For me performing mentalism is about giving people a window into a world where the things that I do are possible. Imagine how your audience will respond when they are faced with a person, not a trick, not a routine, a living breathing human being whose very existence redefines what is possible. I’m talking about addressing your craft as a professional, as a craftsman, and developing a toolkit which will allow you to become something unique.
I have worked on my toolkit for years, and now, with Mitox, I am presenting it to you. Mitox contains the cream of the crop of my routines, effects and ideas about performing mentalism as it should be performed: as powerful interactive theatre, capable of opening the eyes of an intelligent audience to a world where thoughts are fluid and even time itself can be toyed with.
Teach a Man to Fish
Mitox isn’t just about 20 great effects though. They represent the core of the book, certainly, but I hope they are more than just effects to try out and learn. In Mitox I lay out ten great tips for creating your own effects, all of which I have tried to sum up in each of the twenty core routines, to give some inspiration to you, the reader.
Picture being able to create effects and routines at the drop of a hat, peeling away from the mainstream industry. Relying not on dealers and purchased effects to supply you with miracles but to have at your fingertips a bottomless resource of unique and powerful performance pieces unlike any performed by any other mentalist the world over.
This has always been within reach, but in Mitox I share with you my ten top secrets for generating inspiration and leveraging your own unique knowledge into impactful pieces of mental theatre that will leave your audiences speechless. Join me on the frontiers of mental performance.
The Grand Deception
As a mentalist, your premise is what marks you out from the man in the street, it is the source of your abilities and the story which is told by your every effect. It is what elevates your performance beyond mental magic tricks and lifts it into the theatre of belief. The premise is the engine which drives a mentalists act, but how much time have you spent pinning yours down?
In Mitox I explain my theory of Premise and explain how I believe Premise can transform a dull routine and turn it into a performance capable of stimulating your audience’s emotions as well as their intellects.
How would it feel to have an act that audiences don’t see as being ‘what you do’ but as being ‘who you are’? Knowing that they haven’t come to see your act and routines, but that they have come to see you.