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Now the other obstacle a few people have had. Yes, I know it is difficult for some to imagine
performing without using anything but words, body language and psychological principles.
But, that can be done. And it can work. Kenton demonstrates this. Banacheck demonstrates
this. Hilford demonstrates this. As do others.
However, unlike coins through the table, which should work 100% of the time, unless you get
busted, using these means to create or enhance effects may not work always. But not
working doesn't mean the same as unsuccessful.
If something doesn't work you do something else, you use these approaches and re-direct
the participants thinking elsewhere. Or say you have an off night. People understand that in
regards to psychics.
The difference between getting busted as a magician and a mentalist is vast. But you really
can't be busted if you aren't using gimmicked props or sleight of hand. Participants may think
the effect weak or simple at worst, or merely a "works by a percentage thing", but you can
really blow people away too!
Now add ability to the effects you do with paper and pen, and all the other combined
mentalist methods and you have a very nice array of material.
Copyright 2002 Rex Sikes & Rex Sikes Productions, Inc.
Mentalism Inc. by Chuck Hickok
Reviewed by Max Gordon
Having read the reviews by some big name performers, I was keen to see for myself what all
the hype was about.
Chuck Hickok's book promises to give the "Full Monty" on his corporate show. The
background, the effects, the patter etc. and he delivers on that score. Chuck effectively
gives away his complete act. In theory anyone aspiring to become a performer could study
this book, learn the effects and go out and work.
In theory yes!
Not only would they learn Chuck's routines, they would also be picking up on what can only
be described as weak showmanship. My problem lies not in Chuck's routines, descriptions or
patter, he is obviously a funny guy and this stuff works for him, but it is his understanding of
stagecraft that leaves me wondering what his audience make of his act. For example
Chuck describes his method of getting people to assist. As pre-show work, he introduces
himself to some guests and once he elicits their consent to assist, he gives them a card with
a number on it. When he wants that person to assist, he calls out their number. I don't know
about American audiences, but here in the UK anything that smacks of "we spoke before
the show" will be immediately dismissed as using confederates.
At the outset Chuck states that his act is structured for today's "fast thinking corporate
clients", he then explains his programme of 5 routines. In a 40 min show, Chuck's
presentation is not exactly racy in my opinion. Chuck opens his show with a "Magic Square"
presentation, and whilst I can wholly concur that to a sober, intelligent audience, this is a
strong routine, it is no opener. Marc Salem uses a magic square as his mental workout. His
presentation takes around 60 seconds. Now that is an opener!
Chuck goes to great lengths to link his effects to a "Dunninger" story, which whilst in itself is
nice, then goes on to destroy all his concept building explanations with a finale revelation of
all that has taken place. Why apparently struggle to reveal a thought of symbol when you
are going to finish your show by revealing a prediction showing you knew the symbol they
would choose?
I also felt that Chuck lacked an understanding of showmanship in concluding his show.
Reading the book, you find that he completes his final effect and then goes on (in print) for
over two whole pages of dialogue to finish off with. No impact, no big punch.
In his defence, Chuck states that the effects and routines work for him, and you the reader
may agree or disagree as you wish. My problem lies with the credits at the back of the book
that give the contents an unqualified thumbs up. These imply that this is the Holy Grail for
those wanting to create a modern mentalist act.
It sounds as though I did not like this book; well I disagreed with a lot of it, as you have just
read. But within this book are many tips and sound advice especially regarding, sound
systems, sightlines, room layout etc. It is up to the reader to work out which bits are good
and which bits simply don't work!
Card Conspiracy Vol. 1 by Peter Duffie & Robin Robertson
Reviewed by Peter Arcane
Now this review could go two ways:
I could give the book a good review on the grounds that:
· I ve been a fan of Peter s work since I first picked up a pack of cards
· Peter is a fellow Scot
But then again I could give it a terrible review on the grounds that:
· I honestly don t have a clue who Robin Robertson is!
· Peter is from the East of Scotland and I m from the West.
To be fair I think it might be best to give an honest review& Yeah I know, what s the point of
reviewing a book of card tricks in a Mentalism eMag!? Well Center Tear is the thinking
persons journal and with Card Conspiracy you can see there s been a hell of a lot of thinking
going on. The thought process used to structure Card Conspiracy is something that
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