5 things I’ve learned in my first 500 shows- Insights from Ty Gallenbeck
Ladies and gentlemen, prepare to be inspired by the extraordinary journey of Ty Gallenbeck, a master magician whose story is nothing short of epic. Back in 2015, Ty was contracted for two nights of walk-around magic at a prestigious hotel in Telluride, Colorado. Little did he know, this opportunity would transform into a magical odyssey that has captivated audiences for over eight years.
Starting with three parlor shows over three months, Ty's talent and charisma quickly turned a temporary gig into a weekly spectacle. Fast forward to today, and Ty performs an astonishing thirty weekends a year, with up to four shows each weekend. That's over 500 shows, each one a testament to his dedication, skill, and the magical connection he creates with his audience.
Through countless performances, Ty has gathered a wealth of wisdom and experience. He's faced challenges, perfected his craft, and learned invaluable lessons that he's now ready to share. In this blog post, Ty offers us a glimpse into his journey with "Five Things I've Learned from My First 500 Shows."
Get ready to dive into the mind of a magician who not only enchants with his tricks but also with his insights. Whether you're a fellow performer or simply a fan of the magical arts, Ty's reflections are sure to inspire and entertain. So, without further ado, let's explore the magic behind the magic with Ty Gallenbeck.
5 things I’ve learned in my first 500 shows- Insights from Ty Gallenbeck
In 2015 I was contracted to do two nights of walk around in a restaurant at a prestigious hotel in Telluride, Colorado. That turned into doing three parlor shows over the course of three months, January through March, which turned into a weekly show by that summer. Now for the last 8+ years, I’ve been living the dream. Thirty weekends a year, anywhere from one to four shows a weekend.
After 500 plus shows, there are so many things I wish I could go back and tell my past self. Things like don’t worry about farting on stage. I would tell myself that I suck, but it will get so much better. I would tell my past self that being a good human goes further than a good double lift. I would also say you need a better double lift.
I have a running note on my phone that I hope to eventually turn into a book. 100 things I learned from my first 500 shows. I want to share with you ten of those things I’ve learned. Not necessarily a top five, but five important things I’ve learned from my first 500 shows. Hopefully they help someone get better sooner. Maybe the next thing you know, you’ll be living your dream and making your own list of things you’ve learned.
Without further ado here are 5 things I’ve learned in my first 500 shows.
- Rehearse routines how you want them to look with zero regard to method. This is an idea that came from Penn & Teller, and it has changed more than one routine in my show for the better. By rehearsing routines with no method being considered, you will find the most natural moments to do the dirty work. For example, in rehearsing my new show that is a fully seated close up show as opposed to a standing parlor show, I realized there was a moment where I naturally always scooted my chair in towards the table. This also ended up being the perfect time to execute a deck switch. The switch became exponentially more invisible by finding this natural moment than it was when I had started with the method in mind.
- When something less than ideal happens is there a way to turn it into an advantage, thus strengthening the routine instead of hurting it? We all know there are things a spectator can do that make certain routines more of a challenge. Sometimes it makes the illusion less deceptive, sometimes it creates the need for an extra sleight. Whatever it is, we should always strive to make things advantageous as opposed to a hinderance. When you repeatedly encounter the same challenge, look for ways to turn it into an opportunity. For example, I close my show with a card stab routine in which the audience member shuffles all the cards face up on the table. The ideal situation is that the spectators card ends up near the middle of the table, however on rare occasions the card is on one of the edges instead of the middle. Using a poster that is also a target that will eventually be stabbed, I used to shift that card to the center of the table and proceed with the routine, it worked but I always felt like it seemed suspicious. The change I made was to start asking the spectator if they wanted to start with the target on the edge of the table where it is inconveniently placed or in the center of the table. This simple question now adds an extra layer of deception because it becomes their choice on where we start and eliminates an awkward moment.
- If you ever draw a target for a routine always use at least three black circles. If you don’t it will end up looking like a boob and someone will tell you about it.
- Take an EDC picture. If you are performing the same show on a regular basis, it is important to have a place for everything. Everything on the table, in the briefcase and especially in your pockets. For my newest show I know I have one piece of paper that goes in my left pants pocket, one piece of paper that goes in my right pants pocket, a small container of ‘SortKwik” in my right pants coin pocket, a jumbo sharpie in my left chest jacket pocket, my pocket square and a deck of cards in my right jacket pocket. I lay all this stuff out on the table in a very organized layout and take a picture. For the first month or so of shows I will pull out my phone and make sure the stuff on the table matches the picture thus insuring I don’t forget any of these crucial items when loading my pockets.
- Make Deposits. Michael Ammar talks about making deposits with your audience during a routine. I have adopted this strategy for my show. The opening of my last three shows has featured a similar build that I believe helps establish trust with the audience early and creates momentum through the beginning of the show. Steve Martin talks about opening lines in his book “Born Standing Up” make sure your opening line is good, creative, funny, creates intrigue…SOMETHING. Anything but Hi I’m __________ My opening routine almost never involves audience members, it establishes character. My second routine I try to involve audience members but while they are still seated in their own chairs. After those two routines I believe the audience should trust me enough to feel comfortable with me on stage so by the third routine I will invite someone to join me on stage. There are hundreds of ways to get to this point, this is the one that has worked for me for over ten years. If you choose a different path just make sure you make enough deposits with your audience that by the time you bring someone on stage there is a sense of trust. It will make all of your routines better.
That’s it. That’s five of the 100 things I’ve learned from my first 500 shows. I hope they help someone. If you have questions, thoughts, ideas or anything else feel free to reach out and connect with me. I’m on Instagram @TyGallenbeck & @MindBlownTelluride if you ever find yourself in Telluride, Colorado reach out and come see the show.
Ready to Elevate Your Streetwear Game?
Dive into our latest collection at 'Sleightly Smoking' and discover the perfect blend of magic and urban style. Don't miss out on exclusive designs that bring a touch of wonder to your wardrobe.
👉 Shop Now and transform your look with our magic-infused streetwear!
Stay magical, stay stylish. ✨