Been doing a bit more proscenium style stage work recently, which has led me to draft a few scripts of my performances so that I can nail down the story line. I find that beginning the official scripting process is best once I’ve already established a basic routine and am able to work with a given structure of the effect. Working on some material for a couple upcoming Halloween engagements has me thinking about extremely farfetched magical effects coupled with some compelling storylines. With this great storyline supported by effects I have no clue how to accomplish, what’s the possibility that I will actually be able to construct and create the effects, even with double the time and budget? Next to 0%.

Which made me consider “What is the optimal methodology to creating a magic script?” Because magicians are almost always working with a prop of some nature, I think immediately creating an emotional/dramatic plotline which one must create 100% unique and new props for the plotline… yeah, that’s possible I suppose, once you got MGM showroom money. I suppose almost anything is possible then. But DC isn’t reading this site, so this advice isn’t for them.

What if you took a routine you’ve played with in a physical/effect manner and layered onto it whatever magic script could work with it? Then it would have all the freedom of a creative exploration, with the grounding of actually having workable effects/tricks within the story. Too often have I found myself in the creation zone and without a viable end product too close to a show. “Working from what you know” is a philosophy that will always leave your audience satisfied with magical moments, and while we may always want to create a lovely storyline, it must be supported by those moments of magic. Flex that creativity on the story, not the effects. Your magic-show-going audience will appreciate it.

-- J.R.

    Recently, J.R. and I had the opportunity to see a small theater show by a magician we both respect, and who has created material we both enjoy watching and performing. In the show he had a very strong book test, with a pre showed, dual reality closer. Unfortunately, due to an inattentive spectator, the effect didn’t quite come off, but it, and the memory of the Derren Brown show we mentioned last week, got me think about the importance of really strong scripting, especially in effects like that one.

    Any dual reality effects require you to be very careful in keeping two views or perceptions of an event separate, and pre-show work directly challenges this by forcing you to remind the spectator of the other reality in that very moment without reminding the audience at large. While the specific techniques used will vary effect to effect and performer to performer, one mainstay will be careful scripting, such that the words can (and hopefully must) be interpreted correctly but differently by the two groups. Creating this dual language can be difficult, but definitely pays off in the impact effects that properly employ it can have. (For some excellent examples of this and more ideas in this area, check out almost anything by Luke Jermay.)

     For example, here is a simple script designed to elicit a pre-showed word from a spectator at the end of a book test like the one seen in the show. This script assumes this spectator was handed the book and asked to confirm that the page numbers where on the bottoms of the pages (for another phase of the effect), to make sure the book wasn’t just the same few pages repeating over and over again, and then to immediately pass it off to another spectator. After reading the mind of the spectator they handed the book to you turn to them and say:

     “A moment ago I asked you to confirm the page numbers are on the bottom of the pages, and that the book is normal, correct?” “Yes.” “But I think, even before that, you had seen a word, one that really rooted itself into your head. Is that right? Are you thinking of a word?” “Yes, I am.” “Focus on that word now, the one rooted there, not one that maybe just floated through, or that you skimmed over...”

     Since verifying the page numbers was the first thing the spectator did with the book, being told to think back to before that must mean before they had the book, and thus to the pre-show when you forced or peeked a word they chose. Combine this with the repetition of a specific phrase in both the pre-show work and the moment of recall to jog their memory (“rooted itself,” or whatever fits your presentational style), and asking them not to think of a word that floated through or that they skimmed over (and since you hurry them through checking the book they really only have time to skim it), you ensure they arrive back at the intended word.

     Additionally, none of these instructions to the spectator tip that they are actually thinking of a word not from that book to the rest of the audience. Since most of them wouldn’t be able to see the spectator directly they can certainly believe that they had more time looking through the book, or spent more time really scouring any given page, than you allowed. If additionally you have the book handed back to them just before you begin this phase (but don’t give them a chance to open) and ask them to stand and pass the book back to you after you reveal the word, then you will visually bookend the effect with the image and idea of them holding and looking at the book.

      Seeing this show certainly prompted me to look back over a lot of my scripting choices, and hopefully it will help you as well.

— Z.Y.

     This summer, Z.Y. and I were delighted to get to see “Secret”, sitting next to some well-known NYC players such as Dan White and Steve Cohen (hope you’re enjoying your amethyst surprise btw, Steve), which generated a fantastic energy between the audience and Derren. While we could talk about many of the fantastic elements in the show, we’re going to explore perhaps one of the most overlooked, yet important, elements of magic which Derren (and his team) executes perfectly: Scripting.
    Being familiar with his work, this surprised me; but Derren Brown scripted pretty much every single moment of this show. From the opening monologue to his hypnotic inductions even to his seemingly impromptu jokes and ‘responses’ to audience member reactions, it’s all pre-planned and rehearsed. While sticking with this approach allows for less immediate response the night of the performance, it does allow for Derren to dive deeper into the nuance of his language throughout the show, layering numerous presentational ideas and through-lines within the performance, as well as carefully covering several subtle method-moments, and the result is absolutely mind-blowing.
    Knowing the methods for the effects makes it even more fantastic, because his whole performance is steeped in this lovely mixture of sincere charisma and careful attention. He is a living masterclass in all the details that make something go from 90% to 100%, and this is why he is undoubtedly a star of magic. In this show, he doesn’t employ any overwhelmingly mechanically unique or “new” effects (although the effects are very well-crafted and consistent in conception and methodology, and his take on ESPacology is devastating) and remain powerful on their own, yes. However, when these straightforward effects are combined with his excellent showmanship and language, they are taken into a completely separate realm — one of awe.
    Everyone practicing magic has something to learn from Derren; he’s established himself as a critical thinker of magical presentation with his early books such as Absolute Magic and Pure Effect, and the level of skill, commitment, and attention to detail exhibited through the script of “Secret” is something that everyone can draw inspiration from.

— J.R.