Background: Simon Lovell was born in Manchester,
England in 1957. His interest in the field of magic started very early. He attended
Brunel University and in 1977 was sent to the United States to further his studies.
While in America, Simon began table hopping as a sideline. He became a full-time
magician and entertainer, and, after much perseverance, was able to establish
a name for himself. He currently appears all over the world in top cabaret and
close-up dates with his unique and entertaining style of magic. Simon, in a
addition to being a spectacular performer, is an equally adept writer. Some
of his books written include Simon Says, Son of Simon Says, Close-Up
Magic To Tap Dance To, and The Magic of Showbiz Updated for the 90's.
He is also the creator of several astonishing effects, including Heartless,
Kicked, and The Great Insurance Swindle. Simon is currently living
in the United States. Q: Mr. Lovell, please name the magician, either past or present, whom you respect and admire the most?
A: You start with a completely impossible question! There are so many magicians who I have the highest of respect and admiration for, that to name just one would be unfair. Early magic teachers who affected my career heavily with personal help would include Fred Robinson, Ken Brooke, Fred Kaps, Jack Avis, Harry Baron and more. Magicians I've met who became important later would include Frank Garcia, Ed Marlo, Dai Vernon, Bruce Cervon, Larry Jennings and so many more. My great friends today include David Acer, Randy Wakeman, Jamy Ian Swiss, Todd Robbins and, again, so many more. Keeping the list this short was painful enough, to pick only one just can't be done.
Q: What triggered your interest in the field of magic?
A: My Grandfather was a professional poker and dice hustler. His skill level was astounding although I didn't realize that when, on my fourth birthday, he presented me with two decks of cards (cut down to fit my hands) as a present. Over the next ten years or so he taught me the 'tools' of his trade. I guess I'd be rare in magic in that I could do a reasonable Second Deal and Push Thru Riffle Shuffle before I had any idea what a Double Lift was!
Q: On your way to the top in the field of close-up magic, who/what proved most valuable?
A: Everything was valuable to me. Every magical and non-magical experience both good and bad has been instrumental in shaping who I am as both a person and as a magician today. Perhaps the best advice I was ever given was, "Get away from magicians for a while. Go off and discover just who you are." In my mid 20's I stayed away from magicians for over 5 years and, with no influences upon me, was able to find my own style and presentations. It was a little painful at the time but, without doubt, it made me a better performer.
Q: Please describe an embarrassing situation that occurred either to you or a spectator while performing.
There are lots. When you work interactively with people it is inevitable that disasters, joys, amusements and, sometimes, quite bizarre happenings will occur. I've had a lady strip off her clothes during an escape routine ("to distract the audience," she slurred), accidentally burned a $100 bill (I knew I should have marked the envelopes more boldly!), fallen off a stage into a deep orchestra pit (a friend commented "What a vanish, apart the shout of 'Oh S**t!' it was perfect") and had many other complete slides into the pan. All part of life's rich experiences in this most unpredictable of trades.
Q: Now, I realize this question could be hard for you, but please identify your favorite routine to perform for spectators.
A: I don't have one but I do have a philosophy of performing that says that WHATEVER the routine I am performing at any given time that it is my favorite one. To be perceived as giving anything less than your very best at any given time is not a good thing. I strive make every effect to be of equal importance to any other!
Q: Occasionally in magic, mistakes occur. Perhaps a double lift is not executed flawlessly, the card revealed is proven to be incorrect, etc. What is your means of getting around mishaps?
A: It depends on the situation. If I lose a card I will use a Cull. I believe effective Culling to be a skill of paramount importance to learn. Not only useful for structured effects but a killer way to get out of trouble. If an entire effect goes down the pan I never re-start an effect or make any comment on it. Instead I will move into a different, often jazzed, effect to reach a conclusion. I never admit defeat, that's a very un-magical thing to do and to be avoided at all costs!
Q: Simon, you are well known amongst fellow magicians as a hilarious yet astounding magician. In your mind, what role does the patter/presentation play in magic?
A: The performer is everything. All aspects of performance that go to make up the performer are of equal importance. Patter and presentation are both parts of a larger section called "Character." Discovering who you are during performance is, in my opinion, one of the first things you have to discover and understand. It is the central core around which the other elements (skill, music, effects, costume, etc) are hung.
Q: Now this is a really broad question, but what, in your mind, is close-up magic?
A: Close-Up magic is an opportunity for a performer to show his magic in the most intimate theaters of all. It is at this level that the very tactile closeness of the magic can make the spectator experience amongst the most powerful of them all. If you work for a living at this you'll hear the line, "Wow, I've never seen anything like that this close!" a lot. Close-Up magic is a very powerful form of entertainment indeed! It is a great opportunity to for the performer to help a small audience experience magic in a uniquely hands on situation.
Q: Recently, you published a follow up book to Simon Says, Son of Simon Says. Please highlight some of the effects in this your latest work.
A: The book is a compilation of both card and none card effects. The card section highlights both effects and moves. A few reviewers have picked out my handling of Card Culling (the Bucket Cull) as being 'worth the price of the book'. Randy Wakeman is particularly fond of the Murder Mystery effect and recently had me perform it on his Intimate Impossibilities video as a special guest. In his review of the book Steve Bryant picked the effect Waiting For God as his favorite. In this particular effect God phones in to help you out with a trick that's gone wrong! I don't have any particular favorites or highlights in the book - I like them all!
Q: Occasionally in magic, performers will be heckled by the spectators. Audience members will sometimes claim to know the secret. What is your remedy to the problematic spectator.
A: You think this is common? I'm surprised, it's not common at all for me. I don't think that, in 99% of cases, it's a problematic spectator. I think it's a poor magician or, trickster. A smarty pants 'look how good I am' approach sets a confrontational situation between performer and audience and from such unseen but still present confrontations arise the heckles and smart remarks. A truly giving and sharing performer doesn't get these problems because he is inviting people to share a cool experience and, because they are keen to be part of the fun, are much happier to use their energy to become part of, rather than destroyer of, such an experience. The very rare 1% of completely 'un-entertain able' people I meet I walk away from. I don't try to change their minds, that's not my job.
Q: In your view, what is the perfect effect?
A: There is no perfect effect. A great performer can make a miracle out of an effect that many others would consider to be quite ordinary while a weaker performer can take an absolute miracle of a piece and, through banal and fluff filled presentation, have it appear to be a trite piece of nonsense. There are no perfect effects only, and rarely, perfect performances.
Q: Finally, do you have any advice for the aspiring/struggling magicians out there?
A: Hmm, perhaps the hardest question of all. Use everything in life (magical and non-magical) to discover new presentations, new ways and new approaches for your your effects. Don't try to be like another successful performer, instead try to be a new and, as yet undiscovered, performer. Never let money be a deciding factor, follow dreams instead. Study everything and don't be put off by hard work. The hardest move in magic (sleight-of-hand wise) is the one you haven't practised enough! Make every aspect of performance important - personality, presentations, effects and the tools required (sleights) to affect it. Finally, and perhaps most importantly of all, have fun with it. By having fun yourself you will be able to give fun to others. How odd that as a magician you cannot do magic, you can only help others to experience magic. It's a big responsibility so do your damndest to make it a good and positive experience for your audience whether it be your mom or five thousand screaming fans. EVERY performance is as important as another.