Pack Small A Deck Of Cards & Play Big

This Monday sales will open for Dynamite In A Small Package, my new 60+ page book teaching a five routine complete act for stage. All that’s required is a deck of cards, a marker, two minutes of prep, and it’s show time!

More than teaching how to do the tricks, it teaches how and why a typical audience (like an after dinner show) can be entertained for up to 2o minutes with so little in the way of props with the routines taught in the book.

“Dynamite comes in small packages” 
An expression meaning that very powerful things can often come from small sources. 

So how can a magic act play to big audiences with few props?

One, smart routine selection.

Two (or is it a subset of one?), performing routines where the interaction with the audience members is the source of the entertainment.

Then the show isn’t about a 3-1/2 inch x 2-1/2 inch x 3/4 inch deck of cards. It’s about several feet and and hundreds of pounds of PEOPLE. Last I checked, that’s even bigger than a Zig Zag. And all you’re packing for it is a deck of cards and a marker.

Think about some of the most memorable moments for your shows over the years. I bet nearly all of them are when a audience member – not a prop – did something that was extra entertaining.
Wouldn’t it be best to design an act from the ground up that produced those kind of moments? And as a bonus, the props fit in your hand?

If you enjoyed my book The Show Is The Mother Of Invention — Advice On Packing Small, Playing Big & Living Large, then you’ll love Dynamite In A Small Package. It’s a deep dive into applying those principals in these five routines.

If you want to do some of the Dynamite In A Small Package act or all of it …
If you want this to be your go to emergency stand up set …
If you want to have several stage routines that give the perception of skill …
If you want to learn routines, skills, and concepts that will improve your entire act …
…You want this book.

Table Of Contents
Introduction 
Rules & Goals
The (Real) Methods
The Act & Routines
The Non-Pre-Show
Faster Than The World’s Fastest Trick
Seeing Right Through You
Trying Desperately Hard To Find A Four Of A Kind
A Trip With A Signed Card
Cards Across With Selections
Extras

Sales Begin Monday, August 26
Bookmark this page and see you then!

Woofle Dust is what I call posts with no unifying theme, other than it’s some stuff I’d think would be helpful for you to consider. For you youngsters out there, woofle dust was once a popular presentational conceit of dubious efficacy. Have something hidden in your right hand you want to ditch while your left hand holds the thingamajig? Then reach inside your right pocket, ditch the doohickey, and come out and mime sprinkling woofle dust on the thingamajig.

Yep. Parts of Tarbell (both the book and the author) didn’t age that well, either.

REIGN MAN JUST GOT BETTER

In case you’re not familiar with it, a few years ago I released Reign Man – The KING of All Magic Square Routines.

I created to solve all the problems that kept me from presenting the more traditional magic square routines. It’s bulletproof, impervious to the minor math mistakes that can haunt a magic square routine, and it has “button” — a definitive ending that POPS the applause.

Well, as Leonardo DaVinci is thought to have said, “Art is never finished, only abandoned.” So here’s an addition to the Reign Man that might occasionally prove useful for you Reign Man owners.

As an alternative to the 4×4 square, you can perform
Reign Man with a 3×3 square.

UPSIDES:
Now why would you want to do that? A 3×3 can play a little bigger in the same amount of grid surface. Because you’re dealing with 3 number streaks, the math is slightly easier for audiences to follow.

DOWNSIDES (MAYBE):
A 3×3 magic square will give you horizontal, vertical, and diagonal. No four corners and no four squares. In a conventional magic square performance, that’s a real problem because it takes away from the build up.

That’s not really a problem with Reign Man. Why? Because Reign Man has a FINISH — a definitive climax. The conventional magic square does not.

Will I be switching to a 3×3 square for Reign Man? In most cases …no. But there are a few performance situations where the advantages mentioned here will push me to make that switch.

Francis Bacon said “Knowledge is power.” A subset of that is know about options, as you never know when they might come in handy.

AND BY THE WAY …
My stock of Reign Man is SUPER LOW.
Like I can hold then all in one hand.
AND IT’S ON SALE.
GET YOURS TODAY BEFORE THEY ARE ALL GONE.

One Is None. Two Is One

There are some props that are easier to misplace than others.
There are some props that are more critical than others.
There are som props that are inexpensive.
So carry backups of these things.

This post is inspired by a few posts I’ve seen over the years about improvising a mic holder, like the Gimcrack. Ugh. I feel for you. Those little gizmos can be critical if you use one regularly. There are a number of solutions offered, like “here’s how to make one out of a coat hanger” to “learn how to use a mic stand.”

So here’s my preventive advice: Have backups. Done. Left one at the last gig? So what, as you have a backup in your case.

Mic holders, thumb tips, markers, gypsy thread set ups, decks, gaffed decks, mem decks, shot glasses, nail writers, USB cords, and maybe whatever is in your case that costs less than twenty bucks, and fits in your hand — all of these items are inexpensive, easily lost, and can be critical. SO CARRY A BACK UP.

An EDC Question

I recently read a post discussing a magician’s EDC (Every Day Carry). It was the props he carries in his pockets (I assume pockets) to be ready to perform, as he said, “a 50 minute parlor show.” There are eight objects in the pic.

I want to make it clear, I don’t know this magician, and other than this post, I don’t know of this magician. This is not a comment on him or his magic. I am merely using the post as a jump off point for a question. Putting aside the merit of being ready to perform a 50 minute parlor show, here’s my question:

Wouldn’t it be easier and more impactful to carry a deck of cards?

I imagine the opinions on this are all over the place and the answers vary greatly from magician to magician. But a deck of cards has a lot going for it, and it’s an option I rarely see mentioned in EDC discussion.

Best,

Doc

PS: As always, please visit the store and check out sales on Reign Man and Diary of Decision

The Power of Flex Routines

Last post we talked about the importance of not going over time. In this post we’ll talk about a way to structure a show that can adapt to bringing it in at the appropriate length.

This post is autobiographical, which is an odd way to say, “This is what I do. It works for me. I’m pretty sure it will work for you …or better yet, an adapted version that suits you will work for you. No guarantees though, other than it usually works for me.”

Additionally, I realize that the problem solved by this solution isn’t a problem all acts have. As far as I can tell, this is only a problem for acts that do a lot of interactive crowd work and ad libbing. That’s me.

Qualifying statements being stated, let’s jump in.

Here’s the scenario. You’re performing your show and four minutes in you realize this crowd is hot. Ad lib possibilities start popping up left and right and they are scoring well. Yes. Gotta love being in the zone.

But the catch is laughter takes time. So what do you do?

Option A: Stopping getting those sweet laughs from the ad libs.

Option B: Get those laughs, go overtime and face the justified wrath of the booker.

Option C: Get those laughs, do the appropriate amount of time, and leave out a shorter routine (or bits) that is scheduled before your closer.

I choose C. I call it the Flex routine (or routines)¹

Here’s how it looks in practice:
I perform my opener. This sets up some gag threads that go through the show.
Three routines, the last of which can easily go up to fifteen minutes.
At this point I know where I am time-wise in the show.
If needed, I leave out a Flex routine, and go directly to the closer.

That Flex routine (It varies, but it’s typically four to five minutes long) allows me to adjust. I choose a routine with only one music cue so I have to advance my Audio Ape for a single track and I’m back in where I need to be musically.

Another version: two or more even shorter Flex routines. Same reasoning and placement.

Simple stuff? Yes. And I like simple. Simple works. I dig simple.

A Word From Our Sponsor:
Great Stand-Up Routines That Can Be The Flex Spot In Your Show

ONE MORE THING: TIMERS

I’ve used a few different show timers, but never felt 100% comfortable with one. So lately I’ve been using my watch, but with one little tweak. One, I don’t use a digital watch, because I don’t like the aesthetic of digital watches. Yeah, I know — get off my lawn!

I use my analog watch, but I set it right before I go up to the hour, meaning if the show starts at 8:10 pm, my watch will read 8pm when I start. That way I don’t have to do any math to figure out how long I’ve been up there.

My watch reads “8:30,” I’ve been up there 30 minutes. 8:37? I’ve been up there 37 minutes. Is this an odd over simplification? Probably, but I don’t really care because it works for me.

I hope “I don’t really care because it works for me” doesn’t sound cocky. It’s not. It’s more pragmatic than anything else, as the key word in that phrase isn’t me. The key word is works. And I hope it works for you, too.

Until next time,

Doc Dixon

¹Name suggested by Michael Misko

You have to do your time …and most of the time not too much more.
For the sake of discussion, let’s assume you have a show slot where you are to do 45-50 minutes. I’ll save going under for another day, but what about going over time?

The crowd is super hot. You’re a comedy magic act and the crowd gave you an opener for ad libs that would just not quit. Laugh after laugh. You’re thinking, “This is GREAT!! The client is going to LOVE this.” You go 55+ minutes, and leave the stage to a huge ovation.

After the show the event planner (or cruise director, party planner, etc.) does not look pleased. You’re puzzled.

He says, “You went nearly an hour. You made me late for the XYZ event I have to attend in Taurus Lounge,” or “I told Mr. Big Wig you’d be off at 9:05 at the latest. I look like a putz now,” or “The Oompa Loompa ice cream parfaits I had ready are MELTING!”

Ugh. You leave the stage expecting a hug and get what feels like a kick in the butt.
And the truth? For the most part, you might deserve it.

The Great (or not so great) Reasons An Act Can Take More Time.

● You get an opening for an ad lib (or several openings) that score really well and laughter takes time.
● Borrowing a bill for the bill to lemon takes more time than usual.
● You have to deal with an unexpected audience assist (That’s a euphemism I just came up with for “heckler.”)
● You get an audience helper that becomes the star of the show and you let him shine to great audience reaction, which means additional time.
● All of the above.

Those reasons are understandable to you and me, but the event planner/cruise director/party host just …doesn’t …care …if they need you to end by a specific time.

First Step: Know When They Want You Outta There!

Simple. Ask. Politely pin them down to numbers. Explain a range of, say, five minutes, works best. Tell them in layman terms what your last routine looks like, as this frequently helps them with their part of the event.

NEXT POST: How To Overtime Proof Your Show

PS: The current Dixon Magic newsletter is talking about the Iceland Sale!

At a recent gig I was very glad I Pack for Teddy Bear. Pack for Teddy Bear is the phrase I use to describe being ready with props for a routine or two that could feature a kid from the audience, even in shows that are expected to be for adults.

In this show, there was such a kid. Six years old. His name is Quentin. We did a Miser’s dream routine together. He was great. At the end of the routine, Quentin gave me a surprise big hug. A real rib breaker of a hug.

And that moment was easily the audience’s favorite part of the show. Mine, too.

And I’m not guessing that. As I was walking out the door, the client thanked me, for the show, shared a nice compliment or two, and then spoke for several minutes about the interaction with Quentin. Yay, Quentin!!

If I wasn’t ready with a pack small, play big, kid-friendly routine, there would not have been a “Yay, Quentin” moment in the show.

Better Than A Snowless Childhood

The desire to include a schmaltzy, sentimental moment in a show has scripted a ton of Snowstorm In China routines. And many come off as less than sincere.

Why not be ready to have a moment of REAL sentiment in your show? When you Pack for Teddy Bear in your adult shows, you are always ready for the opportunity.

Want to be prepared?

My book, The Kids Know Best, will not only help you pack small and play big for kid & family audiences, it even outlines a 30 Minute Magic Show That Fits In A Shaving Kit Bag!!

If you regularly perform for family and kid audiences, you’ll be able to pack lighter and deliver more impact.

If you only perform for kid & family audiences semi-frequently, you’ll now be ready to deliver great kid-friendly routines while taking up minimal real estate space in your prop case.

And for a limited time it’s on sale. The summer season typically marks in increase in the number of family centric gigs, so be prepared. Get The Kids Know Best and SAVE TWENTY SMACKERS!
GET YOUR TODAY!

US orders The Kids Know Best $50 $30 plus $10 s&h.  

You know the ones I mean. They are greeted with a very dismissive tone every time they are brought up in an online magic forum. 

And I’d agree. 

95% of the time. 

Not every gig is the same. 

Or related to what Eugene Burger opined, “The house of magic has many rooms.” 

I more than agree those ties are out of place and a bad choice for most shows in the corporate and private party markets. Not so much clownish as they are just plain old ugly. 

But for a funky Mardi Gras themed event? Or any number of family-oriented strolling gigs? Or a county fair? Or the summer fun outdoor gigs?

Do I wear them? No. But I’m six feet four inches tall with a handlebar mustache so, as Hulk Hogan once described himself, “I’m a bit of a visual.” But for those events where the audience is  dressed a little funky, or the general event vibe is a little over the top, then go for it without guilt. 

All gigs are not the same. To bring the toolkit of one venue to a vastly different venue is limiting.

Best,

Doc Dixon

PS: Tonight June 17, 2024, two sales are ending soon, so jump on board now.

Father’s Day Sale $100+ saving

2xImpossible PreSale! Save $35

I performed the cups and balls regularly in my festival outdoor shows for about a 10 year stretch, from 2000 to 2010. I loved performing the routine and it was appreciated by my audiences. A favorite part were the jokes I wrote for it, as they were edgy, pointed, but not so much that they’d get me fired. Ha!

With the cups mind, here are a few rant-centric mini essays I wrote about year ago based on the ten years of performing the routine. Keep in mind, these thoughts are intended for the outdoor festival stage performer, not a close-up presentation.

RANT: It’s not about the cups

This is an observation that only became obvious to me after I made it. I guess that’s a nice way to say I had a “Well, duh” moment. Thankfully, I had it over twenty years ago, so I’ve been able to benefit from it for two decades. Despite the timing of the realization, it’s perennially useful. 

On stage, the loads are less important than the routine before. 

On stage, it’s about comedically holding court with the cups and balls. 

Holding court means the audience realizes that you and them are the focus, not the props. 

Part of the reason for this is the diminished view of the final load from the stage. Up close, the spectators can count the stitches on the baseball. On stage, not so much. Back in the eighties a regular part of my restaurant magic sets was a chop cup routine with an eight ball as a final load. I heard spectators refer to it as the “trick with the eight ball.” This made me focus on that aspect of the trick when doing it close up. 

Fast forward over a decade and I’m performing the cups and balls on stage. While the loads are still impressive, the entertainment value came from the jokes and interactions before the loads were revealed. 

To make a metaphorical stretch, everything that happened before the loads were the words of a one liner joke. The final loads were the applause cue and exclamation point of the sentence. 

Example: Paul Daniels’ legendary chop cup routine. It’s all the fun before the loads that make it so good. 

Watch Bob Sheets doing the cup and balls with young helpers from the audience. Genius! It’s the interaction with the kids that make it so good. The final loads, wonderful as they are, are a bonus, the final punctuation to a great routine. 

So what’s the takeaway from this rant? Or, in my case, my overdue epiphany? Spend more time writing jokes and creating interactions to hold court before the final loads.

RANT: STOP Load Juggling

Stop juggling the final loads of the cups and balls. 

Stop it. 

I cringe 99% of the time when I see final loads “appearing from nowhere,” only to juggled for no good reason.

You’ve just done a miracle and you’re capping it off with your mediocre juggling? So bad. This is the quintessential example of just because you can do something doesn’t mean you should. 

Stop. 

Unless you’re Charlie Frye. 
For two reasons. One, the juggling will be spectacular. Two, he’s Charlie Frye, pal. 

RANT: Final loads for the cups need to be recognizable things. 

Fruits, vegetables, and baseballs are all recognizable from the stage.   

Those large crochet-covered extra large final load cork balls? Not so much. They are the worst. 

Final loads for the cups should be a different color from the small balls. Using small yellow balls then producing a lemon diminishes the appearance of the lemon. The final loads should contrast in both size AND color. 

Rant: Don’t Genuflect For The Cups

I am six feet four inches tall. Is it any surprise that my table height for doing the cups and balls should be a different height than a performer show is five feet six inches tall? And yet … 

As Flosso would say, “Stand up straight, boy!” 

Leaning over a table looks and feels uncomfortable. It’s a small thing to reach down and under the InStand table and adjust it to the right height. 

The table is not adjustable? Then stand up straight for as much as you can and work on minimizing bending over. Remember, the cups on stage are about holding court. It’s tough to hold court bent over. Stand up straight, boy!

Best,

Doc Dixon

PS: Tonight June 17, 2024, two sales are ending soon, so jump on board now.

Father’s Day Sale $100+ saving

2xImpossible PreSale! Save $35

Brutal. Like you probably did, I saw the news of the Vanishing Inc warehouse fire. Thankfully, no one was hurt, but that’s obviously a big hit to the business to recover from.

Within 24 hours talk of helping VI through this by purchasing a VI downloads was appearing on magic Facebook pages. Gotta love that spirit.

So in that spirit, here are a four of my favorite Vanishing Inc downloads.

Learn Bar Magic with Bibik
Bibik, a friend of several decades, is very Old School. If you have read more than a few posts on this blog, you know that’s a big compliment coming from me. Great stuff.

Peter Pelikaan
I love Pelikaan’s packet tricks. I don’t care if I ever do any of this material, it is so fun to watch. These aren’t your father’s packet tricks.

Jamy Ian Swiss Cups & Balls Masterclass
There is always something to learn from listening to a performer discuss a routine he’s lived with for years. Always. This session is no exception.

Troy Hooser’s Coin Melody
How smooth is Troy’s coin work? Like buttah.

Best wishes for a speedy recovery for Josh, Andi, and the Vanishing Inc. team.

Best,

Doc Dixon

PS#1: Only AFTER you have visited Vanishing Inc, be sure to check out our store.
PS#2: And be sure to check out two of our recent releases, 2xImpossible and the Diary of Decision.
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One of the best Facebook pages for magicians to chat is Luke Dancy’s All Things Magic. Great chatter, respectful tone, with very little (if any) snark. Nice place. If you’re not a member, consider joining.

This question recently came up on the page:

What are your favorite ways to connect with an audience during your performances?

That’s a great question and it was greeted with many thought provoking answers. I didn’t want to spill a ton of bloviation on Luke’s page, so I didn’t respond there. Couple that with I’m always looking for great topics to talk about here. Throw in I have no bloviation limits here.
So here we go.

What does connect with an audience mean anyway?

I think there is more than one workable definition, but I think there is an advantage with going with a specific definition, even if it’s somewhat arbitrary. The specificity gives us something to act on. Here we go:

You’re connecting as a magician when the audience wants to hang out with you and have a drink after the show.*

*And I should make clear, this definition is for adult shows, not kid shows. I’m not picturing little Billy saying, “Mom, get out an extra juice box for my new magic buddy.”

With this definition, it’s more than just liking your act. It’s liking you.

Stephen Wright is an all time comedy great. When I see Wright be himself in interviews he seems like a likable, down to earth guy. Seems like it would be great to hang out with him for a few minutes.

But his stand up act? That deadpan delivery of one hilarious non sequitur after another? Is it hilarious? Definitely. His success is enormous and he’s a legend. But I don’t think he connects with the audience in the way I am defining it here.

That’s not a bad thing. It’s simply the choice made by this iconic standup comic. And it’s obviously been very successful for him.

So how can a magician create the kind of connection we’re talking about here?

Fans are not only for the famous
Returning to a repeat client?
Performing at a festival for the fifth year in a row?
The audience has seen a ton of your work on social media?
There’s a good chance you’re connected with them before you even walk on stage. Embrace the conviviality of meeting with old friends.

Affinity
“One of us! One of us!”
Decades ago I worked with a standup comic that was a retired police officer. He occasionally performs at banquets for law enforcement groups. Do you think he is greeted like the returning hero as he walks to the mic? Yep. He kills. And, yes, he’s very funny, but the affinity he has with law enforcement audiences is a huge plus.

Shows where there’s a natural affinity going in are some of the most enjoyable. In other words, let your freak fly a little in finding your audiences.

Be funny
Funny breaks down barriers of resistance. I shared a story back in August 2023 about a woman I met a few days after a show. She said:

“But before the show, so many of us were like (accompanied by a brutal eye roll) — Ugh. What? A magician?!? But you were great!” And I promise you, while I do solid magic, 99% of her “you were great” came from the laughs.

Go back here and read the post, as there is a ton of overlap with what we’re talking about here.

Talk about yourself in entertaining ways that relate to the audience.
I open my show talking about my family, and how I’m a “husband of one, father of seven.” I have jokes about being a dad and husband.

Jerry Seinfeld and Jay Leno talk about tidbits of life that irritate him. They are, of course, hilarious. We can identify with their irritation. Now imagine if they talked about the aggravations of finding the right person to manage their multi-million dollar car collections. Nowhere near the relatability on that topic.

Be playful
You don’t have to be overly formal and stiff onstage. Play with people. Want a fine example of a routine that accomplishes the kind of fun loving playful interaction I’m talking about? Of course you do. Here you go:

Be kind
Say thank you. Get names right. Don’t punch down. Be grateful. Actually like people.

After the show
Don’t be in such a rush to leave. Oy! Why the hurry? You can pack your props when they’re all gone. Shake hands. Get to know folks. Thank them for helping. Be the welcoming host of your own post-show.

And, yes, I’m sure there are exceptions to every point on this page. I can think of several as I type this. That’s not the point. The point it to think about our acts and the results we produce.

Hope these thoughts help you better connect with your audiences.

Best

Doc Dixon

PS#1: As always, be sure to check out the store before you go.
PS#2: And be sure to check out my new release, 2xImpossible.