Call it geriatric nostalgia if you will but it is a widespread social trend that I have observed for a long time. Which is why I was interested to see the launch of a new TV series called “For One Night Only” listed as a  show that presents acts that truly represent variety. With comperes Vernon Kay and Joan Rivers, comedians, singing groups, contortionists, magicians and the like  it reflects the style of yesteryear with funny rather than crude humour, and music acts that offer melodies that one can remember. Something like the days of   “Sunday Night at the London Palladium”The only difference is the presence of an audience that screams continuously over many of the acts – but then, they did that for  Frank Sinatra! Is this the return of variety or is it just the wishful thinking of a grey haired, mellowing magician?

I have a stage act which varies little and in fact uses some effects(and patter!) that I first performed half a century ago. Just an odd tweak here and there to heighten something but that’s about all. Close-up the same. The same half dozen effects that I know are solid, get an excellent response together with funnies where I know when to expect a laugh in varying situations. Also the 60 minute show “Behind the Doors of The Magic Circle” which I’ve presented to scores of groups over the last four years stepping out and knowing exactly what I was going to do and what kind of response to expect.

But I’ve recently done a show for a club for the third time this year – and they’ve just booked me for another in December, with the same audience!  It’s very flattering to  know that they like you enough to re-book the act but wow! I repeated the same act for the second time and for the third appearance I made up a programme of mental items but with different laugh lines. It went well but it didn’t flow and was a bit staccato due to lack of use. So how do I face the fourth appearance?

Well I regard it as a challenge, will seek out items that I’ve played with over the years but never adopted into the act and work on the jokes of which I have hundreds written in many books. But I’m rather pleased in a way  that this has forced me out of my lethargic attitude and made me work on a strong, second programme that with time and usage could be perhaps as successful and reliable as the No.1 act. And I’m finding that I’m quite enjoying it and re-discovering effects that once appealed to me but were passed over for one reason or another. Plus hopefully with the accrued performing experience of the past years I may be able to create something that gives me (and hopefully the audience) real pleasure and satisfaction. Let you know more later – after the December show!

He said he overcame the problem by having a small, portable platform made that lifted him about twelve inches higher so that he could speak above the audience rather than directly at them. He confirmed that it made all the difference in the world and drew increased interest and applause from the audience.

Over the years I have come across a number of other working professionals who likewise, when in cabaret have had made a small Dias made that would lift them up by around twelve inches that made a noticeable and considerable difference to their presentation and reception.

I give four of five times a month a one hour magic presentation called “Behind the Doors of The Magic Circle” to groups of 80 -100 people, usually in local theatres and village halls where I prefer to work at floor level allowing more inter- action with the audience. In so doing I have encountered the same problem and so an enterprising magic craftsman has designed for me a platform that folds in half to form a suitcase in which magic props can be carried. It’s a great idea that takes up no more room in the back of the car and when it’s delivered I’ll let you know how it checks out. But I’m convinced it will be a big advantage in presenting magic to a large group at the same level.