A Template for Your Routines, from the World’s Greatest Magician
Juan Tamariz is often cited as the world’s greatest living magician. Joshua Jay says to see him perform live “is to have a nonreligious awakening.” So when Tamariz tips his hand at his template for magic routines and sessions, we would be smart to listen. His format mirrors the musical sonata, with three parts—allegro, andante, climax.
Allegro is the fast beginning. It’s often animated, and it sets the mood for what people can expect for the rest of the routine or act. The point is that we get to the good stuff quickly; the first thing we do is when we win or lose the audience.
Andante refers to the “slow, quiet second movement.” Once we’ve won them over, we can come down to a more relaxed tone. In this section, audience involvement is common, stories find their way into our script, and a little bit of procedure is acceptable.
The Climax! In this brisk finale, the routine accelerates toward its dramatic finish line. We guide them toward a magical moment, usually one that surprises them or fulfills their impossible expectation.
Juan couldn’t be more right—all the masters seem to follow this format in their classic acts.
One of my favorite magicians is Mike Caveney, and his “Magic Paper” act is a unique stage version of the classic “Gypsy thread.” He starts with a quick restoration of several individual toilet paper squares (allegro!), then he slows down, plays a snake-charming tune, and the paper mysteriously rises and dances to the music (andante). “Stand back, it’s double play!” He draws a gun and shoots the restored TP as it falls to the floor (what a climax!).
The Professor, Dai Vernon, himself uses the technique in his famous Ring on Wand. 1) With a surprise, a ring magically melts off his sturdy wand. 2) He then involves the audience, instructing them to hold both ends, before the ring is linked back on. 3) In a dramatic closer, just as the audience is certain it’s firmly on the wand, off it comes again—climax!
It doesn’t get much more classic than Michael Ammar’s Cups and Balls. And well, countless other cups and balls routines use a similar structure. The balls quickly disappear and reappear, a procedural middle with maybe a guessing game or balls passing through cups, before culminating in the surprising final loads (hey, they were surprising the first few times you saw them!).
Whether they think of it in these musical terms or not, the best magicians seem to intuitively build acts that mirror the sonata form.
If you think about it, some of your existing routines may already closely align with this format. And you can string some of your favorite close-up effects together for a longer “sonata form” routine. The allegro may be the visual appearance of four coins or a visual color change with some cards. Next, you may slow down with a coins across or coins through the table. With cards, your andante movement may be finding a chosen card under difficult conditions, maybe an ambitious card. Finally, you march toward the climax—a surprise jumbo coin, signed card to wallet! The specific tricks don’t matter; it’s about considering how they may fit that musical structure.
Whatever props or plots you like, whether it’s close-up or stage, you can find ways to fit your favorite tricks together in this template. According to Juan Tamariz, spectators can perceive this thoughtful construction, and whether or not they think about it consciously, they will “normally enjoy the routine more when it has such a structure. It produces an added aesthetic pleasure. They will appreciate the structure and harmony.” The masters have proven it works; it’s your turn to bring a little musical structure into your own magic.