Anatomy of a Routine: Part 2

John Guastaferro's new book, Final Degree, releases in just a few short weeks! To whet your appetite, we're sharing our favorite essay from the book for FREE. If you haven't read part one, click here. Otherwise, please enjoy part 2 of Anatomy of a Routine!

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The Signature Close-up Act:

A Night at The Magic Castle

In June 2024, during my run of thirty-two shows in The Magic Castle’s Close-Up Gallery, I experienced one of the best weeks of my career. After a few shows and a few tweaks, I felt that every effect was hitting its peak. What made this week memorable was synchronizing one-degree moments. The cumulative nature of these moments made the whole much more than the sum of its parts—true synergy in action.

In the branding essay, I shared that you’d know you’re doing it right when others could express your brand promise with the same passion and understanding as you. Along these lines, I received the following note from Jack Carpenter, who captured my brand so precisely after seeing my show: “John, you’re not kidding around with that ‘one degree’ stuff. It’s inspiring to see how much mystery and awe you pull out of every moment. The way you listen and respond to your audience, build anticipation, and elegantly frame each climax—it’s a masterclass in itself.”

The Setting

If you’re not familiar, the Close-Up Gallery at The Magic Castle is like a mini- theatre. It has three rows of elevated seating, six seats in each row. There is standing room for ten additional people, plus two seats at the close-up table. When I headline for the week, I’ll perform four twenty-minute shows each evening, plus four additional shows during Friday lunch. The setting itself is important to the routine. I structure my routine to engage the two participants at my table while also engaging the audience as a whole.

The Music

With the theatrical vibe of the room, I like to add moments of music. There are three moments to be exact: the opening and the final two effects. I carefully selected the first two songs from the soundtrack of the television series, Halt and Catch Fire, composed by Paul Haslinger. The final song is an original guitar instrumental that I composed and recorded. To cue the music, I use a Flic Smart Button which I keep in my pocket. It’s a simple white button that connects to my iPhone via Bluetooth. I trigger each of the three songs using either a single press, a double press, or a long press.

The Props

The star of the act is simply a deck of cards. There are several other items of visual interest, beginning with a black silk draped on the table for the opener. Just to my left is a vintage suitcase with worn travel stickers. Inside the suitcase are four wine glasses for the finale. The suitcase itself is a character in the act itself. It reminds the audience that I have traveled the globe and that I’m taking them on a “vacation from reality.”

Exploring the routine:

I’d like to break down each effect and give you a behind-the-scenes look at how they were crafted, both as individual effects and as part of the cohesive routine. As you read, feel free to also watch the full routine in action on YouTube.com/johnGmagic.

Grand Opening - A Magical Appearance

For the opening, my goal is to share presence, skill, and something visual.

1. Blank Air Opener
I begin with what I call Blank Air Opener. It is a combination of Blank Slate from The Nth Degree and Ignacio Lopez’s Thin Air. There is a black silk on the table from the start. A Joker and the spread deck are hidden within the layers of the silk. I keep an empty card box on top of the silk to guard everything and draw focus. Once I’m introduced, I cue the first song, “The Scenic Route” by Paul Haslinger, from the Halt and Catch Fire soundtrack. The song clocks in at just under two minutes, which perfectly aligns with the opening effect.

I begin by saying, “Out of all the places I’ve performed across the world, this is my favorite place, the close-up room at The Magic Castle, where magic happens right under our nose. Tonight, this is our stage, and the cards are our cast. The only thing missing is your imagination. Let’s imagine removing the cards from the box. I’ll pretend to deal the Joker here. I’ll spread the rest of the imaginary deck across the table. Of course all of this is in our imagination. The question is, ‘Can we make this real?’ I believe we can. Watch.”

I then pull one corner of the silk forward. Upon pulling it back, there is one face-down card followed by all fifty-two cards spread across the silk. It is a magical and visual moment made possible by Ignacio Lopez’s wonderful prop. I then move directly into Blank Slate, first showing that all the cards are blank, then printing the entire deck. The song ends, and so does the opening effect. I am left with a completely normal deck to proceed with the routine.

A Winning Pair - Stronger Together

The next portion of the routine pairs two complementary effects. The first produces the Aces, and the next utilizes the Aces in a magical way. More importantly, these interactive tricks enable me to introduce myself and engage with the audience. In concert together, these two effects escalate the magic, build intrigue, and keep audience engagement high.

I like to weave a thematic element of travel by saying, “To me, magic is like taking a short vacation from reality. It’s something we all need from time to time. Our first stop will be Las Vegas. And if we play our cards right, we may end the evening clinking glasses in Venice, Italy.” This last line foreshadows the Vino Aces finale.

2. Handout Aces
I start with Handout Aces, featured in this book (Chapter 4). Since it is a hands- off effect, the audience gets to be viscerally involved in creating the magical moment—well, four magical moments since it spotlights finding all four Aces.

After I demonstrate some dexterity by performing some cuts and shuffles, including a one-handed shuffle, I hand the deck to my first participant. I do not touch the deck again until the end of the effect. The deck is passed from person to person until the deck is cut into four packets. I then invite them to turn over the top card of each packet to reveal the four Aces!

3. Homage to Homing
Now that the Aces are in play, it’s time to do something with them. My effect of choice at this point is Homage to Homing from One Degree. It is a card-to-pocket routine with three phases. I believe that every multi-phase routine must have a definitive ending, and this one sure does. The final phase features a transposition of the pocketed selection and the four Aces.

Twice the Fun - Boxed Transposition

I now shift into an interlude that’s on the fun and visual side. It involves the two seated participants as their selections change places. I set the stage by saying, “Now I’d like to show you something that’s twice as hard for me, but twice as fun for you. I’m going to have TWO cards selected!”

4. Boxed Transpo
The next effect is Boxed Transpo (Chapter 2 of this book). Since two cards are selected, it allows me to get to know the two seated participants a bit more. The effect also delivers some visual surprises. Beyond having two cards transpose, it’s the action of flicking the card box across the table that makes the experience memorable.

This is another flexible opportunity where I may do an alternative effect that serves similar standards. My two alternatives, which are featured in this book, are Detour (Chapter 1) and Double Play (Chapter 3).

Penultimate Effect - A Peak Moment

As I reach the moment before the finale, I build toward something stunning and surreal. In this case, I perform Whisper Mental from The Nth Degree.

5. Whisper Mental
Whisper Mental is more than a multiple selection routine. I’ve flipped the premise to make it a multiple mindreading routine. Four people look at cards in the deck, and one by one, I read their minds—and I just so happen to find the cards. It’s the perfect blend of cerebral and visual. I highlight the natural air of mystery with a musical track played throughout. The song I use is “It Speaks” by Paul Haslinger, featured on the Halt and Catch Fire soundtrack.

The Finale - The Closing Toast

The final effect should feel like the inevitable climax of the journey you’ve crafted. For me, Vino Aces checks all the boxes for what a finale should be. It’s elegant, interactive, audible, visual, and meaningful. I heighten all of these factors by having my original song “Venezia” fill the room. You can find this track on my first album, The Way.

I begin with a brief story. “In 2017, I visited Venice during a series of shows across Europe. This was especially meaningful to me since I am Italian, and it was my first time in Italy. I noticed everyone in Venice was drinking wine and enjoying life. Oh, and the music. Since that visit, I’ve wanted to bring the sights and sounds of Italy to everyone here. When I got home, I picked up my guitar and composed a song that reminded me of Venice. I also brought a few visual reminders, like wine glasses.”

As I say this, I bring out the four wine glasses from the suitcase and set them on the table. One glass has sixteen cards in it. I continue, “I also started thinking of all the memories I made and the people I met in Venice. I realized that there are sixteen cards in every deck that represent the memories we make and the people we meet in life—the four Aces and twelve court cards. Here I have the Aces, the most memorable cards in the deck; and the twelve face cards, the ‘people’ cards of the deck.”

With that, I deliver one more line before performing the final piece. “Sit back and imagine yourself in Venice, perhaps sipping wine and enjoying a gondola ride. Here is something very special using four wine glasses, sixteen cards, and a song I wrote just for you.”

6. Vino Aces (Picturesque)
I then perform Vino Aces, which has been my signature piece for over fifteen years. It is my version of the classic MacDonald’s Aces. What sets it apart is that I’ve transformed a typical close-up effect into an elegant routine that can be appreciated from the back row of nearly any setting. Not only does this prop up the cards for everyone to see, but it also creates opportunities to clink glasses and exchange toasts with the audience. Specifically, I perform my updated version called Picturesque, which uses the twelve court cards with the Aces. It adds a pleasing contrast and personifies the meaning of the entire effect. Before revealing the four Aces in the final glass, I say, “In the end, magic is not about making Aces disappear. It’s the exact opposite. It’s about bringing people together, like all of us, many of us strangers before tonight, now connected in some way. I can think of no better way to end our journey than to bring the four Aces back together…in the glass you’ve been holding on to from the start.”

And that concludes the show.

As I’ve performed this act for the past two years, it continues to evolve along with the material I create. In my most recent run of shows at The Magic Castle, I’ve made further refinements. Most notably, I’ve integrated Bets In Show (Chapter 3), which has been getting stellar reactions.