You Bought it - Now Change It!

When you are looking for a new magic trick, do you tend to look for one that has “Clown” written all over it? Sometimes I do. That way it is already "funny approved." Well, not really, but it can be a bit daunting to take a big time trick, perhaps bought from a great name in the world of clowning (or magic) and just toss out their routine. Not to mention being creative takes a bit of work. And if you are like me there is a good chance you are in a hurry and don't have time to "reinvent the wheel" with this trick before the show next week that you plan to use it in. So I take it home and read the directions (yes, I will admit I do read the directions for my magic tricks) and then start practicing the trick.
The problem is that I (Dan/Fitzwilly) am still performing someone else’s trick and their routine. Now it probably is a good routine, maybe even a great one, for the person who wrote it. And, if my style of performing is close enough to theirs, my rendition may flow pretty naturally. If not, I may become disappointed either with the audience reaction or I realize that I just don’t feel comfortable performing that bit, and relegate the trick to a shelf in “the closet.” I’ll bet we allhave a box, a closet or even an entire room for those unused props and tricks, don’t we?
To bring new life to individual bits or even your whole show try this technique: Pick one of your bits; it doesn’t matter which one. Bring out a pad of paper and write down why you like the trick. Do you like the effect? Or, do you even remember the effect? Maybe it was overshadowed by the story you heard when you first saw the item and that was what you liked. Perhaps the real reason you bought the trick was because you admire the person you bought it from. What about it stands out in your mind? Why did you buy it? Did it make you laugh, or did you see dollar signs from all the new gigs you would get? This step should give you a better understanding of whether the trick is worth spending time on for YOU. If you realize that you really don’t like the trick but you liked the dealer and the patter, then maybe you would be better off selling that trick and investing in one that you like. Maybe the trick is too advanced for your skill level right now but now you can set a goal for the future where you improve enough that you will be comfortable with that particular trick.
Next write down in basic terms what happens. Try not to look at the instructions at first. If you really don’t remember, read the directions then put them down and restate the effect in your own words. This will help your mind grasp the overall picture and prepare it for adding details later. Example: in Professor’s Nightmare three ropes of differing lengths appear to become the same length, and then revert back to their original lengths.
Now think about your character, and about how your character might interact with, or react to this new bit. This is probably the most important part. In our example of Professor’s Nightmare I would ask what items might your character have or use that ropes might 1) be, 2) be similar too, or 3) substitute for, 4) or could represent? Example: Does your character like candy? What about rope licorice? Did you eat a couple of bites before the show, is that why two pieces are shorter?
What you are doing is creating a unique story around that particular bit of business and your character. When you are done there should be a “reason” for you to carry around three pieces of rope, or licorice. With practice you might even get to the point where you can modify your patter, your storyline, to include the theme of the event.
By looking at the basics of a bit, stripping away all the bright colors and fancy extras you are more likely to identify the inner kernel, that gem, hidden inside that resonates with your clown soul. Now you can decide how it relates to your character. Now when you perform that particular bit it will really flow because it is natural for you. This allows you to stop worrying “Are you doing the bit right?” and concentrate on having fun in your performance. And when you have fun so does your audience.