We perform a 45 minute "comedic drama" that is scripted to flow from start to finale; the theatrical description is "a dozen scenes in half a dozen acts with impromptu asides." In each show there are more than a dozen magic effects. We usually include several illusions (people sized effects), effects that feature different members of the troupe, and several effects that involve all the troupe. Royal Magick has three on stage performers, a character that spends most of their time in the merchant booth, a brute who moves things, and we often adds up to five more performers plus guests. We gently fold hecklers into the drama, enlarging the cast.
Like all theatrical presentations, our show introduces characters and situations, captures and engages the audience, and then builds to a climax. We stay away from the comedy club or street act formula of "joke, trick, joke, joke, trick, joke".
Royal Magick's creations are crafted for thinking adults who might just bring their children; our shows are respectful of children and are family friendly, but not aimed at or created for children. We expect to lose the casual audience and retain the seriously curious. We use big words and big ideas usually associated with a high school education. Our approach is easier to follow after the audience realizes they must participate in the magic. We expect the biggest applause and laughs in the last half of the show after we have entranced the audience. Some of our material gets bigger laughs hours and days later. Audiences come back specifically to be involved in the show.
The audience rarely realizes that we never claim to do magic, instead our characters interact and magic happens. We concentrate more on presenting character interaction and development and less on puffing up the magic.
This approach makes "acting" extremely important; interestingly, the magic becomes more difficult to perform. Luckily, the combination results in a "magic show" that the audiences enjoys and remember as "magical".
All our themes and references are based in the Tudor Era. Our costumes are adaptations of period pieces modified for performing. We often comment on props and costume's "uniqueness" from a 21st century eye. We strive to add "education" to our entertainment. "Basic Faire Accent (BFA)" and Old English words are liberally sprinkled throughout the show. However, we do recognize that most of our audiences don't speak BFA and translation into 21st century American English is needed. We time travel as magically based characters and logically act as translators and guides to the 15th - 16th century.
Our basic approach is to polish a production and present that for a season.
There are constant changes and improvements throughout the season,
but basically the show follows the same script throughout the year.
We start with little and proceed to fill the audience's mind and the stage.
Occasionally, we customize part of the show for a specific event.
After each season we revise the show and keep a core of "always do" effects, add some new ones, and pick the remaining effects from previous programs. That way the show is "new" each year but still retains the predictability of "favorite effects" that return audiences expect.
Very rarely we pull out the largest outdoor traveling illusion, walk up the steps, get in the bag with the rope around our neck,
release the trap door, vanish, and reappear where we've been all the time in front of the audience. Within touching distance.
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