The Tour Is Over

That’s it. The tour is over.

I performed 35 shows at six festivals in six cities and two countries. Plus, I also performed the show another 30 times in Chicago to get it ready. 

So, what did I learn?

First, I can do this. All on my own, without a manager or agent or publicist. I consistently sold out theaters and built buzz without a big budget or team behind me. That’s how the best shows at fringe festivals do it. They have a good product and they work tirelessly to get the word out. 

Second, this is exhausting. There was a stretch this summer when I didn’t sleep more than two hours a night for over 10 days. Albeit, I was leaving festivals in the middle for corporate gigs then returning to finish my run. But, my insomnia was at an all-time high and I struggled to stay rested. Coffee remains my best friend.

Also, I found the show. It was like the statue of David, encased in stone waiting to be chiseled away and revealed. (Although, it isn’t remotely close to being a Michelangelo-level-masterpiece but I really like the metaphor.)

Somewhere between New York City and Orlando, I found the message. It’s not a mind reading show - it’s a show about mind reading. Over time it’s become a manifesto for everything I believe in, using mind reading and storytelling to express a single idea.

Some people got it, many did not. I learned not to worry about reviews because most writers didn’t understand. As long as the review was positive it would help fill the seats, even if they weren’t fully capturing the essence of the performance. I realized that once I sent an idea out into the world it stopped belonging to me. And I had to be content knowing that I had done my best to express myself, even if no one got the point.

Another thing I learned is that it’s easy to get pigeon-holed at a festival. You have to choose a performance genre because people want to know what to expect. But if you aren’t careful, people can get confused in a hurry.

So often the press would insist on calling it a “magic show”, even though I never use that expression. I could sense that the only way to get people to see my show was to choose the “magic” category, even though it was clouding the expectations of my audience. People would come expecting a standard magic show and I did my best to convince them they were seeing something unique and better.

Common feedback was something along the lines of “I usually don’t like magic shows but this one is different!” followed by a solid recommendation. That comment taught me two things:

1. I’m on the right track.
2. Too many magicians have similar shows and haven’t worked hard enough to appeal to a broader demographic.

Recently a performer was discussing a (in my opinion) cheesy prop online. HIs comment was “There’s a time and place for everything. I try to give the audience what they want.

I prefer to do the opposite.

I think about what I want to do and I consider what I want to say. Then I write my show to convey my own personal truth. The hardest part is convincing the audience it’s what they wanted all along.

By the end of the tour, the show was doing exactly that. My audiences were raving and I ended up winning a total of five awards in the process, including “Best of Fringe” (NYC), “Audience Choice” (NYC), “Pick of Fringe” (Orlando), “Critics Choice” (Portland, ME),  and “Outstanding Magic or Mentalist Performance” (San Diego).

I feel like all the rehearsing and writing and traveling and performing and dreaming finally paid off. I’ve spent the better part of the last several years crafting this show from the ground up and I’m so proud of it. But it’s time to bid it farewell.

I have other things to say and more, possibly better, ideas. If I don’t explore them now and force myself to create something else then I’ll never grow as an artist. I don’t want to settle for something just because it works. I want to evolve and change onstage, just as I do in the real world. 

So, I’m already writing the next show and will be presenting it for the first time at the Chicago Fringe Festival in two months. Then I’m taking the show on the road.

For as long as I can remember my biggest goal has been to do a full-blown theatre tour around the U.S. I’d like to say it’s time to check that goal off the list but I’m not ready for that just yet.

The end of this tour is only the beginning.