The Microphone and the Magician

[Back in the blogging-saddle after a brief hiatus during which time I traveled to Orlando, Florida. Sadly my travels forced me to forgo a meeting with some world-class magicians (Doc Eason, Eric Mead, and Bob Sheets) at a gathering in Las Vegas. But I enjoyed taking some time for rest and relaxation on Sanibel Island.]

For many years I’ve considered microphones to be a necessary evil in the life of a magician. As a speaking performer (unlike my colleagues who perform silent acts to music), it is necessary, of course, to be heard, and amplifying one’s voice allows one to entertain large audiences (and the larger the audience that you can play to, the more money you stand to make).

But I had long viewed the microphone as being inherently at odds with my craft. After all, as a magician who creates magic with sleight of hand, I considered holding a microphone to be a major impediment to my ability to perform magic. I needed to have my hands free.

For the last few years, I had entered into a truce with the microphone by working with a wireless clip-on (sometimes called a lavalier) microphone. I had my own wireless lavalier mike and sound system that served me well. Or I could plug my receiver into the venue’s existing sound system. And some venues would provide their own wireless clip-on microphone (though I always traveled with my own microphone since on several occasions the the event planner thought that the venue would provide a lavalier microphone — but they didn’t and I was able to avoid a bad situation by carrying my own mike).

And for a long time the truce held. I held no great love for the microphone, but the wireless clip-on mike left my hands free to do what I needed to do as a magician.

Then one day, I had an epiphany.

Like many such realizations, it actually grew out of an amalgam of experiences. Ken Weber (author of Maximum Entertainment) had given me some coaching and had demonstrated the good usage of a hand-held microphone. The enigmatic Bob Cassidy had extolled the virtues of the hand-held microphone which allowed him to indulge in a variety of vocal effects (stage whispers, Voice of God, off-mike prompting, etc.)

But the value of a hand-held microphone finally began to click for me, when my Colorado compatriot (magician, hypnotist, and mind reader) Mr. X, related a story about a children’s magician he knew.

This particular magician was known for his deep booming voice that could fill a 1,000 seat auditorium. And yet, when he performed for even the smallest birthday party (in a living room for an audience of ten children) he always used a hand-held microphone and sound system.

Why? Why would someone with an enormous voice use a microphone for such a small venue?

The reason he used a mike, is that the kids loved talking into the microphone — and the kids loved to hear what their friends had to say.

And that’s when my entire relationship with the microphone began to shift. As magicians we have ample opportunity to involve our audience members. I do so numerous times during my show. But the lavalier microphone captured only my voice. When I spoke to my volunteers the rest of the audience could only hear my side of the conversation — and it wasn’t necessarily the side they most wanted to hear. The hand-held mike would allow me to add a whole new dimension to my act. Whereas before, I saw the microphone only as a liability (which would restrict the magic that I could perform), I now saw the potential for the mike to enhance the entertainment.

I had mentioned before that I’ve been performing magic at at secret undisclosed location, where the audience is quite rambunctious. I’m always on the look out for ways to rivet and hold their attention. The benefit is that if I can win over a difficult audience, then I can be confident in my ability to entertain any audience.

Well, when I heard Mr. X’s story, I knew I could use the microphone to make my show even stronger.

But there was a catch.

I’d have to revamp my entire show so that I could perform with a hand-held mike; the clip-on microphone would have to go. I had a few tools to assist me in my endeavor. A microphone stand (as used by stand-up comics) could serve as a third hand, but would limit my mobility. And a gimcrack (a microphone holder worn around the neck that holds a mike under your chin) could help smooth over some challenging moments when I needed both hands free.

But some pieces of magic would have to be cut or modified to allow for the hand-held mike. A whole new choreography had to be mapped out with an awareness of where the microphone would be. It was a painful adjustment, but it was worth it. By using a hand-held mike, I can more fully involve my volunteers. The audience can now hear both sides of the conversation.

This has lead to some re-scripting in which I am asking more involved questions of my volunteers, questions which are calculated to evoke funny answers. The volunteers are having more fun on stage, the audience is interested in hearing what the volunteers have to say. And the show is more entertaining now that I’ve learned how to use a hand-held microphone. Life is good.

If you’re not using one, I recommend you give it a try. Take full advantage and the opportunities will far out weigh the costs.