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SHOWMANSHIP
For
MAGICIANS
CHAPTER FOUR

You may take apart many successful productions, shows which have demonstrated that they were designed for the most public appeal, shows which have demonstrated this as proven by their box-office records, and you will find little in common with the usual magician's performance.

The choice may be made from any of the various branches of the entertainment industry-the stage, nightclubs, movies or the radio. Each stresses various aspects according to the limitations of that medium. During the old silent days the movies stressed facial expression, action and scenery. With the advent of sound the field was broadened to include all of the features of the living stage.

Obviously, "sight shows" are impossible over the radio at this time. It follows that the shows are limited to what may be imparted with sound alone. Space and perspective put some limitation upon what may be done on the stage. The character of the audiences, the business they are in and the limitations of the institution itself all influence the type of entertainment which may be seen at night clubs.

But there are three types of entertainers that form the foundation of ALL of them. The movies, the stage show, the radio and the nightclub all feature dancers, singers and comedians. And to some extent, in all of them except the nightclub there is also drama.

Just what have dancers to offer in the way of appeal? Rhythm and skill, of course. Their performances show movement and physical action. Very often they feature youth. Most often they stress sex appeal. Color and personality are evident. And very often comedy is paramount. In addition, the costumes are colorful, carefully designed and well groomed. Make-up is invariably well done. And back-grounding it all is music.

Music, you must realize, carries with it psychologically grace, harmony, romance, sentiment, nostalgia-according to the type.

And the singers? All of the appeals possible through music as listed above-grace, rhythm, romance, harmony, sentiment, and nostalgia. But in addition there is sex appeal again. And there is often comedy. Youth is frequently stressed. Likable personality is important. The delivery of the song involves pointing and timing. Costume and make-up are particularly important.

Now the comedians: This is a very broad field, but generally there is some rhythm and music in every comedian's turn. Of great importance are pointing and timing and surprise. Often the crux of the comedy is dependent upon situation or character. Many of the comedians themselves play parts as characters. Personality is important. No first-class comedian overlooks the possibility of costume and make-up, in character with what he wants to seem to be to the audience.

Then drama: Drama, as has been said somewhat differently before in this work, is character and conflict. Personality is always vital. Often there is sex appeal. And, too, the often appearing qualities of romance, sentiment, nostalgia and comedy. Don't overlook the importance of make-up and proper costume.

From the above, then, we should be able to begin to cull a list of the often-found integrants in successful and popular entertainment.

    Most often appearing in our analysis, as shown above, are the certain fundamentals:

  1. — Music
  2. — Rhythm
  3. — Movement
  4. — Youth
  5. — Sex appeal
  6. — Personality
  7. — Color
  8. — Comedy
  9. — Harmony
  10. — Romance
  11. — Sentiment
  12. — Nostalgia
  13. — Pointing
  14. — Timing
  15. — Surprise
  16. — Situation
  17. — Character
  18. — Conflict
  19. — Proper costuming
  20. — Careful grooming

    From the analysis of the various productions and methods of selling the material more fundamentals appear.

  21. — Physical action
  22. — Group coordination
  23. — Precise attack
  24. — Short scenes or turns
  25. — Efficient pacing
  26. — Punch
  27. — Careful routineing
  28. — Tireless rehearsal
  29. — Special material and score
  30. — Grace
  31. — Effortless skill
  32. — Sure-fire
  33. — Spectacle
  34. — Thrill
  35. — Emotion
  36. — Common problems
  37. — Escape from the humdrum
  38. — Unity

    Three types of faults common to amateur or poorly prepared entertainments are most carefully avoided. There are no delays nor fumblings. There are no excess movements or lines. Everything means something, everything builds-up to the climax without blind by-paths or diversions. The old rule of the show business is religiously observed: Not too much; but just a bit too little.

    And there is that final, inescapable essential:

  39. — Up-to-dateness

Now it may well be asked right here: How can all of those qualities be adapted to magic?

Before the writer attempts to answer that question it might be a good idea to go over that list with the AVERAGE magic entertainment in mind. Remember, now, I am not asking you to check this list with the qualities shown by a few of the topflight professionals. The average magician is doing the harm, not the top-flight men. And I believe by this time you realize that the writer does not necessarily mean the man with the biggest magic show and the most apparatus is this top-flight man. The top-flight man will be found in the fastest company in the show business, the big revues, the best night spots, the movies. Here, he is competing with the best in the show business.

It must be realized that no one entertainer nor any single type of entertainment can possibly accomplish all of these popular appeals. Most obviously some of the basic ingredients are impossible. This depends entirely upon the type of act, the angle of approach, the type of audience the act or routine is intended for, and the means available through the circumstances of the personnel of the company or other influencing factors.

It is essential, however, that the individual performer attempt to gain as many of the important showmanship factors as possible. It must be done with discretion and a nice sense of values. Possibly material already in use can be so shaped and altered to fit many of the factors into the performance.

Try to get as many and as varied appeals as possible. Really, fundamentally you are only supplying reasons why your audiences will enjoy your performances. Every one of these popular appeals you add will supply an additional selling point for you. Certainly no entertainer can afford to pass up opportunities to add audience appeal. That is what pays off, both in applause and fees.

At this moment Btirling Hull's solution of the mind reading act, as he is now performing it, comes to mind. The thought transmission act is always interesting to an audience. Yet few performances are seen in which it is presented in the modern manner. Hull has done an excellent job of adding modern popular appeal.

To begin with he obtained the popularity associated with music, and its various appeals, by limiting the transmission to requests of specific musical numbers. He added sex appeal and beauty by securing an attractive soprano. She is not merely a pretty girl but one with great charm and personality. Instead of a pianist, as in the old version, merely playing requested numbers whispered to the transmitter, this girl sings. And she sings very well.

To gain the advantage of the better musical background made available through the bands in the night clubs and hotels to which he caters, Hull has arranged the act in such a manner that these orchestras accompany the singer. Yet the bandleader knows nothing whatever about the method of transmission.

By limiting each selection, except for the last one, to a few bars from each piece, he gains speed. And while the girl is singing Hull is getting his next request. This also cuts down on any delays. Hull wears full dress and the girl is attired in an attractive evening gown.

This act has many appeals. The spectators have to like the act because it is made up of numbers of their own selection.

This brief outline illustrates one of the methods of adding popular appeal. Notice that the essentials of the act are conventional but that clever twists here and there have made it possible to incorporate many of the principles which foster public liking.

Music and rhythm have been added to the thought transmission act. The girl supplies youth, sex appeal, personality and color. Through the songs, depending upon the specific numbers, are achieved harmony, melody, sentiment, nostalgia and romance. Comedy is accomplished through running comment on the part of the transmitter.

Careful attention has been given to timing, pointing, costumes, grooming, brevity and efficient pacing. Smoothness in the routine reflects efficient pacing, careful routineing adds to a feeling of effortless skill, all accomplished by conscientious rehearsal. Other qualities include special material, punch, escape from the humdrum, unity, up-to-dateness-all building up to sure-fire reception.

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