Magic Tables

A performer new to the field of magic has many important and sometimes bewildering decisions to make. Choice of material to perform, types of audiences to work for, costuming, and type of character to portray are just a few that come to mind. One important but often overlooked area is the type of table or case from which to actually work your show.

Over the years, I’ve tried several types of tables. I’d like to share my thoughts and opinions on what has and hasn’t worked for me.

My father built my first table back when I was about 14, and I’ve been hooked on tables ever since. We started with a plan from "The Table Book," published by Magic, Inc. This book is still available today, will give you a good overview of the types of tables that work well for a magic act.

My first table was a type known as a "night club" table. This is basically a solid plywood front about 36" high by 24" wide. There are two solid sides hinged to the front, so they will fold flat against it. The back is open, and one or two shelves are placed inside. A simple wood top completes the table.

The night club table has several advantages. It is lightweight, easy to transport, and it can hold enough equipment for just about any type of show. The large solid front gives you a sizable area for graphics or special messages, including your name, logo or the title of the show.

There are a few disadvantages as well to consider with the night club table. Since the table folds flat for packing, you need to carry another case with your props.

Also, the solid front of the table may lead some of the audience to believe that an item which was vanished in a box on top of the table really went inside the table. The same holds true for productions. Many people think that items produced from a box or tube on the table are really coming from inside the table.

I remember a school show years ago. I produced a rabbit from a standard production box which was sitting on top of my night club table. After the show, one of the youngsters told me that he knew the rabbit came from down inside the table. He really amused me with his imagination, when he said he even saw the person hiding in the table who pushed the rabbit up into the box!

If you are using a night club table with a solid front, try to work your productions or vanishes in your hands or on another thin non-draped table. This way, no one will think the production items are coming out of the table.

If you’d like to carry your props in a case that becomes your table, I would recommend a suitcase table. I am currently using one, and have for years. This case can carry your entire show and in about two seconds turn into a table. When the show is over, the table can be converted into a case in another two seconds.

The suitcase table looks like a large suitcase, and has four casters for easy rolling. There are two latches which keep it closed. When you arrive at your show, you unlatch the case, lift the lid, and the lid then becomes your table top. For shows where the audience is close, especially without a stage, the suitcase table is a lifesaver. You end your show, and before the kids rush up and go through your props, you simply close the case and your props are safe.

The suitcase table has another advantage in that your props are carried in an upright position, ready to work. Your props are loaded at home in the suitcase table, and they arrive at the show site still in an upright position. The suitcase table is never lifted onto its side like a regular suitcase, so the props don’t shift.

I have also tried a variety of carrying cases which double as on-stage pieces. One popular style of working is to use a footlocker style case, which rests on a metal waiter’s stand. The footlocker style cases are available from a variety of magic dealers and case manufactures. The waiter’s stand can be purchased from a dealer, or better yet, from a restaurant supply house.

Your props are placed in the foot locker, and the case rests on the stand with the lid opened. The open lid is an excellent surface for graphics or decorations. With the foot locker, there is no surface to act as a table top. You take the prop out of the case, work it in your hands, then replace it back in the case. If you need to work on a flat surface, you will have to carry another small table.

With the foot locker type of case, you will find that the props will need to be rearranged when you arrive at the show site. You load the case at home, then when you pick it up by the handle, everything shifts around inside the case. This is why I like the suitcase table better.

Where space is at a premium, another practical way of working is using a catalogue case (also known as a pilot’s case.) This case measures about 15 by 12 by 8 inches. There are two lids which flip open on top. The catalogue case can rest on a chair or stool, and the show worked in your hands or on another table.

When I was performing large illusion shows on cruise ships, I also did a special children’s show. Since storage space was sadly lacking, I left the suitcase table at home, and came up with an entire kid show that fit inside the catalogue case. The show was mainly silk effects, pack-flat cardboard props, and sponge balls.

Another advantage with the catalogue case is that it can be carried on airplanes. I felt much more secure knowing that even if my larger props were lost or damaged, I had at least a 30 minute kid show securely under the seat. In fact, I purchased another identical case, and loaded it full of stand-up comedy magic for adult shows. You’ll be surprised at how much you can fit in one of these cases.

If you do need another small table on stage, I recommend a metal folding tripod stand, available from most dealers. A simple square wooden top is attached to the stand with a screw-on flange. Years ago, I used cloth drapes on my tables. Table drapes do add color for kid shows, but they may arouse suspicion in an adult audience. Now I cover the tops with black felt, and trim the table top edges with chrome metal strips. The result is a clean, modern-looking table.

One area overlooked by many performers is where to put the props at the end of each routine. You can place them back on the shelf inside your table, but often this adds dead time to your show. Plus, you don’t want to cover or upset props that are to be used later in the show.

The suitcase table mentioned above works well, because there is a large area below the shelf where you can toss your props. You also may want to consider using what I call a "ditch bucket."

This can be a open basket or open decorated box resting on the stage or a chair to one side. After an effect, you toss or place your props into the basket, and your performance case remains free from clutter. You can find suitable plastic boxes, wastebaskets, and containers, ready to be decorated, simply by walking through the aisles of your favorite discount store. Many magic dealers also carry suitable containers. They are usually called "magician’s utility boxes," and they have the advantage that they fold flat for transporting.

Regardless of which style of table you use, please use the table correctly. First of all, I place my props inside the table or case in reverse order. That is, I place the last trick in the table first, and then work backwards setting the props inside the table. This way, if silks and other items are overlapping, the item to be used first is on top.

Karrell Fox had an excellent tip in one of his books. He recommended that you paint the inside of your tables a light color, such as pink or white. This makes locating your props inside the table on a dark stage much easier.

One of my early tables was natural wood on the inside. I decided to paint the inside black, to match the outside. What a mistake! Once I read Karrell's tip, I purchased white contact paper, and covered the inside of my table.

When using a night club table or suitcase table, beware of the "magician’s appearing rear end syndrome." This usually happens when trying to retrieve or place a prop on a lower shelf. The magician gets behind his table, and bends or squats down. The magician "disappears," leaving only his posterior in view. This is not a graceful way to present your act.

Try to keep your props on the upper shelf only, and practice reaching for a prop without looking. Disposal of the prop after its use also must be rehearsed. Just being aware of this condition will hopefully help to eliminate it from your performance.

In my early days of performing, I worked standing behind the table. I have since learned to work to the side or in front of the table. When you work behind the table, you place a barrier between you and the audience. Plus, you can’t move freely about the stage. It is much better to work to the side or front of the table, and let the audience see all of you.

If you’re working in front of the table, and you need to return to the table to retrieve an item, do not turn your back when you walk to the table. Instead, keep facing the audience, and step backwards. Just like your individual effects, walking and standing on stage must be practiced as well.

Try to work most of your effects in your hands, not on the table. Remember, you are the performer, not the table. When you work the magic in your hands, instead of on the table, the audience looks at you, not the table. I can give you an example of how this works, using a common prop, the dove pan.

Usually, in a cooking routine, various ingredients are placed in the pan, the lid slapped on, then the pan uncovered, revealing a cake or other item. Typically, when the lid is placed on the pan, the load pan inside the lid is flashed, especially to those sitting on the floor down front.

A more effective way is to put the ingredients in the pan, then to lift the lower part of the pan off the table. The pan is tilted so the audience can see the ingredients inside the pan. Now, the lid is lifted off the table. Since the lower part of the pan is tilted towards the audience, the lid has to be tilted, as well. Since the open part of the lid, with load pan, is tilted towards you, away from the audience, the load pan isn’t flashed.

You can make a magic pass, say the magic words, and the production is made in the pan, while you’re holding it. The lid is quickly set down to the side, and you’re holding the lower part of the pan, with all attention on you. This is an example of showmanship, and how to add impact to your performance.

I’ve gone into great detail about a simple item, the magic table. I hope you’ll think about these suggestions. Try a few, and see if you feel they make your act stronger. Let me know what you think.

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