Magic-Related Stress
 Stress. I'm convinced that everybody experiences it. I used to
think that only I had job- related stress
but now I believe that it doesn't matter
if you are a CEO of a major corporation
or work as the janitor in that corporation's
building or even carry out groceries, you
still experience stress. Everyone expects
something from you by a certain time . .
. your boss, your customers, your stockholders,
even your family. Perhaps each of us just
experience stress to a different degree
than others but I think that it's all in
the way that we handle it. We try to eliminate
stress by relaxing on the weekend or through
a hobby that takes our mind off the daily
stress. Many of us play golf, tennis, racquetball
or some other sport that relieves our tensions
through a physical activity. Those who are
reading this column, however, no doubt relieve
their stress through finger flinging.
Magicians experience
stress. We experience stress in making the
calls to get the shows and fearing rejections,
making the right impression on the phone
to convince the client that you are the
one for them. Once the show is booked, there
is the planning, routining for each performance,
making sure that each effect is just right
for that particular group and that everything
is fully rehearsed. Before the show the
real stress begins as we check and recheck
to make sure that we have everything we
need for that performance. Then it's off
to the show, hoping that the directions
are correct and that we don't experience
any traffic delays getting there or parking
problems once we arrive.
Once we get there,
we need to hurriedly find our contact, bring
in our props, find the stage and start setting
up our show. Next we have to check the lights,
does the electrical outlet work, and do
a mike test. Most importantly we check to
see where and how the audience is seated
and make any last minute adjustments to
our routine due to bad angles. During the
show we worry about making sure that each
trick was rehearsed well enough so as to
avoid any problems and use an "out" if necessary.
Also, how is the audience reacting to your
show...are they responding like you think
they should? And what about timing, not
just your timing of the effect for its maximum
impact, but is the show too long or too
short.
After the show, how
have you arranged for payment? Do you have
to chase down your host, do they need an
invoice, do they need to find someone else
to sign the check, is there a misunderstanding
in your charge? Once the show is long past,
how do you know what they liked about your
performance or if they even cared for you
at all?
Much of the stress
can be eliminated by careful planning. As
soon as the show is booked, you should immediately
follow up with a performance agreement or
contract. It may not seem like much and
it may not stand up in court, but it sure
relieves the stress knowing that the details
have been agreed to by both parties and
that there is no misunderstanding as with
a verbal agreement. You have it in writing
when and where you are to perform and how
much and in what manner you are to be paid.
Moreover you have reduced your sponsor's
stress because that is just one less thing
that they have to worry about now.
Once the show is
booked, make sure that they send you a map
to the location. If it's possible, drive
to the site before the show to see how long
it takes you to get there and what potential
problems you could have in making the correct
turns or in finding suitable parking. As
Slydini said "check out your battle ground
first." Go inside and make contact with
the restaurant/banquet manager or maitre
de' to find out where how the room will
be set up for the evening of your performance.
If necessary, then find out where the electrical
outlets and light switches are and if the
stage size and sound system is adequate.
Find out how the tables will be situated
around or in front of you, where the curtains,
band or wall will be in relation to you.
Check on the lighting conditions...will
they be able to dim the lights or focus
in on you with a spot or overhead lighting
or will there be full lighting. Will there
be a window behind you that could be distracting
to the audience. Are there mirrored or reflective
tiles behind or above your performance area?
I once eliminated my performance of the
sub trunk in a shopping mall by checking
in advance and noticing mirrors on the ceiling.
If it is impossible
to go to the location prior to the show,
then you should at least contact the establishment
by phone and get as many of your questions
answered as possible. No doubt they can
also give you better directions than your
sponsor and tell you about the best parking
and where to unload.
You may only be performing
strolling magic but it still needs some
advance preparation. Will you be competing
with a band and if so then where are you
to stroll? Do they want you to stroll throughout
the entire area inside and outside, around
the pool, or just in a specified area? Where
do you set up, leave your extra props, etc?
Is there a place where you could stand that
might be more convenient for the crowd to
stroll past you?
On the evening of
the show, be sure to give yourself enough
time to get there and set up and plan to
have about 15 minutes to spare before show
time. Normally, banquets run late so you
will have plenty of time before your show
starts, but don't plan on that happening
100% of the time. The time you arrive late
expecting them to start late, that's the
time that they will be waiting on you. You
don't want your sponsor to experience any
more stress than they have to and you can
help by arriving early. After the show is
over you should make notes as to how long
your show lasted, perhaps even how long
it took for each effect. This will be helpful
in planning your next show when you want
to include some of the same effects for
another group. By keeping a record of your
routine, you can mix and match some effects
when routining your next show. Additionally,
if you are booked by the same group, then
you know what you did for them the last
time.
Immediately after
the show you should ask what effects they
liked best so that you can start to eliminate
those that receive the least comments and
leave in those strongest, most memorable
effects. After you get home, you should
send a letter thanking your sponsor and
requesting that they send you a letter of
recommendation to be used for your booking
of future engagements. The best way to ensure
a response is by taking a tip from magician
Chris Carey and enclose a self addressed
stamped envelope for their reply.
A little planning goes
a long way in eliminating stress in magic or
any other job. And less stress means that we
will live longer and a longer life means that
we can do more shows. And more shows means more
experience. And more experience means improved
quality with each show. And that's what this
world needs is better magic performances elevating
the art to its highest degree. |
