How Much Magic?

(Ran the Bolder Boulder 10K today, so I’m relaxing and cogitating, because I’m too sore to move about. I had hoped for a better time, but at 1 hour 16 minutes, it was my slowest time since I began running the BB 13 years ago. Actually, I was in need of a miracle, as magic kept me too busy to train this year — and at my age, training is no longer a luxury. But enough with the personal tidbits, you came here for hardier fare…)

A question some of my magician colleagues in Colorado have asked is, “How much magic do you need to know to make it as a full-time professional magician?” My standard answer is that you need to know everything possible about the art. One of the great boons I received was the opportunity to apprentice in a magic shop for six years; during which time, I was exposed to a wide swath of differing magic styles.

The need to know a great deal of magic flies in the face of some highly-respected magicians like Eugene Burger, who says that when he became a full-time professional, his performing repertoire consisted of six effects.

In addition there is the old standard that a magician should “Learn six effects, but learn them well.”

I believe that the advice regarding “six effects” is meant to counter the obsession that some amateurs have with amassing hundreds (nay, thousands) of esoteric magical variations. None of which are adequately mastered. And none of which are discernibly different from one another.

The wisdom of “six effects” is that it forces the magician to focus on and to perfect his or her performance of a few pieces of magic, rather than accumulating more secrets that are never worthy of performance.

Still, the advice to learn “six effects” — while an admirable ideal — lacks much in the realm of practicality.

When I perform mix & mingle magic (also know as “strolling magic” or “walk-around magic”) I can get by with a repertoire of six effects. But if the DJ (or band) is too loud to converse, then I may find it necessary to switch to a second set of six effects, magic that can be performed without speaking. And if the lights are dim, I have at my disposal a third set of six effects for low-light situations.

When I work from the stage, I have a standard set of magic that I rely on for audiences up to 200 people. But when performing for audiences of more than 200 (without the aid of a video camera) I have another set of magic.

When I develop material for the stage, I classify it, not only by the number of people that can see it, but also by the technical requirements. Some magic requires the use of a wireless clip-on microphone. Other magic can be done with a wireless hand-held microphone, and other magic can be done with a corded hand-held microphone. Some magic requires specific sound or lighting cues and the attendant rehearsals.

All of these situations describe venues that I work in. If I only have “six effects” at my beck and call, I would need to turn away a good number of performances. If you’re interested in been a full-time professional magician (that’s making any money), you’re going to need good deal more than six effects. But please note that I’ve expanded my repertoire with a purpose. Collecting magic that doesn’t make you a more versatile (more bookable) performer is an acceptable hobby, but a poor use of time for the full-time professional.