A visit to the Magic Circle

This is written VERY late after a VERY long day in London. During the day I performed "wee Wee Mentalist" and "twilight angles" with a deck stacked to perform each one after another. These both packed a large punch with those I performed to.
The circle vist had two purposes,. One to witness some world class magic, the other to hand in our forms to join up. The performers were  Michael Vincent, Will Houstoun, Robert Pound and Franco. Michael Vincent was as elegant as ever, and the magic of Robert Pound was enjoyable and showed why he was one of the most booked workers out there.

Michael Vincent performed spectacular fluid and elegant magic. A demonstration of "the Professors nightmare" that has made me want to grab my magic books and rope and expand my range. He also included a few  comments to one of his effects just to freak out magicians. Just as Paul Daniels baffled us by passing the hoop over a levitating girl just once MR. Vincent  freaked us out by demonstrating that a trick we've seen before and KNEW used an invisible deck did NOT use an invisible deck that time. We spoke to him afterwards and he was very happy that we noticed this as he'd been in debate with another magician about weather or not he needed to  demonstrate this.

I got a chance to chat to Michael Vincent at the end of the night and ask his advice for the  examinations. I asked him to sit through a quick trick and to tell me if i was pitching at the right level. I performed wee we mentalist. HE did seam to genuinely enjoy the effect, I asked for his input. His suggestion was to place that in the middle, to finish on a strong closer and to do something to catch attention in the first 30 seconds.  HE also spoke of classics of magic, and how a classic is a classic for a reason. He said a classic performed with my own personal  twist would be good addition to a set and impress the examiners,  At this point Robert Pound joined us. I spoke of my plan to  perform the "4 card trick" with a little stick man and they both agreed this  would be a good example of a classic reworked.
So next step. List all I can do, find out how long i have to perform for, time myself and work out a structured routine with what I have. And then look at additional material, robe magic, cups and balls etc. It may sound odd to build a routine and then take bits out for new material, but his way I will be ready to go with little prep, and can slowly improve this set as opposed to waiting until I master something new, rushing to learn and still not having a clear vision of  what i want to do for my audition.

Time to hit the books and que the montage music