Mailbag #128: Openers

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Hey Andy, I understand if your response to the following email is simply ‘I don’t do that kind of thing’, but I wonder if perhaps you have any thoughts on ideal openers, mainly for stage work but close up too. The classic advice is ‘you want something quick and visual’, but having tried various things and though about it for a while I don’t think this is necessarily good advice, particularly if your goal is trying to build a sense of story and structure.

Thoughts?—YG

I don’t do that kind of thing.

But if I did, I think I would be less concerned with the trick itself than what it is I would say to open the performance. If you say something that gets people to like you or people to be intrigued by what’s about to happen, then the particular trick that follows is less important.

Take this with a grain of salt because I have no experience performing magic “shows,” so I’m just talking from my instincts and working in other areas of entertainment.

The theory of starting with something “quick and visual” seems to be predicated on the idea that people aren’t really interested in what you’re going to do, so if you don’t capture their attention quickly they’re just going to take a nap or walk out or start throwing things. I don’t buy that.

Let’s assume we can break up people into three groups.

  • People who love magic.

  • People who like it (if it’s good)

  • People who hate it.

If you walk up to their table and immediately go into a trick to “grab their attention,” what are they thinking?

People who love magic: “Oh, wow! Magic! Great!”

People who like magic: “What the heck? Oh. He’s a magician. Wasn’t expecting that. Hopefully he’s good.”

People who hate magic: “Oh god. What is this corny shit?”

What if, instead, you took that initial time to talk a little bit and make a human connection and build some rapport.

People who love magic: “I like this guy… and he’s going to show us some magic, too? Awesome!”

People who like magic: “I like this guy. And he does magic too? Intriguing.”

People who hate magic: “I like this guy. He’s really going to show us magic? Ugh... Well… I’ll give him a shot.”

That’a why my initial instinct would be to focus on connection as opposed to magic.

Obviously, you still have to pace yourself and not just sit there chit-chatting (especially if you’re doing a short walkaround set). But I would still make my focus identifying the right thing to say at the start to get them on my side(rather than the right trick to do).

The worst stereotypes about magicians are that they’re desperate for attention, have no social skills, only care about their tricks, etc. Rushing into a trick only seems to emphasize these perceptions.

Now, you mentioned trying to “build story and structure.” If that’s the focus, then that suggests a more theatrical type of presentation (as opposed to casual walkaround or table-hopping). So maybe something like a parlor or small stage show.

In that situation, you’re not going to be connecting with the audience individually like you would in a more close-up environment. So for that, I would focus my opening on getting them intrigued about where the show is going.

“Last night, at 3:40 in the morning, I drove 120 miles and spent two months rent on what’s inside this box. I can’t show you what’s in it just yet… I don’t even think it would make sense if I did. But I promise you, 20 minutes from now we’re all going to see something unfathomable. Or somewhere out there, some guy is laughing his ass off with a few thousand dollars of my money.”

So, depending on the situation, my “opener” would be about building connection or intrigue. These, by definition, will attract an audience regardless of how they feel about magic.

Eventually, when you do get to the first trick, it should be very strong. You want them thinking, “Ah, I was right for investing my attention in this person (or in this story).” For that, I don’t think the type of trick matters, so long as it’s a strong one.

Short version: What does a stripper do? Does she come out, whip off her Catholic school-girl skirt, spread her legs, and say, “Look at my pussy! I know it’s what you want! Pay attention to me!” No, she starts slow. Walks around the pole. Gives you a chance to fall in love and builds the tension about what’s to come. Connection and intrigue. Be more like a stripper. Not some sleazy, trashy, low-class magician.