Easiest Magic Tricks - Impress Your Audience With Minimal Practice

First and foremost, I'd say that if you want to learn the easiest magic tricks and impress your audience with minimal practice then the fastest and most effective way to easily learn some very impressive tricks is with downloadable video tutorials. The advantages of these are many:

1. They're cheaper than buying DVDs (which probably have too much information for your needs anyway and can cost over $100) Downloads range from under $5 up to $20.

2. You don't have to wait for the mail to deliver your stuff - you can be watching and learning within minutes.

3. Most downloads teach tricks that you can do without having to spend anymore money on props, special card decks, gimmicks etc.

4. You get to watch a full demonstration of the effect free before you commit - so you know exactly what you're getting.

There are books and articles too, of course, but for your needs that can involve quite a high outlay and apart from the fact that the texts can be quite hard to interpret into action without seeing the trick done, again will have far more information than you need, which is just money down the drain.

So, that's one way of learning some easy but good tricks, quickly and with minimal outlay.

The question is, however, with hundreds of downloads available out there, what kind of tricks should you choose? Well, if your main criteria are that the tricks should be easy and quick to learn but still pack a punch then I'd suggest you go for some simple coin vanishes and productions, card swipes and color changes, book test mind-reading and some kind of penetration magic effect like a coin through a bottle. That sort of thing. Not only are these tricks all very visually impressive, but they also require minimal or no set up and can often be performed impromptu with borrowed objects - no fixed props or gimmicks. That's a great advantage and means that you can perform at least a couple of tricks just like that, when anyone asks you. That is one of the best ways to impress and makes your magic trick look really cool and powerful because you 'just did it' close-up and with preparation.

Just a word to end on which is very important. This article is designed to help you if you want to learn the easiest magic tricks and impress your audience with minimal practice but that does not mean...no practice! Even easy tricks need some practice. So it's only fair that i ge you some advice on how to practice your tricks so that you can have them up and running and working for you i the shortest possible time.

I recommend that you learn more than one trick, ideally three to five. Why? Because, when you've done your first trick people are going to be impressed and I guarantee the first thing they'll do is ask you to do it again or to see another one. Well, never do the same trick twice for the same audience on the same day. They'll catch you out the second time because they'll be trying to and you'll turn a cool moment into a silly moment. So what do you do? You say that you won't show them the same trick because you've got something else they'll enjoy - and you do another! Not being able to follow up on your success can really make a good moment deflate, so make sure you've got at least a couple of follow-ups. After that, I think it's fine to back down without any shame.

Okay, you've selected your download tutorials and you've watched the demonstrations and step-by-step instructions. Here's what you should do next:

1. Watch the demonstration and instructions again a couple of times to be sure you understand it.

2. Go through the motions of the trick very slowly to get everything in the right order and to get a 'feel' for the moves.

3. Keep practicing and slowly speeding up. Don't be put off if you make mistakes - it's part of learning!

4. When you feel comfortable that nine times out of ten you can do the trick smoothly and confidently, then check your moves in a mirror.

5. Practice some more.

6. Think of some 'patter' to go with your trick. Avoid telling the audience what will happen next. Stuff like 'I'm going to make the coin disappear' should be avoided. 'Okay. let's see what I can do with the quarter I borrowed from you. It was your quarter, right? And you just saw me put it in this hand, right? And i haven't touched it since? Okay, watch...' You open your hand and the coin is gone!

7. Practice some more with the patter.

8. Get out there and do the trick!

There are a few places these days where you can get downloadable tutorials but my own recommendation is at the end of this article based on experience I know that it's a trustworthy source with the best quality to price ratio you'll find. If you get really into magic and you want to take it further, then my site The Magic Tricks Homepage is the one-stop place for tons of free advice and information to help the serious budding magician make a start. But if what you want is the easiest magic tricks to impress your audience with minimal practice, then following the advice in this article should get you everything you want.

Austin Hackney is a performing magician, entertainer, theatre practioner and writer of many years standing, always keen to share his experience and encourage the novice. His website, The Magic Tricks Homepage is a great free resource for magic tutorials, articles, visual guides, eBooks and more. If you want to learn magic well, not just a huge number of tricks but solid performance skills, the site is well worth a visit. You can also download magic video tutorials here which is a great way of learning and building a repertoire.

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Lorgnette Opera Glasses: What Are They?

The term lorgnette is derived from the French words lorgner, meaning to peer at, and lorgne, or to squint. The lorgnette is a pair of spectacles with a handle rather than temples, the part of eyeglasses frames that extends over the ear to be held in place. This article explains in detail what lorgnette opera glasses really are. It all started with George Adams, an Englishman who is credited for inventing these glasses. In the early 1800s, it became high fashion to use eyeglasses with a handle - especially for ladies who didn't want to wear spectacles. These glasses were used more as an accessory or piece of jewelry than for helping the user to see more clearly. The lorgnette glasses were utilized mostly for reading or to see details on stage at the opera.

It made sense to add such a handle to opera glasses for the same reason as the spectacles. One would not choose to wear or hold them up during an entire performance, so to have a pair of lorgnette glasses would enable the user to hold the glasses up to their eyes only when desiring to see more detail in the costumes or facial expressions of the actors or singers. The handle was helpful to for the user to hold the opera glasses up without having to hold their arm as high in the air to do so. Naturally, lorgnette glasses also served as a lovely accessory for the elite at the theatre.

Newer versions of these lorgnettes are available today with telescoping handles that extend the handle to the optimum length for the user. This is done by twisting, extending, and then tightening the opera glasses at the desired length. The handle can also be folded on top of the opera glasses when not in use to make the theater binoculars more compact while not in use.

Opera glasses are compact, lightweight binoculars that are usually equipped with 3x or 5x magnification. This low magnification is used to enable a broad view of the stage while reducing the amount of image shake while handling them. The lorgnette version are only one of the popular styles of available now. Some models come with a red LED light to be able to discreetly read programs without disturbing other patrons. Another popular style of comes with a chain for the user to place around their neck and are enabled to have free hands during the performance. No matter which features you choose, your opera glasses are sure to enhance your theater experience and help to make any seat the best seat.

Davin has always enjoyed a night at the theater. He currently helps run a website where they sell all kinds of opera glasses including lorgnette opera glasses.

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Atlanta Playwright, Sherry Bell-Bradley, Blossoms in New Career

While lay offs were taking place on March 6, 2009, Sherry Bell-Bradley was working at the firms satellite office just blocks away. Unlike her colleagues, she learned of her faith the next day when she received her termination package in the mail. Instead of waddling in self-pity, Sherry turned to her writing and began constructing the foundation for her comedy murder mystery, Who Killed Uncle Pete? The stage play was an instant success since it first debuted in 2009. Although Sherry could not reveal and ruin the mystery of who actually killed Uncle Pete (you will have to see it yourself) she did, however, agree to discuss the inspiration behind the stage play, future projects she is currently working on, and her most influential writer.

Janet Thomson: Good morning Sherry thank you for taking time to chat with me.

Sherry Bell-Bradley: Good morning Janet and thanks for having me.

JT: Let's get right into it. Who or what is the inspiration behind Who Killed Uncle Pete?

SB: I utilized some family members' nicknames, but the characters do not depict my family. Uncle Pete was formed by listening to family and friends refer to their own family members. I combined those characteristics to form the character Uncle Pete. Nettie, Dulie and Dump: I had been all those women at one point in my life: nave, feisty, or simply tired of dead-end relationships. As far as who inspires me, it's my grandmother, Cleaster McCloud who has since passed.

JT: I understand that this is your first comedic production. When did you get the idea?

SB: For years my writing style geared towards social issues or experiences that I had encountered. I wanted to see if I could change my writing style--I wanted to see if my writing could be comical. It was my turn to host Girls Night Out and I decided to seize the opportunity. I wrote the skit and put it on in my backyard. I invited family and friends. After the party, I thanked everyone for coming, and I told them that the skit was the debut of Who Killed Uncle Pete? - The next day, I began writing to turn the skit into a play.

JT: Why did you decide writing as a career?

SB: I didn't decide - my destiny did. I had been writing since I was about nine years old. I could take 10 spelling words and write a mystery. I even wrote a collection of poems all summer long one year, and I gave the collection to my English teacher, Mrs. Grant.

JT: Sherry not many people understand their purpose in life how fortunate you are to have known so early that writing is your destiny. Now tells us what circumstances lead to your career move from legal secretary to full-time playwright.

SB: I had been in Corporate America in the legal field for years as a legal secretary, administrative assistant -- writing was a hobby. I wrote skits and poetry for the churches I attended. I even had the opportunity to write a play A Promise which focused on physical abuse with the Coleman Jr. High School Drama team performed at the Grenville High School. In January 2009, I started my company Mississippi Magnolia Productions, LLC. In March 2009, I was laid off from my job of 8 1/2 years, without notice. Then on June 7, 2009, I was hit by a car while walking in my sister's yard. The injuries I sustained; torn ligaments in both knees; damaged cartilage; fractured bone and spinal and nerve damage. I experienced short-term memory loss, loss of mobility of my right arm due to a pinched nerve and injuries to my spine. I could only stand or sit for short periods of time. Now mind you, my show was scheduled to debut June 22-23, 2009.

JT: Wow talk about tenacity and determination Sherry. You are very blessed to still be here and to have the momentum to continue with this project. I understand that you had some exciting and interesting circumstances happen while getting this production together, can you talk about those experiences?

SB: Yes, three weeks before my opening show - I can not recall most of the events that led up to the debut because of the medication and the pain, but I do recall we sold out. Although I had my wheelchair on standby, God granted me strength to walk out and thank the fans.

The January Show was organized mostly from the bed because my body ached with pain daily and the only outlet I had was writing - it was therapy. I reviewed the DVD of the rehearsals over and over again, and then I went to work. I made the necessary changes and yet again, the show sold out at the 14th Street Playhouse in January 2010.

On May 15, 2010, we traveled to my hometown in Greenville, Mississippi with a stellar performance at the historical E. E. Bass Cultural Arts Center. Later, we returned to my community at the Porter Sanford Performing Arts Center in Decatur, Georgia in October 2010 with another successful show. I wasn't released from the doctors until May 2010, the week I was scheduled to travel to Mississippi. For almost a year I wasn't able to work, but my writing kept my spirits up.

JT: Sherry your story is definitely one of inspiration for others, particularly for women entrepreneurs. Where do you get your motivation or inspiration for writing?

SB: Writing is therapy for me. When I am writing it releases stress and it gives me the opportunity to put my thought about certain incidents I have encountered on paper. It is a ministry - here I can offer my testimonies that hopefully, educate, uplift and encourage someone else.

JT: Well your story has definitely encouraged me. What is your goal for Who Killed Uncle Pete?

SB: In the near future, I hope to get investors, take the production on the road and one day see Who Killed Uncle Pete on the marquis at the Fox in Atlanta, Georgia.

JT: You have such drive that I'm sure it will happen. Are you working on any new projects?

SB: I am. There is a sequel to Who Killed Uncle Pete as well as a few other plays I will be working on this year.

JT: When can we expect a book of your memoir?

SB: I can't really say right now. I am so happy writing plays, traveling and putting on productions that I don't know right now.

JT: Who is your favorite writer and why?

SB: Maya Angelou, I have loved her since a child. I purchased and read her collection one book at a time. Me and Mrs. Angelou's novels on a nice sunny day, lying on a blanket in the backyard of my mom's house -- I could escape my life and travel with Mrs. Angelou, experience her life, laugh when she was happy and cry when she experienced hardships. I would write poetry because one day -- I would be as famous as Mrs. Angelou.

JT: Will a DVD be created for purchase in the near future?

SB: Yes, we expect to have Who Killed Uncle Pete available for purchase in 2012.

JT: How can people contact you?

SB: I can be reached at http://mississippimagnolia.net

JT: Sherry thanks so much for sharing your journey, and I wish you continued success.

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Can Irish Dancing And Panto Be Mixed?

Music and dancing are at the heart of every performance no matter what it is, or how it is intended to affect the audience. However, the performances are structured and two very different styles are not mixed. But, if you are brave enough to combine two strong styles and perform them well, I personally think you are guaranteed a success. The theatre combination of Irish dancing and panto may seem like an unusual mix but if you look at the audiences from either of these shows, you'll rarely find anyone who hasn't enjoyed the performances. Whatever your opinion is on the subject, both these performances are steeped in history and putting them together, you're offering the audience something they have never seen before.

Pantomime is a very traditional English performance that entertains people throughout the Christmas Holiday period. The history surrounding panto dates back over 100 years, and has been entertaining people from all backgrounds since the early days. Children's favourite stories are brought to life through escapism, and humour while also throwing in a few clean jokes for the adults. The audiences are encouraged to join in and help the heroes of the story to outsmart the villains. There is an overall great feeling about the panto, and everyone in the audience will leave feeling refreshed, and happy.

Irish dancing is also very historical, and is often split into two different forms of social dancing and performance art. This style of dancing became very popular in 1994 when "Riverdance" hit the stage proving that this form of dance was very entertaining. There are many different versions of Irish dancing depending on the part of Ireland you are from. Children are taught it from an early age, and at any social event or gathering you will see some children dancing. Irish dancing is very captivating, and people enjoy watching it for the technical side as well as the entertainment value.

With these two completely different forms of entertainment it seems strange to want to combine the two. However, thinking out of the box often provides the best performance of the year. There is no reason why Irish dancing cannot be combined with the entertainment value of pantomime. Both are extremely entertaining to watch and people love to see variety in performances. Although pantos are great they are very predictable and if you can inject a new element into them you will create an amazing show.

The audience will be amazed that you have included a complicated yet mesmerizing dance into the traditional feel of panto. There are no rules when it comes to performing and giving your audience something new and exciting is essential. Theatre and stage performances are all about the stage presence, and combining art forms. Using Irish dancing within Pantomime is a fantastic way to bring a new element to the panto season.

Irish dancing has become very main stream, and many people are getting interested in the dance form. It is not unusual to see the dance being done in schools, and in dance lessons all over the world. Good performers can turn their hand to anything including acting, and dancing. If you have open minded people that want to create something special this panto season, combining Irish dancing and traditional pantomimes is guaranteed to be a great success. You will be able to show that panto actors are versatile, and can give an outstanding performance every time.

I've personally been involved in the Bolton Amateur Dramatics scene for over 10 years now and enjoyed every minute of it! If it's something you'd like to try out, why not contact your local amateur dramatics society to see if you can get involved.

As for Irish dancing, this was something I was involved in when I was young. It's enjoyable to do and very entertaining. It also helps you to stay fit. However, I do advise you to wear the appropriate footwear. There are many types of Irish dancing shoes and if you are unsure what type to purchase, go to your dance teacher to seek advice.

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Famous Nights Out for London Theatre - Try West End Shows

One London theatre attraction that never fails to draw huge crowds is the West End that is home to some long-running musical and other West End Shows. Tickets to this Theatreland can be quite in demand especially during peak seasons. Below are just some of the famous musicals that you can see at London's West End.

Who doesn't know or at least heard of Les Miserables that is based on the classic novel of the same title by French author Victor Hugo? Les Miserables is actually the longest running show of all time in London's West End. This is one of the huge crowd drawers. Some people have seen Les Miserables twice or even three times and still wouldn't mind watching it again for a couple more. That's simply how popular the musical is. It seems that theater goers just can't get enough of the themes of love and redemption that is wonderfully portrayed by the play. And with beautiful songs such as "Can You Hear the People Sing" and "I Dreamed a Dreamed," it was really destined to become a hit.

Another classic is the Phantom of the Opera that opened only a year after Les Miserables, making it the second longest-running musical at London's West End. It is probably the most well-loved of all Andrew Lloyd Weber creation. Based on Gaston LeRoux's novel, the story's themes of love and obsession is masterfully represented by the blending of opera and rock. "The Point of No Return" and "Masquerade" are just two of the most unforgettable songs from this musical.

If you are looking for a more contemporary musical, then We Will Rock You will definitely be to your liking. Running for eight years already, the show is set 300 years into the future and depicts the life of a young non-conformist named Gallileo and his battle against the corporate Killer Queen. If you are a fan of the British rock band Queen then you will be delighted to know that this show features some of their greatest hits such as "We Are the Champions" and of course "We Will Rock You."

Another modern classic is Mama Mia that is famous not only among Abba fans, but to everyone who can appreciate a good light and funny story. It is about a young, fatherless bride named Sophie who just discovered that her mom dated three men at the time of her conception. For her wedding, she decides to invite all three of her potential dads, turning the story into a series of one amusing scenario after another. And with Abba hits in the score such as "Dancing Queen" and "Mama Mia," this show is simply irresistible.

With all the good theatre showing in London's West End Shows, it is not hard to imagine why it is quite hard to get West End tickets. Online Theatre Tickets outlets are definitely a blessing to theatre lovers. Through these sites, you can order your tickets in advance. No need to join the long ques at London's West End.

Frank Belanger West End Shows are the place to go for a great night out in London and get tickets at http://onlinetheatretickets.com/

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Learn How To Be A Better Performer

Imagine yourself standing on a beautifully decorated stage, with all the lights and stuff. And with crowds so large, they have to get up on each other just to see you perform. People are screaming your name, waving banners and posters with pictures of your face printed on them. Sounds great, doesn't it? Well, I'm here to tell you that it isn't impossible for you to achieve that vision. With the right passion and constant practice, you're sure to get there. But I'm also here to tell you that when you do get up to that point of your career, there's a huge possibility for you to freeze up and forget your lyrics or displease the crowd because of a poor performance.

A live singing performance is the ultimate test for all the technical skills a singer has learned from all his practice sessions. A singer must possess the right attitude towards performing, as well as inherit important habits that would aid him in his performance.

Here are three things you have to keep in mind if you want to be a good singer and performer:

1.) An amazing voice is useless if you don't possess good articulation and enunciation skills. Singing without pronouncing the lyrics correctly generally kills the whole song. For people who aren't used to singing in different accents, this skill would be a tricky one to learn. Articulation is also important because it enormously affects the tone displacement of your voice, and could also affect the way your voice resonates around your head or chest. There are many exercises on how to develop this skill. One of them is to practice reading aloud. It sounds really basic, but it works.

2.) Loosening up your jaw before every performance is a must. Most singers don't realize how tense their jaws are before they sing, and that could usually result to a disruption in their vocal tones. Remember to always stretch out you jaw muscles before singing.

3.) One of the most important things to get rid of when performing is stage fright. An effective way to eliminate stage fright is to plan out your song before performing so you won't have to stop and think about your next move in the middle of your performance. Experience is also an important factor in performing. As you play at more gigs, you gain more experience and lessen the chances of falling into stage fright.

There are many resources on the web that offer quality singing tips. In order to find the best singing tips and learn expert advice on how to sing, research about the page author's experience as well as his competency in the field of music and singing. This way, you know you are not being deceived into getting a lot from them and yield minimal to no results.

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5 Tips on Card Magic for Beginners

All of the finest card magic books follow a pattern in teaching sleight of hand for beginners. First they teach the terminology and the technical terms to define card sleights.

They start by teaching the different grips or ways to hold the cards. Women and young children have smaller hands therefore they should use bridge size cards.

1. The overhand and false shuffle : This is usually the first sleight taught. You must learn how to control the cards. I personally believe that it is easier and better for the beginner to focus on self-working card magic in the beginning so that they can get some effects that they can perform.

The next thing is the false cuts also known as blind cuts. The glimpse is a good sleight to learn next because sometimes the spectator will ask to shuffle the cards.

Forcing cards is a method for making the spectator select the card that you want them to, even though they believe that it was a free choice.

2. Palming cards: In magician's terminology means to take a card or cards and hold it concealed there without it's presence being suspected by the audience. The principle is an important one in card magic. Many of the finest feats possible depend on it.

The best methods of palming cards are not difficult to do. The reasons that palming is neglected or badly done by cardmen are:

a. Bad misdirection
b. Lack of confidence

The first thing a beginner might say is that their hands are too small, this is usually an excuse for not practicing enough or practicing wrong techniques. If your hands really are too small then use smaller cards as stated earlier like the bridge size.

3. Double-lifts: When used deceptively, naturally and in moderation this fundamental sleight is very useful. Unfortunately any card men do it badly and far too often. We would caution the student first to learn to execute the sleight perfectly and then to use it sparingly and discreetly.

As the name implies, the sleight consist of secretly lifting two cards as one, turning them face downwards again. The cards should be squared together perfectly. They should not be handled like a brick. Make it look natural.

4. The Pass: The first exposition of the principles of card magic was published in 1769 by the french writer Guyot, and it was he who first laid down the dictum that master of the pass is the first requisite of the art of conjuring with cards.

The pass is a very difficult sleight to master. The principal use of the pass is to secretly bring a chosen card from the middle of the pack to the top, or vice versa.

5. Top Change: There is no other sleight in all conjuring with cards which will give you so much pleasure as this. More than any other sleight, it lends itself to proper misdirection, improvisation, the delightful ad-libbing. This is one way to have a lot of fun with cards. This creates more of a battle of wits and so much laughter.. You can really engage your audience with this method.

To exchange one card for another boldly and under the noses of those who watch, without being detected, is a sweet triumph! It is also good entertainment.

This sleight is difficult to perfect and requires a lot of practice,understanding and timing.

Francesca Wilson has been a member of the local magic club for over eight years and has had the pleasure to meet and work with some of the best magicians in the world. Visit our site to get a FREE mini-course on the "Little Known Secrets of Magicians" http://www.magictrickshowto.com/how-to-do-card-tricks/

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