Backstage with George Saterial

M-U-M. What was it about magic that originally got you hooked?
A. That total sense of amazement and disbelief I felt when my dad showed me that first coin trick. I can remember it like it was yesterday.

M-U-M. What is it about the business that you enjoy the most?
A. Being able to create that same feeling of amazement in others. I feel very fortunate to be able to make a living doing something I love. The experiences I've had, traveling to places I never thought I would see and meeting people from all walks of life, including royalty and celebrities.

M-U-M. How have the gold medals changed your career, your outlook, and in fact, you?
A. Winning the Gold Medals did open some doors and certainly got me recognition. But it wasn't the magic formula for instant success. This business is very competitive, so I can't rest on my laurels. It's been several years since then, so people are more interested in "what are your doing now"?.

M-U-M. Well then, what are you doing now?
A. Currently, I'm working on adding a couple of illusions as an encore to the clock act. I'm also working on other material to make the transition from being an act, to having a full show.

M-U-M. What would be the ideal venue for your full evening show?
A. Naturally a theatre or a casino in Vegas. However, I perform in a variety of venues (i.e. corporate events, cruise ships, etc.) where a theatre is not always the norm. I need to consider the limitations of these performance spaces when designing the illusions. I don't want to spend time and money on an effect I can use only under ideal conditions, or a small percentage of the time. It's a challenge, but I feel it will be worth it in the long run.

M-U-M. Your act is very classical. What influenced you to go in this direction?
A. It best fits my personality. Over the years I explored and experimented with many personas. Avant-garde, etc. They always felt forced, never comfortable. And I don't have the personality or the look to be the quirky funny guy. My favorite performers were always of the classical genre. Neilsen, Ross, Pollock, Shimada. It seemed every time I worked on stage, no matter what costume I wore, or music I used, my current (classic) on-stage personality would emerge.

M-U-M. There appears to be an emphasis today on laser lights, special effects technology, etc. How do you feel about this trend?
A. I don't have a problem with high tech special effects per se, as long as they are used to accent a performer and not overshadow them. The problem occurs when a performer relies too heavily on sound and lights, and they get lost in the show. Take away the effects, and these same performers fall flat. They spend too much time on what looks "cool" and not enough time on their stage presence. High tech lighting and effects, should be used for enhancement. It shouldn't make or break your performance. An audience will enjoy a good performer, whether there are sixteen intellibeams or just a single follow spot. Now if you're looking for a special effects show as a self entity (i.e., a Fourth of July fireworks display) that's a completely different situation.

M-U-M. Can you give us some examples?
A. Sure. Look at Cirque du Soleil. A phenomenal production. Extremely talented performers, gorgeous costumes, incredible lighting and powerful music. However, by the end of the show, there's an empty feeling. The audience never got a chance to "meet" anyone, or get a sense of connection with any of the performers.

On the other hand, there's Blue Man Group. Very modern, very hip. Their make up and costuming dehumanize them. They have all kinds of unusual props and absurd effects going on. But their characters still break these bonds and convey very distinctive personalities and emotions. You can relate to them, and by the end of the show you feel as though you know each one of them individually. There's the bully guy, the dopey guy, etc.

Now, look at David Blaine. A man and a deck of cards. Love him or hate him, he struck a cord with TV audiences because they became intrigued with HIM. He left his spectators with a compelling feeling of "who is this guy" and a desire to learn more about him.

M-U-M. Where do you get your ideas from?
A. From just about everywhere. I probably spend more time in craft and hardware stores than I do in magic shops. I like to personalize things. I've never been an "off-the-rack" kind of person. Even as a kid, I'd take parts from several games or toys and combine them to make something new. I'm still that same way. I'll buy a new effect that interests me, or read about a method, and then literally take it apart, and "crawl around". I'd get a feel for how it will or won't work for my performing conditions, and then see if it can be done differently. By the time I put everything back together, I usually have something new and unique.

M-U-M. How do you choose your effects.
A. There's a theory about creating a routine that I like to adhere to. I believe there should be a common thread that will make a performance flow. I try to script each effect so that it will influence the one that comes next. The routine then becomes a progression of events that makes sense logically and theatrically.

M-U-M. Any advice for magicians starting out or considering entering a contest?
A. In addition to learning all you can about magic, study theatre, lighting and the performing arts. Perform as much as you can before a live audience. And of course, practice, practice, practice.
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