By Scott Wells, edited by Mica Calfee

 

Sress. I'm convinced that everybody experiences it. I used to think that only I had job-related stress, but now I believe that it doesn't matter if you are a CEO of a major corporation or work as the janitor in that Corporation's building or even carry out groceries, you still experience stress. Everyone expects something from you by a certain time - your boss, your customers, your stockholders, and even your family.

 

Each of us experiences stress to a different degree, and there's a difference in the way we handle it. We may try to eliminate stress by relaxing on the weekend or through a hobby. Many of us play golf, tennis, racquetball or some other sport that relieves our tensions through a physical activity. Those who are reading this column, however, no doubt relieve their stress by tossing objects into the air.

 

But even jugglers experience stress. We experience stress in making the calls to get the shows and fearing rejections, making the right impression on the phone to convince the client that you are the one for them. Once the show is booked, there is the planning, routining for each performance, making sure that each routine is just right for that particular group and rehearsal.

 

The real stress begins before the show as we check and recheck to make sure that we have everything we need for that performance. Then we're off, hoping that the directions are correct and that we don't experience any traffic delays getting there or parking problems once we arrive.

 

Once we get there, we need to hurriedly find our contact, bring in our props, find the stage and start setting up our show. Next we have to check the lights, see if the electrical outlets work, and do a mike test. Most importantly, we check to see where and how the audience is seated and make any last minute adjustments to our routine due to bad angles. During the show we worry about making sure that each trick was rehearsed well enough to avoid problems and use of a "drop line."

 

Also, how is the audience reacting to your show? Are they responding like you think they should? And what about timing? Not just your timing of the jokes, but the flow of the entire routine for its maximum impact. Also, is the show too long or too short?

 

After the show, how have you arranged for payment? Do you have to chase down your host? Do they need an invoice? Do they need to find someone else to sign the check? Is there a misunderstanding in your charge? Once the show is long past, how do you know what they liked about your performance, or if they even cared for you at all?

 

One of the best ways to reduce stress is to reduce the number of surprises. Much stress can be eliminated by careful planning. As soon as the show is booked, you should immediately follow up with a performance agreement or contract. It may not seem like much (and it may not stand up in court!), but seeing the details agreed to by both parties in writing is a great stress reliever, given the misunderstandings that can occur with a verbal agreement. You have it in writing when and where you are to perform and how much and in what manner you are to be paid. Moreover, you have reduced your sponsor's stress because that is one less thing that they have to worry about.

 

Once the show is booked, make sure they send you a map of how to get to the location. If it's possible, drive to the site before the show to see how long it takes you, and what potential problems you could have in making the correct turns or in finding suitable parking. As Slydini, a famous magician, said "check out your battleground first!"

 

Go inside and make contact with the restaurant / banquet manager or maitre d' to find out how the room will be set up for the evening of your performance. If necessary, find out where the electrical outlets and light switches are and if the stage size and sound system are adequate. Find out how the tables will be situated around or in front of you, where the curtains, band or wall will be in relation to you.

 

Check on the lighting conditions... will they be able to dim the lights or focus on you with the spot or overhead lighting, or will there be full lighting? Will the lights blind you completely? Will there be a window behind you that could be distracting to the audience? If it is impossible to go to the location prior to the show, you should at least contact the establishment by phone to answer as many of your questions as possible.

 

It helps to have a checklist handy from which to read questions. No doubt they can also give you better directions than your sponsor and tell you about the best parking and where to unload.

 

You may only be performing a strolling routine but it still needs some advanced preparation. Will you be competing with a band, and if so, where are you to stroll? Do they want you to stroll throughout the entire area inside and outside, around the pool, or just in a specified area?

 

If this is to be an outside festival-type performance find out if there will be other performers. What is the nature of their acts? Will they have mikes and P.A.'s you will be competing with? Where do you set up, leave your extra props, etc.? Is there a place where you could stand that might be more convenient for the crowd to stroll past you?

 

If you are not careful you might find yourself in a church basement with seven-foot ceilings on a six-inch platform attempting to juggle machetes! Trust me, it's not a pretty sight!

 

On the evening of the show, be sure to give yourself enough time to get there and set up and plan to have about 15 minutes to spare before show time. Normally banquets run late so you will have plenty of time before your show starts, but don't plan on that happening 100% of the time. The time you arrive late expecting them to start late is the time they will be waiting for you.

 

After the show is over you should make notes on how long it lasted, perhaps even how long each routine took. This will be helpful in planning your next show when you want to include some of the same routines for another group. By keeping a record of your act, you can mix and match some effects when routining your next show. Additionally, if you are booked by the same group, you know what you did for them the last time.

 

Immediately after the show you should ask what effects they liked best so that you can start to eliminate items that receive the least comments and leave in those strongest, most memorable tricks or jokes. Remember, you are trying to produce the most entertaining show you can. This very often has little to do with how difficult the trick is or how long it took you to learn it. The more you listen to your audiences the easier it will be for you to give them what they want. This can take a great deal of stress off of you. If you know you have a very entertaining show that gives the audience what they want, the show or routine will be more fun for you.

 

After you get home, send the sponsor a thank-you letter and request that they send you a letter of recommendation to be used for your booking of future engagements. The best way to ensure a response is by enclosing a self-addressed, stamped envelope for their reply.

 

A little planning goes a long way in eliminating stress in juggling or any other job. And less stress means we live longer, and a longer life means that we can do more shows. And more shows means more experience. And more experience means improved quality with each show. And what this world needs is better jugglers elevating the art to its highest degree!  

 

Scott Wells is a part-time professional magician in the Dallas area. He is also a contributing editor to "Magic Magazine," and has a degree in advertising and journalism. Mica Calfee is a part-time professional magician and juggler in the Dallas area. He and his wife, Judy, comprise the juggling team "Air Dimension." His degree is totally unrelated to entertainment, or journalism.