We are pleased to feature in this edition of In The Spotlight, the amazing, multi award winning, International Brotherhood of Magicians' 2009 International Champion -  Richard Forget.

Corresponding with us from Paris where he was just awarded a Mandrake d'Or award, the highest award by The French Acedemy of Illusionists, he speaks about how he got into magic, how he developed his award winning "An Urban Phantasy" act, his influences and shares his thoughts on magic. 

Ladies and gentlemen, we proudly present to you :-

                     In The Spotlight with Richard Forget.

TMA :  Thank you for agreeing to this interview. We at The Magic Annexe really appreciate it. Before we start, we want to congratulate you on being named the International Brotherhood of Magicians' 2009 champion and being awarded the Mandrake d'Or award. 
Let's get down to the questions, shall we?

Richard : Thank you for the kind words in regards to the competition. I hope you find my answers are sufficient.

TMA :  Could you tell us how you initially got into magic? And do you remember the first trick you ever learnt?

Richard : I guess my introduction to magic was not so dissimilar to many magicians. I inherited a kit from my brother. He didn’t make use of it but surely did. I began performing for my extended family and at school. My father had twelve brothers and sisters so I was never at a loss for an audience. My parents were enthusiastic about my magic and really encouraged me. I guess one of my favourite tricks, that I learned, from that first kit was the ball vase and cut and restored rope routine. Now that I think about that rope routine was a pretty advanced trick for a seven year old to be learning.

Even at that age I started to invent my own tricks. I remember tying a string to my wrist and stringing it across my two sleeves and then tying a dollar bill to the other side.  I would hold the bill in my hand then to make it vanish I would tug on the other arm to make the bill retreat in to my sleeve.

My early years in magic were spent reading and performing as much as I could. Of course I performed at more birthday parties than I could ever count. Those were great times to practise getting comfortable in front of an audience. I was a big fan of Houdini in the earlier years. He scared and intrigued me at the same time. I actually wanted to be an escape artist for awhile. My mother was very pleased when I changed my course. I still love to read any book I can find on Houdini.

TMA : I really love your act -"An Urban Phantasy". What's the inspiration behind that act?

Richard : An Urban Phantasy didn’t make its appearance until I had already started my attempt to become a professional magician. It went through quite a few versions before I settled on the existing format. Originally I performed it with my girlfriend and the only thing that was similar was the effects I perform with fire in the act. I competed with that act but didn’t get too far. I then got silly and made it bigger by adding another assistant and some bigger effects. It was a big act. I made it to the IBM finals with that act but I quickly realized it was not practical. I had added a few elements by then and decided to shrink the whole thing down and create a theme. That is when I came up with the idea of the phone booth. It was 2001. I had eight months to build the act to compete. I set my goal, worked very hard, and won first place at IBM and SAM. The act has gone through many changes over the years and, believe it or not, is still a work in progress. I just changed a few things and created new music for parts of it.

The original inspiration for the act came from a trick I developed that used a phone. That trick is gone but the inspiration stayed and from that I started to come up with the elements for the act. It just grew from there.

TMA : In your website, you mentioned you originally started off performing a dove act but discovered you had an allergy to birds? Could you tell us more that experience?

Richard : It is funny because early on I did do a full bird act but the best thing that could ever happen to me is I got very sick and had to sell all of them. Why is that you may ask? Being allergic to the birds forced me to create a whole new act. It forced me to be creative and dig in to my little book of ideas that I would “some day” get to. There, all of a sudden, was no time like the present.

At the time I was forced to purge myself of the doves I thought my career was over. Of course I was just being a very young, over dramatic and inexperienced magician. The reason I have been able to travel around the world is because of the act I was almost forced to create due to circumstances beyond my control. The best thing is I don’t have to deal with the care, feeding and hassle of travelling with birds which is almost impossible to do now. That should be a big lesson to many magicians. If you want to create an act that you can travel easily with stay away from any live animals. Get an assistant.  They will cost and complain more than birds but you don’t have to quarantine them!!

TMA :  You mentioned Doug Henning, Lance Burton and Shimada as your magical influences. Would you care to elaborate? You also stated that had the opportunity to work with Shimada. What was your experience like sharing a stage with Shimada?

Richard : I wanted to be Lance Burton. Hence the reason why I originally developed a bird act.  For my money he is still the best magician in the world. I do have to admit though I really preferred him before he started to speak. In the beginning he would appear on the big television shows in North America and perform his bird act. He would not say a word. He was the coolest magician... period. He still is cool and is a great performer speaking and not. But for me a little of the mystique and mystery vanished when words started to come out of his mouth. Of course it was impossible for him to create a full Las Vegas show without speaking and he really has developed his own style.  Watch any routine he has performed and you will see what a fully realized and rehearsed routine looks like.

Doug Henning was an inspiration to many magicians, especially to those who, like Doug, were Canadian. He really is the godfather of modern magic. He ushered in a whole new style of magic in the 1970’s. He found a new way to modernize magic for his time. He was full of infectious energy and people just really took to his style. It was perfect for that time. Unfortunately Doug passed away, way too early,  at the age of 52.

Doug Henning was the first magician to have annual television specials and for the first few years did it live!! He used to tell a story about one special when a tiger that he produced during the show somehow got in to a cage which held all the small animals that Doug was going to produce as the grand finale. After the tiger was finished doing what tigers will do when faced with a buffet of small animals, there was only one poor little bunny rabbit left. Doug was planning to produce this whole menagerie of animals from a tiny chest at the end of the show. What they settled upon was producing this lonely rabbit from the chest...again and again and again. Doug would produce the rabbit and hand it to his assistant. The assistant quickly proceeded to run around to the back of the set and load the same rabbit in the chest again. Tadaaaa! Out came the same rabbit. All of this performed on live television, in the days before cable, when a television show would have 60 million viewers.

Working with Shimada was an enormous experience for me. His bird act, even to this day, is top notch. Watch Lance Burton’s bird act and then watch Shimada’s. You can see the tremendous amount of inspiration that Lance took from Shimada. The first time I saw Shimada was on a Canadian television magic show that was recorded at the Magic Castle in Los Angeles. I still have a copy of that show. All I remember is being transfixed by his eyes and the tremendous skill with which he utilized to produce his birds. I knew on that day, after watching that show that I wanted to do two things if I ever became a professional magician. I wanted to perform at the Magic Castle and work with Shimada.  I have done both and I am lucky I know. Of course that luck also came with a tremendous amount of blood, sweat and tears.

The first time I worked with Shimada was a true lesson in being a professional. It was in Shanghai and early in the week Shimada accidently fell off the side of a stage during rehearsal. He was hobbled for the rest of the week. I remember watching him limp to the stage to perform his dragon act on live television!! I couldn’t figure out how he was going to do it. I watched, with dismay, as he shambled in to position. As soon as they said his name I witnessed a rush of adrenaline hit him like a bolt lightning. He stood up straight, puffed out his chest, and performed immaculately. As soon as he was done, and the lights faded away from him, reality re-emerged and he again limped off stage. That is an example of why, along with Lance and Doug, he is right at the top in my own personal magical rankings.

TMA : How about influences outside of magic?

Richard : I think outside influences are very important in the attempt to be a fully rounded magician. I have attempted to learn other pursuits such as acting and movement. I studied advertising for three years. Even though acting is unrelated to advertising it has similar characteristics. What are you trying to do, as a magician, when you are on a stage? You want the audience to buy what you are selling. You want them to understand who you are and what you are performing. They have to believe in you. What is the main objective of someone in the advertising industry? To find a way for the general public, their audience, to buy what their client is selling. They want them to believe in that product.

Acting is a humungous part of performing magic. If you don’t believe, and look like you care, about what you are performing the audience certainly won’t.  Acting ability helps you communicate. It helps you to be more comfortable with your props. It helps you realize that even though props are important it is you that the audience is watching.  They are reacting to your expressions and movements. It is the audience that you are, or at least should be, that you are creating eye contact with.  Acting helps this process.

Even though advertising has helped me in many ways if I could go back I think I would have started studying theatre a little earlier.  I recommend for anyone interested in magic to study theatre, if you can, during and after school, work or whatever it is that you do. And that goes for you too close up performers. You are just as responsible for entertaining your audience. I know learning that crazy new flourish takes a lot of practise but do it along with other things like theatre, acting, dance...anything for Pete’s sake. It is all good.

TMA :  What are the most memorable moments in your career. And why?

Richard : I have had many memorable moments in my career...so far. I would like to think the best is yet to come though.  Of course winning the awards are great. This past summer I won IBM first place with my newer act. It is called News of the World. I call it my adult act because of its subject matter. I am the only magician to have won first place with two different acts at IBM so there is a sense of pride in that. But for me the most memorable moments are the places and people I have met. Winning awards is fun but I have always seen it as being just a tool. It has helped gain exposure in the magic world. The awards have been great as an advertising tool. But the actual trophy does not mean all that much. I don’t even display them. They are all sitting in a trunk. Someday I will take them out I guess. The main reason I competed again this summer was to, if I won, update my resume! Now I can use the term 2009 International Champion. It’ll be good for awhile I guess.

I have to say that performing for Prince Rainer, Albert and Princess Stephanie of Monaco was one of my favourite experiences. Monte Carlo is an opulent, beautiful location. It is a world that is reserved for the richest of the rich. Monte Carlo’s casino is where agent 007 speaks the famous line, “Bond, James Bond.” I remember two things distinctly about Monte Carlo. I remember thinking I could afford to live Monte Carlo for about twenty minutes if I wasn’t hired to perform there and I also remember sitting by a pool and looking out at the gorgeous vista that is Monaco, having fun with some really good magic friends, thinking, “yes  this life can be really good sometimes.”

TMA :  In your opinion, What are the most important things that we magicians need to do / observe / follow to make it in the world of magic?

Richard : Creativity is a very important word for me. It is something every magician should strive and attempt to make a part of their magic life. Create, create, and create. You should always be working on or thinking about creating new magic. I always have something I am either currently building or creating or I am in the process of brainstorming it in my head. It is something you can learn believe it or not. Just start. Make a list of everything particular magicians are known for performing.  Now watch what they are doing right. Attempt to emulate what they do but do not copy.  I cannot stress this enough.  It is a pet peeve of mine. No magician has gone far in the magic world by copying another magician’s act. Lance Burton stands beside a lamp post producing birds. I don’t recommend you do that. I don’t recommend you stand beside a telephone booth performing magic. I know ... someone else who just won a big award is also doing that now. I am aware of that. I don’t like it but there is nothing I can do about it. But that is the secret. Be original but along with that you have to be really good. That is the practise part. Create, create, create and practise, practise, practise.

TMA : If you could change one thing about the magic industry, what would it be?

Richard : You ask me if there is one thing I can change in magic and really I have just talked about it. If I could click my heels three times and make one big wish come true it would be to make all the magicians and dealers who steal go away!! It is wrong and any justification they give you for taking other people’s property is misguided and wrong.  A magician who has created something truly magical and different will probably have spent thousands and thousands of hours perfecting an effect. It may end up being a simple concept by the end but this is because the creator has put the time in to refine it.  Is it right to simply copy this because you can? The only art in that is in the form of a rip off artist. There is a trilogy of books by an author named Dariel Fitzkee.  He touches upon this subject and I completely recommend them. They are called Showmanship for magicians, The Trick Brain and Magic by Misdirection. They were written a really long time ago but much of the information is still applicable.

Many rip off artists do this sort of reverse engineering when they are asked about why they copied something. “Oh they didn’t really invent that trick” they will say. Someone else did it in 1950 or something silly like that will be exclaimed. The truth is we all know when something is stolen.  Losander’s table has to be one of the most stolen effects in the world of magic. Was he the first to make a table float? No. Was he the first to create, perform and market that particular method? Yes. It is a Losander table and we all know what it looks like. If you manufacture and sell it without his permission you are stealing. Period.

TMA :  You have now been in Malaysia a couple of times. What is you take on the magic scene in Malaysia?

Richard : I love visiting and performing in Malaysia. Malaysia sort of reminds me of South Korea. There is an excitement and newness about magic and magicians that has lapsed a little in North America, in comparison.  In some ways it is more traditional too. Many of the acts I have seen combine the culture and history of your nation which in Canada is not possible due to its newness.

TMA :  In your opinion, what are the areas that we magicians in Malaysia should concentrate on to improve the standard of performances?

Richard : As far as improving the standard of magic in Malaysia I would say just keep doing what you are doing as a community. Magic clubs should not encourage copying but instead creativity. Magic clubs might think of have creativity sessions. Give the young magician’s homework! Give them a topic to try and create magic around NOT using any standard magic methods. If you are interested in joining competitions form competition groups. In other words you create a team that can support, grow and learn from each other. I was blown away when I found out how Germany prepares for FISM. They basically prepare like an Olympic team. They support and work for each other. Before FISM they hold public shows where all competitors perform before a live, non magician, audience. This is why they always have many solid performers. This is something to emulate.

TMA :  What's in the pipeline for Richard Forget? What's in the near future ?

Richard : As I finish this I am sitting in a hotel room in Paris, France where I am performing at the Mandrakes D'or, the Golden Mandrake awards. Magicians from around the world are invited to perform in a mini tour around Paris. The last show is filmed for television and we all receive a Mandrakes D'or award for achievement in our art. On the show I was invited to not only perform An Urban Phantasy but also News of the World. It is a lot of work because I have to prepare and perform twice as much as everyone else but I take it as a tremendous compliment that they want me to do both. This year the performer, award recipients are myself, David Sousa (Portugal), Sebastion Nicholas (Germany), Ricardo Harara (Brazil) and I just found out, interestingly, Soma (Hungary). The reason I say interestingly for Soma is that some of you may have noticed that we both perform our acts standing next to a telephone booth!!? A little strange.  He obviously has a great act but, as I stated earlier, I have been successfully performing mine around the world since 2001. 

Before Paris I was in Chengdu, China performing an Urban Phantasy. In Chengdu I use a local assistant which can be a little nerve wracking because you are never sure whether she will remember to do everything at the proper time. Here is an example of my last few days. Last week I take a 24 hour flight to Chengdu, China. I arrive very late and am very tired. The next morning I meet my new assistant and begin attempting to teach her my act. She does not speak English and I do not speak Chinese...except for a few bad words other magicians from China have taught me. They do not help. That night we have a technical session and rehearsal. My assistant forgets a few things which makes me a little nervous. That same day we do a press conference where all the performers in the show do a trick for the press and answer questions. I do a version of the card sword which gets a nice reaction. Over the next five nights we perform before almost all sell out crowds to a nice reception. The show is MC’d by Max Maven and on the bill is myself, Jorgos (Greece), Wooki (South Korea), Brando and Silvana (Spain) and Sebastian Nicholas who is also performing in Paris. We enjoy the week and laugh a lot, which is what it is all about. On Tuesday morning I leave Chengdu for a long trip home through Beijing, New York and then to Toronto. The whole trip also takes 24 hours. I arrive home Tuesday night Toronto time. After I arrive home and have enough time to do laundry, make some phone calls, do a little business and then do some repairs on my props. I have a short night sleep where on Wednesday I must load and prepare my second act and pick up my assistant. I am then back on a plane to Paris. When I arrive in Paris I must do a technical rehearsal and prepare both acts for the first show. It is all tiring yet is still really exhilarating and fun. My internal body clock does not know whether I am in Canada, China or France. Ahhh, the life of a magician. Would I do anything else? Are you kidding, never.  

As far as my future is concerned I am currently working on a 90 minute show that I planning to debut in January 2010. I have a lot of work to do but I am attempting to add some ideas and create effects that are fresh. Of course it will feature my established acts and include some new ideas.

TMA : Anything you would like to add ..?

Richard : I hope you have found some of the points and ideas I have made in this article interesting. I love talking magic and always respond to emails. Sometimes it takes awhile but I usually get around to it. If you ever have questions about your magic please contact me. I will give you my opinion for better or worse. I know some day I will be back to Malaysia and look forward to seeing some great new acts. I also look forward to sharing time and laughing with friends while eating a great Malaysian meal. Remember...create, create, create.

TMA : Thank you for your time, we really appreciate you taking time off your busy schedule  to answer these questions. And if you ever do drop by Malaysia again, please do drop by The Magic Annexe.  Thanks again.

Links :- www.richardforget.com