I am very pleased and honored to post the first Magical Conversation with Magic Castle mainstay, FITZGERALD! One third of The Unholy Three, Fitzgerald’s style of magic and comedy has to be seen in person to be truly appreciated, and I urge everyone to make it a point to catch one of his live performances. As a special treat, I’m posting two Fitzgerald videos from YOUTUBE at the end of this Magical Conversation. Enjoy!
And please post comments and any questions for Fitzgerald and any of our other magicians, as they will check back when time allows, and post answers to your questions.
MK: What first drew you into the magical arts?
FITZ: I grew up in a suburb of Chicago called “Palos Heights”. I had a couple of local neighborhood friends who were interested in magic; they initially sparked my interest. I recently returned home from a visit with my parents; I stayed in the same room where I grew up. I started practicing my card manipulations in front of the mirror again. I recall how absolutely thrilling magic was for me as a boy growing up in the moody, cloudy, often bitter cold environment of suburban Chicago. I think magic lifted my spirits!
MK: Who were your inspirations when you first started, and if they have now changed, who are they, and why have they changed?
FITZ: How could you grow up in the 70’s and not be influenced by Doug Henning? His NBC specials were always great events for me. I remember being really excited about seeing Copperfield (when he was just 18) in the musical The Magic Man in Chicago. And I also used to get magically “psyched” watching Bill Bixby in the TV series The Magician. A magician solving crimes with magic and living on the top floor of the Magic Castle? Does it get any better?
I really loved Ricky Jay when I first saw him on a Doug Henning special. I used to always watch for his talk show appearances. I found him amusing and an excellent magician. Jay’s Cards as Weapons was a significant book; it was literary and humorous.
I used to enjoy watching the Amazing Kreskin. Here was a guy doing simple card tricks and passing it off as mind-reading. Fantastic! And I found him funny: those Coke-bottle yellow-tinted glasses and a ridiculous laugh on top of a serious demeanor.
The first time I ever read a Paul Harris book, I was knocked out. It was absolutely refreshing. Prior to that, I remember burying my head for hours in Expert Card Technique by Hugard/Braue. I had also been studying a lot of Marlo stuff. But Harris really opened my eyes to how a deck of cards could be turned inside out. His whole presentation, point of view and writing style were revolutionary for magic books.
I put together a close-up act based on his routines (along with Daryl Martinez’s & Don Alan’s) and worked in two restaurants in the Chicago area during college.
I think Johnny Carson was a big influence, too. I knew that he was into magic and I found that inspiring – that a guy who did card tricks as a boy could grow up to be the premiere television entertainer.
When I started really working on my present act/persona (at about the age of 30), a lot of influences came into play. I was no longer just influenced primarily by magicians, but by writers, artists, and comediens. Here are a few: W.C. Fields, Woody Allen, Dave Letterman, Steve Martin, Jack Benny, Penn & Teller, Quentin Crisp, Andy Warhol, Ernie Kovacs, F. Scott Fitzgerald, etc. And the list goes on and continues to grow. (Now I’m interested in silent film comediens.) There are bits and pieces of the above individuals in my act.
MK: Did you join any magic clubs when you first started?
FITZ: There was a local club in suburban Chicago – I’ve forgotten it’s name. I recall going to a few meetings and meeting some peculiar characters. There was a guy who always was wearing a neck brace –and he’d do magic while wearing it. That image still makes me laugh.
In high school, I worked at “Riley’s Trick Shop” on 111th Street in Oak Lawn. It’s still in business today but they don’t sell magic anymore – just gags and costumes. I used to demonstrate tricks; it also gave me the chance to see the latest magic books on the market. That’s where I encountered Paul Harris’ first book.
MK: Did you have a mentor?
I took a magic class at a local school; the instructor was named Bill Dunbaugh. On his business card, he billed himself as “The Wizard of Ahs”. He was a good guy, took an interest in me, and taught me some practical magic moves.
My mentors were primarily books – particularly, the Tarbell Course. So, I’d say the deceased Harlan Tarbell was my mentor! And in an odd way, he still is to this day. I recently bought from Mike Caveney the original Tarbell poster that he used to include with his course; it shows Tarbell demonstrating lessons in the course. I had the poster fixed up and framed; it now is displayed prominently in my house.
Bill Malone performed at an ice cream shop near my house. I used to go and see him now and then. He had a reputation back then as a card guy. He had the same style as he does today. A regret is that I never got to meet Ed Marlo. For whatever reason, it never worked out.
MK: As we are always constantly learning, do you still have mentors or trusted eyes when trying out new material?
FITZ: For the most part, I lean on my “Unholy Three” pals, Rob Zabrecky and Dave Lovering. I can depend on them for honest critiques.
MK: Do you remember your first act? What was the lineup of illusions you presented in that act?
FITZ: I did my first act when I was about 12. I did a lot of standards like the linking rings and the cut & restored rope; I also did a lot of stuff from the Tarbell Course – ribbons through the body, a six card repeat with jumbo cards. I used to finish my kid’s act with the “EZ Hat Loader”. Classic.
MK: How has your act evolved to where it is today?
FITZ: When I first moved to Los Angeles, I didn’t have a stand-up act or persona. I had a close-up act that combined Paul Harris & Daryl Martinez routines – but with original patter. After one week in L.A., I auditioned to be a member of the Magic Castle and passed with flying colors! It was my second year out of college and I was teaching high school in Burbank at the time and going to the Castle occasionally. However, I found that I couldn’t connect with other magicians at the Castle (either I was too shy or intimidated – or perhaps they were arrogant). So, unfortunately, I dropped out of the scene for about seven years. And that’s too bad because the Castle was probably the main reason I moved to L.A. in the first place. I only went there when I had a date (which was infrequently). I started experimenting with stand-up comedy, improvisational acting and character development. I also started writing and hosting a public access cable show called, “O’Brien’s People.” (My real name is Gary O’Brien). It featured friends of mine playing peculiar characters. Lots of the interviews are on You Tube.
Eventually, the hankering to do card tricks and to get back to my performing roots returned. I also grew tired of the comedy scene in L.A. Half the battle in putting together an act (apart from writing and performing it) is that you have to hang around depressing environments, like coffee house open mikes and comedy clubs. And stage time was difficult because there were so many people trying to break into comedy in the late 80’s, early 90’s. So, I figured, if I’m going to work on an act, why not do it in a nice environment like the Castle and where I know that I can get an audience in the basement on a Friday or Saturday night. But, again, I encountered the same attitude from other performers/members as seven years before. And I was still shy/intimidated by other magician members. It seemed like the only people I could connect with were the parking guys and the bartenders; they were friendly to me. I probably would have dropped out again if it wasn’t for one person: Tony Picasso. Tony spoke to me and introduced me to other people. So, I may not have ever had an act if it wasn’t for him – and, for that, I’m forever grateful. And so I started hanging out in the basement of the Castle working on an act and performing for “overflow” crowds whenever I could. I also recall magicians Dylan Sardo and John Lovick hanging out in the bowels of the Castle, working on their acts.
I auditioned for the Parlour in 1996 and passed; I did my first Parlour shows that year. My act is pretty much a summation of my life – things I did as a kid (like card productions), things I thought about in college (biology and the workings of the human body), bits I developed during my stand-up years, and stuff that reflects me now. I place a heavy emphasis on writing; since I was 18, I’ve always wanted to bring a literary quality to magic routines. It was not until I met Rob Zabrecky and Dave Lovering that I started considering doing routines to music.
MK: If you could have a conversation with any magician who has now passed away, who would you choose, and what would you ask them?
FITZ: Tarbell. From what I’ve read, he was such an odd, eccentric bird. And he crossed paths with a lot of the great magicians who performed in Chicago.
Also Hofzinser. I’ve always had an obsession with playing cards – and he may have been the first guy to ever really “nail” it, i.e. creating remarkable, never been seen before, literate routines. He brought a pack of cards to life.
MK: Do you have a favorite magic book?
FITZ: Hands down it’s the Tarbell Course. Everything you need to know about the craft is there. And it’s written with great warmth and sincerity.
MK: Do you feel with the direction both magicians and magic dealers are taking with the “fry your audience with one trick at a time approach”, the art of building a routine is dying? And how do you think this will impact magic in the future?
FITZ: Audiences do talk about amazing tricks. But the problem comes when audiences separate the trick from the performer. They remember that some guy did a trick where he pushed a needle through his arm - but don’t remember the name of the performer. You’ll be successful with people who have short attention spans or who want to use you: “Show me a trick!” or for TV producers who want to take advantage of you (“Can you do something in 30 seconds? I’ll give you a hundred dollars.”)
If the audience is remembering the trick but not the performer, something’s wrong. So the “fry your audience with one trick at a time approach” may be successful in the short term for some magicians. But to be truly memorable, tricks and routines need to be built from character.
MK: At The Magic Castle, you perform as part of the Unholy Three. Can you please tell us a little about the history of The Unholy Three, and how you came to be a part of it, and how substitute performers are chosen to fill in when they are needed?
FITZ: John Carney used to organize his “Wonder Workshop” once a month. It was an opportunity for performers to try out material and get feedback from other performers. Rob, Dave and I met there. They were performing in some shows at the Knitting Factory in Hollywood – and I asked if I could perform in their shows. And then we started performing on Friday nights for “overflow” crowds in the bowels of the Castle. (Back to the basement!)
With the exception of John Carney and a few select others, we rarely have substitute performers. We’ve developed our own “schtick” and rhythm and it’s not as easy to insert another performer into the show.
MK: I love your playing card productions. During this routine you recite a very interesting poem/rant. How long did it take you to write the poem, and how long did it take you to memorize it?
FITZ: I think it’s a completely original routine. It took years to write and went through endless revisions. I tried to make it rhyme, have a rhythm, and be funny. It’s a really difficult routine for the audience to grasp because there’s so much going on: I’m producing cards rhythmically, talking about my life, and trying to get laughs. The pacing and the pausing have to be just right or it’ll go over their heads. I used to finish my solo act with it. I have a terrible memory so it took brute force to get it locked in my head. (When performing, I still keep the words posted nearby in case I “go blank”). The routine became even more complicated when Rob and Dave added music to it. It’s becomes a real performance art piece. I’ve begun writing a second version of it.
MK: How has performing at The Magic Castle changed or helped your career?
FITZ: In a very practical sense, The Magic Castle taught me how to dress! The dress code forces you to wear a coat and tie; it made me think about men’s fashion and what looks right. It influenced my character in a big way. Fitzgerald sees himself as a bit of a fashion-hound and that was discovered through the discipline of a dress code.
MK: Are you performing magic full time?
FITZ: I do not perform magic full-time. I work as a “contestant executive” for Wheel of Fortune. I try to keep both lives completely separate. Lately, the Unholy Three have been getting a lot of outside gigs. Who knows what the future may bring?
MK: How do you go about creating an original effect?
FITZ: I don’t know if I’ve created any original effects. Original presentations, yes. It all comes from character. How would Fitzgerald do a cut and restored rope routine? Why would Fitzgerald do a cut and restored rope routine? You’ve got to ask yourself those questions before you invest the time.
MK: How important is it to you for magicians to perform original material as opposed to performing proven material with their own presentation? Or is it important at all?
FITZ: To me, it makes no difference whether they perform original material or proven material. The important thing is that they put themselves (their character) into it. That’s what the audience will ultimately remember – you. In show business, that’s what the audience should remember: you, your name, your essence. If they’re just remembering that some magician guy made the Statue of Liberty vanish, you’re probably on the wrong track.
MK: What’s the one piece of advice you have for a person starting out in magic?
FITZ: Figure out who you want to be on stage; what persona you want to present to audiences (whether just “yourself” or a character.) Then read and study the Tarbell Course. Learn to do a couple of tricks; don’t try to learn too many tricks. Be patient – you don’t learn sleight of hand or presentation overnight. And don’t be intimidated by other magicians. Lots of them take themselves way too seriously – even the ones who do comedy.
MK: Any closing thoughts?
FITZ: Magic & comedy require a lot of hard work. And time. And discipline. Never think that you’re done with your act. You have to keep on working on it. I get mad at myself when I’m slacking on certain routines or feel like I’m not progressing. You can’t rest on your laurels, on your past routines. You have to try to move forward.
http://www.youtube.com/watch?v=e2YkGaBWE2c
http://www.youtube.com/watch?v=YOsszlm3JvA
And please post comments and any questions for Fitzgerald and any of our other magicians, as they will check back when time allows, and post answers to your questions.
MK: What first drew you into the magical arts?
FITZ: I grew up in a suburb of Chicago called “Palos Heights”. I had a couple of local neighborhood friends who were interested in magic; they initially sparked my interest. I recently returned home from a visit with my parents; I stayed in the same room where I grew up. I started practicing my card manipulations in front of the mirror again. I recall how absolutely thrilling magic was for me as a boy growing up in the moody, cloudy, often bitter cold environment of suburban Chicago. I think magic lifted my spirits!
MK: Who were your inspirations when you first started, and if they have now changed, who are they, and why have they changed?
FITZ: How could you grow up in the 70’s and not be influenced by Doug Henning? His NBC specials were always great events for me. I remember being really excited about seeing Copperfield (when he was just 18) in the musical The Magic Man in Chicago. And I also used to get magically “psyched” watching Bill Bixby in the TV series The Magician. A magician solving crimes with magic and living on the top floor of the Magic Castle? Does it get any better?
I really loved Ricky Jay when I first saw him on a Doug Henning special. I used to always watch for his talk show appearances. I found him amusing and an excellent magician. Jay’s Cards as Weapons was a significant book; it was literary and humorous.
I used to enjoy watching the Amazing Kreskin. Here was a guy doing simple card tricks and passing it off as mind-reading. Fantastic! And I found him funny: those Coke-bottle yellow-tinted glasses and a ridiculous laugh on top of a serious demeanor.
The first time I ever read a Paul Harris book, I was knocked out. It was absolutely refreshing. Prior to that, I remember burying my head for hours in Expert Card Technique by Hugard/Braue. I had also been studying a lot of Marlo stuff. But Harris really opened my eyes to how a deck of cards could be turned inside out. His whole presentation, point of view and writing style were revolutionary for magic books.
I put together a close-up act based on his routines (along with Daryl Martinez’s & Don Alan’s) and worked in two restaurants in the Chicago area during college.
I think Johnny Carson was a big influence, too. I knew that he was into magic and I found that inspiring – that a guy who did card tricks as a boy could grow up to be the premiere television entertainer.
When I started really working on my present act/persona (at about the age of 30), a lot of influences came into play. I was no longer just influenced primarily by magicians, but by writers, artists, and comediens. Here are a few: W.C. Fields, Woody Allen, Dave Letterman, Steve Martin, Jack Benny, Penn & Teller, Quentin Crisp, Andy Warhol, Ernie Kovacs, F. Scott Fitzgerald, etc. And the list goes on and continues to grow. (Now I’m interested in silent film comediens.) There are bits and pieces of the above individuals in my act.
MK: Did you join any magic clubs when you first started?
FITZ: There was a local club in suburban Chicago – I’ve forgotten it’s name. I recall going to a few meetings and meeting some peculiar characters. There was a guy who always was wearing a neck brace –and he’d do magic while wearing it. That image still makes me laugh.
In high school, I worked at “Riley’s Trick Shop” on 111th Street in Oak Lawn. It’s still in business today but they don’t sell magic anymore – just gags and costumes. I used to demonstrate tricks; it also gave me the chance to see the latest magic books on the market. That’s where I encountered Paul Harris’ first book.
MK: Did you have a mentor?
I took a magic class at a local school; the instructor was named Bill Dunbaugh. On his business card, he billed himself as “The Wizard of Ahs”. He was a good guy, took an interest in me, and taught me some practical magic moves.
My mentors were primarily books – particularly, the Tarbell Course. So, I’d say the deceased Harlan Tarbell was my mentor! And in an odd way, he still is to this day. I recently bought from Mike Caveney the original Tarbell poster that he used to include with his course; it shows Tarbell demonstrating lessons in the course. I had the poster fixed up and framed; it now is displayed prominently in my house.
Bill Malone performed at an ice cream shop near my house. I used to go and see him now and then. He had a reputation back then as a card guy. He had the same style as he does today. A regret is that I never got to meet Ed Marlo. For whatever reason, it never worked out.
MK: As we are always constantly learning, do you still have mentors or trusted eyes when trying out new material?
FITZ: For the most part, I lean on my “Unholy Three” pals, Rob Zabrecky and Dave Lovering. I can depend on them for honest critiques.
MK: Do you remember your first act? What was the lineup of illusions you presented in that act?
FITZ: I did my first act when I was about 12. I did a lot of standards like the linking rings and the cut & restored rope; I also did a lot of stuff from the Tarbell Course – ribbons through the body, a six card repeat with jumbo cards. I used to finish my kid’s act with the “EZ Hat Loader”. Classic.
MK: How has your act evolved to where it is today?
FITZ: When I first moved to Los Angeles, I didn’t have a stand-up act or persona. I had a close-up act that combined Paul Harris & Daryl Martinez routines – but with original patter. After one week in L.A., I auditioned to be a member of the Magic Castle and passed with flying colors! It was my second year out of college and I was teaching high school in Burbank at the time and going to the Castle occasionally. However, I found that I couldn’t connect with other magicians at the Castle (either I was too shy or intimidated – or perhaps they were arrogant). So, unfortunately, I dropped out of the scene for about seven years. And that’s too bad because the Castle was probably the main reason I moved to L.A. in the first place. I only went there when I had a date (which was infrequently). I started experimenting with stand-up comedy, improvisational acting and character development. I also started writing and hosting a public access cable show called, “O’Brien’s People.” (My real name is Gary O’Brien). It featured friends of mine playing peculiar characters. Lots of the interviews are on You Tube.
Eventually, the hankering to do card tricks and to get back to my performing roots returned. I also grew tired of the comedy scene in L.A. Half the battle in putting together an act (apart from writing and performing it) is that you have to hang around depressing environments, like coffee house open mikes and comedy clubs. And stage time was difficult because there were so many people trying to break into comedy in the late 80’s, early 90’s. So, I figured, if I’m going to work on an act, why not do it in a nice environment like the Castle and where I know that I can get an audience in the basement on a Friday or Saturday night. But, again, I encountered the same attitude from other performers/members as seven years before. And I was still shy/intimidated by other magician members. It seemed like the only people I could connect with were the parking guys and the bartenders; they were friendly to me. I probably would have dropped out again if it wasn’t for one person: Tony Picasso. Tony spoke to me and introduced me to other people. So, I may not have ever had an act if it wasn’t for him – and, for that, I’m forever grateful. And so I started hanging out in the basement of the Castle working on an act and performing for “overflow” crowds whenever I could. I also recall magicians Dylan Sardo and John Lovick hanging out in the bowels of the Castle, working on their acts.
I auditioned for the Parlour in 1996 and passed; I did my first Parlour shows that year. My act is pretty much a summation of my life – things I did as a kid (like card productions), things I thought about in college (biology and the workings of the human body), bits I developed during my stand-up years, and stuff that reflects me now. I place a heavy emphasis on writing; since I was 18, I’ve always wanted to bring a literary quality to magic routines. It was not until I met Rob Zabrecky and Dave Lovering that I started considering doing routines to music.
MK: If you could have a conversation with any magician who has now passed away, who would you choose, and what would you ask them?
FITZ: Tarbell. From what I’ve read, he was such an odd, eccentric bird. And he crossed paths with a lot of the great magicians who performed in Chicago.
Also Hofzinser. I’ve always had an obsession with playing cards – and he may have been the first guy to ever really “nail” it, i.e. creating remarkable, never been seen before, literate routines. He brought a pack of cards to life.
MK: Do you have a favorite magic book?
FITZ: Hands down it’s the Tarbell Course. Everything you need to know about the craft is there. And it’s written with great warmth and sincerity.
MK: Do you feel with the direction both magicians and magic dealers are taking with the “fry your audience with one trick at a time approach”, the art of building a routine is dying? And how do you think this will impact magic in the future?
FITZ: Audiences do talk about amazing tricks. But the problem comes when audiences separate the trick from the performer. They remember that some guy did a trick where he pushed a needle through his arm - but don’t remember the name of the performer. You’ll be successful with people who have short attention spans or who want to use you: “Show me a trick!” or for TV producers who want to take advantage of you (“Can you do something in 30 seconds? I’ll give you a hundred dollars.”)
If the audience is remembering the trick but not the performer, something’s wrong. So the “fry your audience with one trick at a time approach” may be successful in the short term for some magicians. But to be truly memorable, tricks and routines need to be built from character.
MK: At The Magic Castle, you perform as part of the Unholy Three. Can you please tell us a little about the history of The Unholy Three, and how you came to be a part of it, and how substitute performers are chosen to fill in when they are needed?
FITZ: John Carney used to organize his “Wonder Workshop” once a month. It was an opportunity for performers to try out material and get feedback from other performers. Rob, Dave and I met there. They were performing in some shows at the Knitting Factory in Hollywood – and I asked if I could perform in their shows. And then we started performing on Friday nights for “overflow” crowds in the bowels of the Castle. (Back to the basement!)
With the exception of John Carney and a few select others, we rarely have substitute performers. We’ve developed our own “schtick” and rhythm and it’s not as easy to insert another performer into the show.
MK: I love your playing card productions. During this routine you recite a very interesting poem/rant. How long did it take you to write the poem, and how long did it take you to memorize it?
FITZ: I think it’s a completely original routine. It took years to write and went through endless revisions. I tried to make it rhyme, have a rhythm, and be funny. It’s a really difficult routine for the audience to grasp because there’s so much going on: I’m producing cards rhythmically, talking about my life, and trying to get laughs. The pacing and the pausing have to be just right or it’ll go over their heads. I used to finish my solo act with it. I have a terrible memory so it took brute force to get it locked in my head. (When performing, I still keep the words posted nearby in case I “go blank”). The routine became even more complicated when Rob and Dave added music to it. It’s becomes a real performance art piece. I’ve begun writing a second version of it.
MK: How has performing at The Magic Castle changed or helped your career?
FITZ: In a very practical sense, The Magic Castle taught me how to dress! The dress code forces you to wear a coat and tie; it made me think about men’s fashion and what looks right. It influenced my character in a big way. Fitzgerald sees himself as a bit of a fashion-hound and that was discovered through the discipline of a dress code.
MK: Are you performing magic full time?
FITZ: I do not perform magic full-time. I work as a “contestant executive” for Wheel of Fortune. I try to keep both lives completely separate. Lately, the Unholy Three have been getting a lot of outside gigs. Who knows what the future may bring?
MK: How do you go about creating an original effect?
FITZ: I don’t know if I’ve created any original effects. Original presentations, yes. It all comes from character. How would Fitzgerald do a cut and restored rope routine? Why would Fitzgerald do a cut and restored rope routine? You’ve got to ask yourself those questions before you invest the time.
MK: How important is it to you for magicians to perform original material as opposed to performing proven material with their own presentation? Or is it important at all?
FITZ: To me, it makes no difference whether they perform original material or proven material. The important thing is that they put themselves (their character) into it. That’s what the audience will ultimately remember – you. In show business, that’s what the audience should remember: you, your name, your essence. If they’re just remembering that some magician guy made the Statue of Liberty vanish, you’re probably on the wrong track.
MK: What’s the one piece of advice you have for a person starting out in magic?
FITZ: Figure out who you want to be on stage; what persona you want to present to audiences (whether just “yourself” or a character.) Then read and study the Tarbell Course. Learn to do a couple of tricks; don’t try to learn too many tricks. Be patient – you don’t learn sleight of hand or presentation overnight. And don’t be intimidated by other magicians. Lots of them take themselves way too seriously – even the ones who do comedy.
MK: Any closing thoughts?
FITZ: Magic & comedy require a lot of hard work. And time. And discipline. Never think that you’re done with your act. You have to keep on working on it. I get mad at myself when I’m slacking on certain routines or feel like I’m not progressing. You can’t rest on your laurels, on your past routines. You have to try to move forward.
http://www.youtube.com/watch?v=e2YkGaBWE2c
http://www.youtube.com/watch?v=YOsszlm3JvA
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1 comment:
I had never heard of this guy before, thanks for putting this up.
Sean Phillips, professional magician, Minneapolis, Minnesota
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