Sometimes there is a fine line between a "killer show" and a show that’s just "okay." You can present the same tricks and deliver the same lines, show after show, and yet the audience response can be drastically different.

Quite often, it’s simply the "little things" that make the difference between a successful show and a flop. I was thinking about this while watching a show recently. There were five or six performers on the bill, and one seemed to stand out above the others. In analyzing the performance, I realized it wasn’t only the choice of material that made this one performer successful.

Besides having good performance material, a successful performer gives attention to lighting, staging and sound. These three areas can be controlled by the performer in various degrees.

Entire volumes could be written about any one of these subjects, so in this column I’ll give you my "quick and dirty" opinions based on real experiences.

First, you may have a great show, but if no one can see it, you’re dead in the water. Arrive at the show site early enough to check on the available lighting. Unless a magic effect depends on special lighting, I think that the brighter the lighting, the better. You may have only a couple of bulbs over your head, or a fluorescent tube, but make sure you get the lights on and check them ahead of time.

I recall a school auditorium, where I noticed all of the lights pointed at the ceiling, away from the stage. They were too high to reach, and no one was available with a ladder or pole. I asked the principal about the lights, and she said she turned them away from the stage "because they were too bright, and shining in the performer’s eyes!"

I recall another school, which had several impressive rows of lights. The switch board was locked up, and the music teacher held the key. When I asked for the lights, she turned on one bare overhead bulb. When I told her I meant the stage lights, she wouldn’t turn them on, because she was "afraid the bulbs would burn out." After much "discussion," we did get our lights turned on.

Just as important as having the lights turned on, is to work in the available light. The stage will usually have "hot spots," or some areas that are brighter than others. If possible, try to work in those areas. On the show I mentioned earlier, most of the performers were working downstage, too close to the audience. The brightest light was behind the performers, so they were working in a dark shadow.

I have to watch this tendency myself. I like to get close to the audience, but sometimes we need to work further upstage, to stay in the light.

We can control our lighting situation ourselves, at a price range from only a few dollars to well over one thousand dollars. I have seen impressive portable lighting setups, with light trees, multiple fixtures, and dimmer packs, which are fine for large shows, but impractical for someone who works several shows in one day, such as school show or library performers.

My solution was to buy two photo floodlights, two stands to get the lights up about 8 - 10 feet into the air, and lots of extension cord. This isn’t a sophisticated, expensive setup, but it will save you if you’re on a dark stage.

In an emergency, you could even go with clamp on lamps and bulbs, available from your discount store or home store. They take up little room, so you can always carry them in your vehicle, to get you out of a tough situation.

Now that you’ve solved the lighting problem, take a look at the stage curtains. Do you need to set up a backdrop? I have two different types that I use on a regular basis.

The first type is called a "Jet Set" and is manufactured by Abbott’s Magic Co., of Colon, Michigan. It is a tripod stand, with a bar across the top, making a "T" shape. The Jet Set folds down small, and will make a backdrop six feet high by six feet wide. I usually carry two, making a backdrop 12 feet wide. My wife made a curtain somewhat like a giant pillowcase, so it quickly slips over the top bar.

Since the Jet Set folds down small and sets up quickly, I try to always leave it in the car, so I have it regardless of what type of show I’m doing. I thought I’d never take a Jet Set to a birthday show, but last month I was glad it was in the car. The birthday party was moved at the last minute, from a home to a dance studio down the street. And what do you find at a dance studio? That’s right, walls covered with full-length mirrors. Fortunately, with the Jet Set, I was able to present the show without the entire audience getting a backstage view.

For larger events, such as a shopping mall, I’ll use a larger backdrop. When I went to the photographer’s supply store to purchase the lights, I also purchased my backdrop. It is really a stand to hold the photographer’s background.

The unit consists of two upright rods, each with its own three-legged base. A crossbar runs between the two uprights. The crossbar is telescopic, and can be adjusted from about 6 feet to 12 feet wide. The uprights will extend to a height of eight feet.

We made curtain panels which are about two feet wide, with a large hem which easily slips over the crossbar. We use anywhere from 2 - 4 panels, depending on the width of the crossbar, and also how full we want the curtain to look.

We purchased three complete sets of background stands, so we can have a back curtain with wings, or a "U" shape for added privacy. We made our curtain panels in two different colors, red and black. Depending on the situation, we can go with a solid red curtain, a black one, or even alternate the strips.

So now, with the lights and backdrop, you look as though you have a professional show.

However, if you open your mouth, and no one can hear you, you’re still in trouble. Let’s check the sound, and see if we can do something about it.

In a smaller room, or with a small audience, you may not need a sound system. But you do need to speak properly so you’ll be heard.

A good voice starts with proper breathing. You can read books on proper vocal technique which will be very helpful. In a nutshell, you need to breathe with your diaphragm, which is the muscle below your ribs and above the "belly button." When you inhale, your shoulders should not go up. Instead, your belly should go out. Make sure you take in a large amount of air, and really fill the chest cavity. This wil make your voice powerful, and you’ll also feel more energized.

I always carry some type of sound system. The smallest one I carry is called an Amplivox, formerly known as a Perma-Power. It looks like a briefcase, with one speaker built in, and contains an amplifier pushing 35 watts. The best feature is that it will run on AC or battery power. It’s especially handy when working an outdoor event, such as a company picnic, where there’s no electrical outlet.

It does a decent job, but for large audiences, or if using lots of music in the show, there are better choices. One word of caution: don’t let advertisements be your only criteria when selecting a system. I suggest you try before you buy.

I have seen many low priced systems advertised that will supposedly cover larger audiences, but I have never heard one do a decent job. These systems are so small, if you crank up the volume it will distort the sound terribly. I have been to magic lectures and shows where performers used these small systems, and they would have been better off not using a system, and just speaking normally.

For a quality small system, I can recommend the Ampli-Vox, several models made by a company called Anchor, and one I’ve just started using, made by Fender. There may be others, but the three companies I mentioned are ones I have actually used.

My newest system, made by Fender, is called the Passport-150. Fender has long been one of the top names in the guitar and sound reinforcement fields, and they’ve come up with a system that is ideal for all types of performers.

The Passport is small and lightweight, but it’s extremely versatile and really puts out a much clearer sound than you would think possible. It consists of an amplifier, and two speakers. The speakers clip onto the ends of the amp, making a compact unit about the size of a suitcase, that can be carried with one hand.

They make two different models, one pushing 150 watts, and a larger one with 250 watts. I have the smaller system, and haven’t found a situation yet that the Passport wouldn’t cover. I know of at least six other performers using a Passport, and they’re all happy.

Check out the line of Fender products on the web at www.fender.com.

Yes, it can be time-consuming making an extra trip out to the car to bring in additional lights, or a backdrop or sound system. But you only get one chance to make a good first impression, so I recommend taking the extra effort to do the best job possible. You’ve spent lots of time and money honing your performance material. Let’s give our material a chance to really shine, by giving some thought and attention to lighting, staging and sound.

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