Chapter IX

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In addition to the programmes intended for distribution among the spectators, the performer must have a private programme of his own, stuck up in a conspicuous place behind the scenes. Upon this stage-programme is a list of the tricks to be performed during the evening, with the articles used in each trick. This is to prevent confusion. It is impossible for the performer or his assistant to always keep in mind the multifarious articles that go with each magical feat. When you retire behind the scenes after each group of tricks, you consult the "prompt-programme" to see that you have everything in readiness for the next series of illusions--for example an egg secreted under your vest, or a coin in your pocket. On one occasion, I saw the celebrated Herrmann completely bewildered and nonplussed because he did not have such a little thing as a pin stuck in the lapel of his coat, intended for use in the cornucopia and flower trick. This occasioned an awkward hesitation injurious to the effective performance of the feat. Herrmann had failed to examine his prompt-programme behind the scenes, hence his embarrassing situation.

Each trick should have an appropriate verbal accompaniment, technically known as the "patter," or boniment, written underneath it, which should in every case be learned off by heart. This, especially to the beginner, is a necessity, and very few, if any, of the best performers work otherwise.

Having once become accustomed to a programme, it should never be changed, in its entirety, for a new one. If it be desired to vary the mode of procedure, this is best done by the introduction of a new trick and the removal of an old one. By such means the performer saves himself a lot of trouble and anxiety, and is just as likely to give satisfaction from the point of view of an audience. This is the custom of professional performers, who very rarely alter their programmes; it also accounts in a large measure for their skill.

It is a weakness with young performers to endeavor to crowd too many tricks into the time allotted to their part. This is a mistake, and is bound to lead to disastrous results. Each trick requires its proper time, which is best found by experiment, and the entertainment should be arranged accordingly. "A little and good" is better than "a lot and bad."

A word or two as to nervousness may not be out of place. If the performer can bring himself to imagine, for the time being, at any rate, that he is the most wonderful individual in creation, his success is assured; that is, if everything has been rehearsed in private, and he knows his part thoroughly. A dull, nervous, or morose performer, however clever he may be, is sure to make the spectators feel uncomfortable, and thus spoil their enjoyment; therefore always endeavor to cultivate a cheerful manner, even under difficulties, and you will find your audience similarly affected. Apart from taking every advantage for repartee, always avoid being personal, and every possible opportunity for increasing the effect of a trick, the performer should be totally oblivious of all his surroundings and think only of himself and what he is doing. Once this is acquired, nervousness will be forever dispelled.

Not a little benefit may be derived from attending entertainments given by other conjurers, and every opportunity of so doing should be taken. In this way, by listening attentively to the remarks of other auditors, you will gain many points, not only as to how a trick may be improved, but also as to what movements in the execution of the same are unnecessary or awkward, and consequently to be avoided. Under these circumstances you will be able to realize the full force of Burns's well-known words, "to see ourselves as others see us."

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