Michael Jay: Ron, you were a bit upset by my review of the first three books in your series where I stated:

Why do you feel that copying a routine, word for word, is not like a cloning of one magician to the next when performing a routine?

RBauer: Michael...

Please don't let that little incident at the restaurant lead you to conclude I was a bit upset. I still don't think the lady who ordered the bananas flambe should have been sitting behind you. (She'll be fine in a few weeks, by the way.)

Since you wrote your reviews, you've been to Michigan, and witnessed several people performing the same tricks with the same (very close, at least) handling and dialogue. You didn't hesitate to admit that none came off as clones of me!

The reason I push the idea of a "performance script" is because the "right words" are so important. Often, they're the crucial difference between success and embarrassment (although I admit there are self-appointed magicians out there who are immune to such an emotion).

To paraphrase an American writer: "The difference between the right words and the almost right words is the difference between lightning and the lightning bug." (There are so many references in favor of using the right words over the arbitrary, everyone on this forum could have his or her own favorite without duplication.)

Using the exact words doesn't necessarily make a performance a success or failure, however. The must be used in the correct context and with the appropriate delivery. The secret to managing the latter (as any trained actor will admit) is the SUBTEXT.

The occasional magic performance is often one's only opportunity to be witty and clever. Why not take whatever steps necessary to achieve that for yourself and your audiences. Work from a professional source!

Of course, your source of choice depends upon whose judgement you trust to follow, your source’s or your own. (Actually, if you choose a source, that's your choice, too!) You already know more about you than a source to whom you’ve never exchanged a word. But, would a trained writer or director or producer or simply someone with more experience at achieving what you’re after know more about how your performance (and persona) come off in front of an audience?! If you're either a beginner, or have never been trained in the theatre, these are important considerations.

That's enough of that! My fingers are getting tired...

Michael Jay: Interestingly, last night I watched an hour program on PBS about Shakespearian actors. It was a workshop for aspiring thespians (although there were several famous actors involved, like Kevin Kline). I'm a fan of Shakespeare so I was intrigued by the show. The show itself served to drive home several of your points, as each actor using the same dialogue interpreted it differently and didn't come off as clones.

As a bonus, the program helped me to understand how to link with the audience on their level a bit better.

How important do you feel that it is to study theater and theatrics in combination with magic and magical presentation?

Darmoe: O.k. Poor Michael is nearly the only person picking on you Ron so I thought I'd ask a silly question about the "distant" past and its possible revival... do you think there will ever be another Magic Cruise?

Alternately (and only someone that was around the Castle in the early 80s would get this) Have you seen Debra Martel of late?

[I do miss those days... ]

RBauer: Do you mean Vernon's "girlfriend" Debbie?

Of course you do. No, I haven't seen her since those days, either. Her picture is in one of the Vernon Chronicles (I think...).

I missed that cruise.

Mister Toad: I admire the range of effects that you have devised. From where do you get your inspiration? Do you start from the base point of a particular sleight of hand, a favourite patter line or some particular props?

RBauer: I look for a PREMISE, i.e., "What if..."

Since magic tricks are typically premise-driven (consciously or not), I look for ways to clarify and flesh out a premise so the final effect on the audience is complete. The premise must be clear, and the payoff must fulfil their expectations in the same way as any theatrical piece.

For example, "What if I carried three lucky coins?" Obviously, there must be some story behind this. Most people would expect that one is enough! Perhaps, then, since I don't have any lucky experiences to share (clearly even three weren't enough in my case), there are some "carrying three coins" experiences... This is the approach I used to develop the first book in my series, "Gadabout Coins Revisited."

Sometimes a story developed from a premise requires more than one magic trick to help illustrate it.

Mister Toad: Hello Ron,

My first impression of your series of magic booklets was one of awe. I was amazed at how well presented and professional they looked.

Who did you get to produce the remarkable front cover illustrations and how did you get to know of this person?

RBauer: All the covers and illustrations were executed by Sandra Kort, youngest daughter of Milton Kort. I've known Sandy since she was about nine years old. She's older now, and can draw much better than she did in the old days. (Maybe I shouldn't have said "old" days!)