Michael Kras
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Secrecy Among Fellow EntertainersHello,
Reuben and I will soon be appearing in our school talent show in a few different magic acts. However, an issue has come up for me...
How do we inform those running the event of our specific needs without being an inconvenience? I've had more than a few times when somebody has told me they wouldn't do what I needed for a successful act.
A second problem: There will be people looking at us from backstage and in the wings... many of them will see the methods behind the effects we perform onstage. How do we get them to keep the methods a secret without going to each individual person and asking them politely?
These questions are based on problems I have had in the past and would love any assistance. Thank you!
Michael
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Craig Browning
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Let me tell you a story...
I went to the Hollywood Palladium one summer to do a big fundraising show and the head of the stage hand's union working the room was quite direct; All you're doing the Asrah Levitation... which version?... The 20 minute technical outline with this guy ran like smooth silk because he'd done tech on other magic shows, he knew the effects, the angle issues of the room to watch out for, etc. This is the reality of THEATER and contrary to the creeping underwear in the crack of your butt syndrome of most inexperienced magic buffs, our "secrets" aren't all that secret... at least not within the realities of show biz.
If you have effects that are angle sensitive then you need a good stage & prop manager to help you block things so as to protect your angels. You need a lighting guy that can light you in just the right way so that shadow created by set pieces or props aid you in covering those angles and so on and so forth.
Yes, I've worked closed sets where everyone was under secrecy agreements and disclosure contracts, etc. Most such sets were either with mega stars like Siegfried & Roy or major wannabe (poor little rich kid types) that thought they were important but really weren't Truth is, when it comes to the general workings of most magic, it is not that hard for anyone to learn it, especially in today's world. On the other hand, every performer has their own subtle twists to working an effect... that is what is guarded and oddly, it is the kind of thing most people never really notice unless they are exceptionally familiar with the effect. A great example would be the various means by which to insure a smooth raise for your Asrah form... Doug Henning used big fishing polls other's used large coffee cans... the taste varied from performer to performer and they all look cool! 
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Spellbinder
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If you have time to plan the show carefully, you can perform only stuff that you can do surrounded so you won't worry about angles. You should also plan stuff that doesn't depend on help from anyone else. If you guys can help each other backstage, that's all you need. He makes sure you get the lighting and sound you need, and you do the same for him.
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Craig Browning
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| Spellbinder wrote: | | If you have time to plan the show carefully, you can perform only stuff that you can do surrounded so you won't worry about angles. You should also plan stuff that doesn't depend on help from anyone else. If you guys can help each other backstage, that's all you need. He makes sure you get the lighting and sound you need, and you do the same for him. |
This is practical and true but not always possible
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Spellbinder
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We cannot know what is or is not possible without knowing the details of the show that is planned. Until then, all we can do is offer general advice that may or may not apply to the situation.
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Wolflock
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I am with Craig on this one.
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