Full Evening Stage Illusion Magic Show | David Malek
Production Overview
This is a two-act, full-evening stage illusion program built for professional theaters and large auditoriums. The material combines large-scale visual pieces with narrative transitions and quiet segments for contrast. The run time is 95–105 minutes including a brief intermission. The show prioritizes clarity: clean visuals, disciplined cueing, and blocking that reads from front row to balcony.
Stage and Rigging Requirements
Optimal deck size is 36′ wide by 24′ deep, clear of obstructions. A minimum clear height of 18′ is recommended for masking and flown elements; shows can be adapted for lower trims with advance notice. Soft goods: main traveler, legs, borders, and a full upstage black. A black marley is preferred but not essential. Where permitted, one downstage haze position and one upstage position support beam visibility; no pyro or open flame is used.
Power and Audio
Three 20A dedicated circuits downstage left or upstage are sufficient for deck power and practicals. House PA should cover the room evenly at spoken-word levels. A headset mic (or lav as backup), two handheld wireless units, and two stage wedges downstage are requested. The program is designed to function at modest SPL so dialogue remains intelligible without overpowering the room.
Lighting and Cues
A standard rep plot works: warm and cool front washes, two color back washes, three specials (center, SR, SL), and a gobo texture for transitions. Approximately 80–100 light cues and 25 audio cues are called from a show book. Blackouts are short and purposeful; the majority of transitions occur in half-light to keep the audience oriented.
Program Structure (Example)
Act I (45–50 minutes) emphasizes visual clarity and proximity:
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Opening sequence establishing pace and sightlines.
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Ensemble piece with controlled audience interaction from the first three rows; no stage climbing required.
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Mid-act sequence featuring a contained cabinet illusion.
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Quiet interlude—close-proximity magic projected on IMAG if available.
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Finale beat leading into intermission.
Act II (40–45 minutes) expands scale and rhythm:
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Re-entry with brisk visual.
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Misdirection study—a transparent pacing piece where method is never stated yet process is clear.
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Feature illusion with upstage reveal; tight blackout and immediate picture.
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Closing routine with sustained build, clean button, and no bows required to understand the ending.
Audience Participation Policy
Participation is invited from the apron line and aisles only. Guests are never asked to run, lift, or crawl into apparatus. All handling is guided, with steps and marks visible to deck crew. If the venue restricts stage access, alternatives are prepared that keep the effect intact from the floor.
Crew Plan and Changeovers
The show travels self-contained for hand props and small apparatus; larger units arrive pre-assembled when possible. Ideal crew is one stage manager (calls), two deck hands, one audio, one lighting. A competent four-person crew can run the performance with the stage manager integrated. Changeovers average 20–40 seconds and are protected by cue-to-cue transitions rather than long blackouts.
Safety and Risk Management
Apparatus includes pinch-point covers, mechanical stops, and redundant locks where applicable. All moving pieces are operated by trained crew only. The program does not use animals, fire, pyrotechnics, or water. If local regulations require inspection, units are available for walk-through during load-in. Paths remain clear at every entrance and crossover.
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Load-In, Rehearsal, and Strike
Load-in typically requires 3–4 hours depending on dock access and shared rep. A cue-to-cue rehearsal (60–90 minutes) is requested for calling levels, mic checks, and sightline verification from balcony and far aisles. Strike completes in 60–90 minutes with cases rolled to the dock. If the venue has a dark stage policy at set times, the schedule is adapted in advance.
Projection and Video (Optional)
When IMAG is available, a single camera locked off at FOH enhances close-proximity sequences in Act I. No video effects, overlays, or latency-prone treatments are required—clean, bright image is preferred. If projection isn’t available, these segments re-block to center apron with adjusted framing.
Venues and Seating Configurations
The program is optimized for proscenium and shallow thrust rooms. For wide houses, key moments are mirrored so both sides receive the same information. In very deep rooms, transitions slow by a half-beat to let pictures settle at distance. All tabled props have contrast edges for visibility in darker palettes.
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