Other Visions

In the Spotlight: Dealing with Performance Anxiety
by Rick Carruth

Heaven only knows the number of magicians who could have reshaped the face of magic were it not for the fear of standing on the stage. Of course, standing on the stage is a metaphor for performing in front of others, on any level. Paralyzing fear takes over the body at the mere thought of standing in front of an audience and sharing your magic with strangers. The hands tremble, breathing gets rapid and short, small beads of sweat form on the forehead and in the palms. And words, well practiced, fail to form on the lips.

Has this ever happened to you? Do you find yourself sitting in an audience, watching your friends perform, wishing you could be the one in the spotlight, but knowing that unless an alien lifeform (with performing skills..) takes control of your mind and body the chances of you actually getting on-stage are slim to none.

I hate to see someone struggle on-stage. Like most magicians, it's almost as painful for me to watch as it is for the magician on stage. Well.. maybe not 'almost as painful', but painful enough.

Overcoming stage fright is really not as difficult as you may imagine. At the risk of sounding 'new age', too many performers give their 'power' to the audience, instead of taking the audiences' power and channeling it back to them through the performance. I know.. sounds a little weird, but follow me please.

Stage fright is the most common phobia in the country. Today, it is more common to refer to stage fright as "performance anxiety". We must be politically correct, you know!

Truth be known, the phrase 'performance anxiety' is a little misleading; the real anxiety is 'anticipation anxiety'. Standing backstage, peeping through the curtain, and thinking of all the assorted things that are about to go wrong is the real problem. Anticipation anxiety always carries over to the stage, at least in the beginning.

Many great performers pace back and forth before a show or concert, unable to eat, unable to carry on a decent conversation, on the verge of 'throwing up', (and some do..). But once onstage, their fears alleviate.

I suspect Dai Vernon suffered performance anxiety. Anyone familiar with the Professor knows how much he disliked touring and lectures. Sure, he was extremely comfortable within the confines of the Magic Castle, but the number of performance's the Professor declined outside those walls were legendary.

Unlike some writers, who's goal is to sell you self-help material, I don't have all the answers. Truth be known, they don't either. There are too many variables and too many causes for any one article to cover all the possible answers. But I do have some real world suggestions that may help get you through the anticipation anxiety stage.

My suggestions are a good, general list of common sense techniques that will serve almost anyone well. I remember a list I read long ago that suggested the performer drink plenty of water before a performance to both lubricate the vocal cords and hydrate the body. Suggestions like this are performer-specific. They work for some, they don't work for others. Drinking lots of water before a performance only made me, once I got onstage, think of how badly I needed to pee...

Not good.

So, I'm going to cut to the chase and give you a compact list of suggestions that I'm convinced will work for ninety-nine percent of the magicians reading this article. Although they are not designed to solve ALL your performance related anxieties, they will get you on the stage and into your act with a minimum of anxiety.

(1) Avoid at all cost being 'rushed' on the day of your performance. I can't stress this enough. If you enter a venue thirty minutes past the time you initially planned on being there, the only thing you can plan on is your stress level being sky-high by time to go onstage.

(2) Allow yourself ample time to familiarize yourself with your surroundings, including the stage or area where you will be expected to perform. Take time to walk out into the audience area and see the stage as the audience will see it. Imagine yourself onstage and try to anticipate any potential problems with angles or lighting. This is a great way to take your mind off your anxiety and get focused on something you actually have control over.

(3) Make notes. Part of your pre-show routine should be to place a few index cards with select "Key Words" about your performing area. If taped flat, the audience will not see them. You would be surprised at the number of professional magicians who have an assortment of 'reminders' taped inside their briefcase, which will be strategically placed somewhere onstage. As they open the case to get a deck of cards or other props they catch a quick glimpse. Sometimes they remind themselves of a line of patter, or a joke, or their next effect. Whatever works. Just knowing that they have this safety net, of sorts, helps alleviate some of the pre-show anxiety.

(4) Generally, stage fright subsides once you get into your performance. But, if you're an inexperienced performer, the 'pain' may not go away, at least not until you're confident with your ability to perform your routine. That's why being fully prepared to carry out your act is critical. You may not be able to totally control your nerves, but there's not much of an excuse for not being able to perform your magic. Practice. Practice. Practice.

(5) OK, now what was this stuff about "power"? The audience wants you to succeed. No.. really they do. They're willing to sit patiently, smile, applaud, laugh at your jokes, and offer you a sort of 'invisible telepathic support'. But in return, you must give them what they want - entertainment and a connection with the entertainer.

Here are a couple of simple techniques to help you make that critical connection.

Remember my saying that the audience wants you to succeed? They also want to get to 'know' you as a performer and make an emotional connection with you.

One of the absolute best ways to take advantage of this is to go to the lobby before your performance and meet some of the audience members as they arrive. Introduce yourself, shake a few hands, thank them for coming. Each one of those audience members are now emotionally connected with you and they will lead the applause and laughter.

You think I'm kidding? Think about this: You go to your local arena to see Copperfield. You're standing in the lobby before the performance begins and lo and behold, you look up and see David himself walking thru the lobby. Unable to move, you stand there with a goofy grin on your face, and suddenly DC walks up to you and says:

"Hi, I'm David Copperfield. And you are...?"

After blurting out your name, or something similar to it , David says, with a unassuming smile:

"Listen, I'm glad you chose to spend your evening with me, and I really hope you enjoy the show."

What just happened?

You and David "connected" and you are now going to lead the applause. David gave you a little 'power', and you are going to give it back many times over.
Did you know this is the reason why many performers personally give away stacks of promo tickets?

Another invaluable technique to get the audience on your side is to walk out onto the stage, welcome the audience, and joke about your nervousness.

Well-known speaker Tom Anton will often mention his nervousness, and then ask the audience if they can recommend a good wine to go with finger nails.

This makes you human. Suddenly the 'big performer' is seen by the audience as a real-life person with a real-life problem. They empathize with you. Now, not only do they want you to succeed, but they're willing to support you while you get your feet on the ground.

(6) It's time for your act to begin and you need to do one more thing to get the audience on your side: tell them a joke. I really can't stress how important this one simple tip can be to your success.

First - make sure the joke is funny. The audience needs to laugh. This will not only loosen them up, but it will do wonders for you and your confidence.

Practice your joke just as you would practice a trick. Deliver it with confidence. No sleight of hand is involved, so you only have to concern yourself with your delivery. Although you don't want to be 'over the top', you do want to use this moment to prove to yourself how confident you can be.

Please... go back and read the last sentence again.

In the real world, to quote the Bible, "Love covers a multitude of sins". In the entertainment world, "Humor covers a multitude of sins."

(7) One more: Give yourself a chance to succeed. Don't begin your act with an effect that requires great timing or sleight of hand. Make sure your first effect is one you can literally perform with your eyes shut. If you blow your first effect, it's an up-hill battle from there on.

Any good performer who's struggled will nerves will tell you the same thing: make sure your first effect is a confidence builder, geared more toward getting you in rhythm and over the hump than wowing the audience. You've got the rest of your act to impress the audience. Think first of impressing yourself; you deserve it!

I've gotten you onstage and through your first effect. The hard part is over. Right now, you are in good grace with the audience and, hopefully, they're showing you a little 'love'.

I trust at this moment that you remember the real reason you wanted to be a magician.

Rick Carruth