid. It was a good thing I had a brand new extra deck with me. Eric Jones says to do card to upper suit coat pocket instead.

As mentioned....I highly suggest your purchase Jamie D. Grants The Approach as this book as well as David Stone's Close Up Book are outstanding resources to guide you on your way.

I don't actually do card to mouth, I was just using it as an example because (without revealing it) there is a very obvious and large action needed to be taken in order to get the card to stick out of your mouth. When people stand close to you, they can't see you do said action out of the corner of their eyes as they focus on the deck. However, if you are farther away, their eyes can see more, making it a lot harder to pull off the card to mouth action. I vastly prefer card to pocket anyway.

I read your review on The Approach book by the way. I just have to save up for it

 

[Randy]

Well if you are going to do Restaurant magic you need maybe about 3 effects that reset instantly. I would suggest things like a Chop Cup, Rubber band magic and then maybe ending with quick card routine. Also, the sponge balls/rabbits is another good thing to do in restaurants specially as an opener.

 

[Philipp S.(4)]

Hi,

I can relate to you. I am 17 and I got accepted by an event agency. The first thing to consider is that the people are looking for someone with charisma, someone who makes the spectator feel comfortable and presents the trick in a good way. The second thing is that you should have a program in order to feel relaxed. Read this:
http://forums.theory11.com/showthread.php?40949-Tablehopping-experiences&p=420737#post420737
My experience with it so far.
The program should be consisted out of the best effects you have. But best doesn't mean hard. You have to perform tricks that you are able to perform so good that no one will doubt you.
I can say that if you apply to an event agency, maybe it's different in the US, many agencies are looking for young, talented people they can rely on and build up in the next years.
The hiring manager said I was good but he didn?t expect me to be as good as the pros. You will find that after the first 20 tables you will get more relaxed.
So here are my tips:
1. Have a program!
2. Present those tricks in a funny way! (Check out the link I posted about Tom Ogden, he is funny on a high level, not obscene.
3. Only perform the best tricks.
4. If you can apply to event agencies or if you ask a restaurant owner don't tell them how good you are but instead what they would gain through you.

In concluscion, I think that if anyone sees a talented, young magician and is willing to take a risk you should have a good chance.
If you want to skype about the topic just add me on skype: philippsch4
Cheers
Philipp
PS: If I am wrong in something just let me know

 

[RyanHazlewood]

I'm not here to give advise I just want to say this is all super convenient for me because I've been wanting to know the same thing.

 

[krab]

The program should be consisted out of the best effects you have. But best doesn't mean hard. You have to perform tricks that you are able to perform so good that no one will doubt you.

I would add here you need instant resets and good on angle effects. Stuff you can do surrounded.

I can say that if you apply to an event agency, maybe it's different in the US, many agencies are looking for young, talented people they can rely on and build up in the next years.

The problem with an booking agent is they are getting a good chunk of your fee. Also you are pretty much locked into booking all gigs through them It is bad form to hand out your card to a table if they liked you. You need to hand out the card from the booking agent. The other problem is the other working guys in the area. The booking agent might be booking you into a place that already has a house magician but putting you in there cheaper. Nothing will sour your relationship with the other workers than to snipe their place by being cheaper.

So here are my tips:
1. Have a program!
2. Present those tricks in a funny way! (Check out the link I posted about Tom Ogden, he is funny on a high level, not obscene.
3. Only perform the best tricks.
4. If you can apply to event agencies or if you ask a restaurant owner don't tell them how good you are but instead what they would gain through you.

1. Yes has three or four sets of three or four effects. This way when you are back to the first set of effects you are far enough away from the first table there is no overlap in what people were able to see. On top of your sets have a few other filler effects if you need to go long at a table and have something special for the repeat guest or a VIP dinner.

Also have some kid friendly effects if you work in a place where family dine. When you do a kid effect you really need to make the child the star for the one thing you do just for them.

2. I would say present them in the way that fits your all over character. It doesn't to be funny, but you do have to be entertaining.

3. Going in with three really killer effects at every table is not really an idea situation. What you really need is a good opener a nice filler and a strong closer. And they all need to reset instanlly.

In conclusion, I think that if anyone sees a talented, young magician and is willing to take a risk you should have a good chance.

I said this in a different thread. It's not about getting them to take a chance on you. It is presenting yourself in a mature and professional manner. You have to look act and carry yourself like you belong. You can go in there in a teeshirt and jeans and saying swag every other word.


Now into something different...

The last thing that we haven't talked about in this thread is tipping. I know it seems to be a purely American thing now. How i always went about it is not to take tips. Or if they insist on tipping I will give it to the person waiting that table. You are there for three reasons. One is getting yourself in the public eye to get gigs. Two is bringing in covers to the restaurant. Third is to make life easier for the front of house by covering for mistakes in back of house. The waitstaff will love you for this. By spending an extra five minutes or so to cover a re-fire can make all the difference in a happy dinner and someone who is *****ing to the manager.