Lectures and Workshops

Thank you for your interest in my services. I currently offer three different programs for magicians.

The Shared Experience:
An Approach on the Presentation of Magic

Learn how to transform the presentation of tricks into fully developed performance pieces that have audiences amazed and engaged. With knowledge gleaned from over eighteen years of performing as both an actor and magician, Andrew shares not only his thoughts on crafting a “complete” performance, but illustrates these thoughts with routines from his own professional repertoire. Topics to be covered include his unique perceptions on misdirection, the “shared experience,” “logical illogicalities,” and “character-creation for the magical entertainer,” as well as sharing specific information on the business side of performing magic for a living.

The "Shared Experience" notes are the first permutation of an eventual book on my approach to the presentation of magic. The booklet combines an analysis of strong magic and the psychology behind audience perceptions of magic with techniques drawn from the theatre and short story writers, illustrated by some of the material with which I make my living.

44 pages long (including covers), 5½" x 8½" Wire-O binding, the notes open with my work on the concept of the "Shared Experience" and how it applies to magic as well as a brief discussion of several of the concepts utilized in the material.

The Shared Experience Lecture Booklet Contents

The Shared Experience
Presentational Concepts
Performance Pieces:

  • The Hole-Y Grail. My multi-layered chop cup routine. A perfect opener.
  • Coins Across Redux. Five phases including a gutsy hands-off translocation.
  • Static Currency. Finally, a plausible reason for a floating borrowed bill and a perfect intro for the next piece.
  • Autograph Collection. My version of the hundred dollar bill switch wherein an autograph on a bill turns inside out, along with the bill. No technique, just presentation and construction of the bill.
  • Open & Closed Prediction. My original two-phase effect wherein a card is removed from the deck, signed on the back and set aside as a prediction; a second card is then selected by the spectator and signed on the face, lost in the deck and revealed to have been sitting on the table the whole time. Two versions, one which resets in seconds.
  • Fifty-Two To Tango (my fusion of the card to glass, card to forehead and card to wallet plots). All the performance pieces are fully scripted out and explained with enough rudimentary technical details to perform (there will be no instruction of the Elmsley count here--it's not used anyway).

All of the pieces are from my commercial repertoire.

The "Shared Experience" booklet is $10.00.

New for 2003. The Shared Experience: The Nuts and Bolts. Contains five pieces from Andrew’s core repertoire, explained in great detail. It is rare that a working performer tips some of his best material, so take advantage of his generosity before he changes his mind! A supplement to Andrew’s Shared Experience workshop, this video reveals all the technique supporting The Shared Experience presentational concepts.

I came out looking to learn new tricks, instead I came away with something far more valuable, a whole new perspective on performance. . . . I think this material is strong, pertinent, and your delivery of it concise. I look forward to future encounters.—David Anderson

From The Silent Messenger, the newsletter of IBM Ring 122, Watertown, MA:

The Play's the Thing
Frank Dudgeon

Andrew J. Pinard is a magician of many dimensions. Many of us know him as the co-publisher of the periodical The Magic Menu. Others have been impressed with his work on The Three Shell Game and the La Maggiore Shell set. Audiences in New England and throughout the country have enjoyed Andrew's performances at resorts and restaurants, in corporate and trade show settings, and much more. For a more complete idea of his many talents check out his web page: www.absomagic.com. After seeing Andrew's lecture, The Shared Experience: An Approach to the Presentation of Magic, it's no surprise to learn that he is also an experienced educator in the field of the dramatic arts. Andrew Pinard the magician and Andrew Pinard the teacher both appeared on May 27th at the Magic Art Studio, and they were both very impressive indeed.

The evening began with a performance of pieces that Andrew uses to entertain audiences in the real world. The Hole-Y Grail is a marvelous one-cup routine that flows beautifully, with a little red ball appearing and disappearing, the production of two limes, a little juggling, and the final appearance inside the cup of the bag that held the cup in the first place. Coins Across Redux involves four half dollars traveling mysteriously from the performer's hand to a spectator's hand one at a time. This piece is capped off by a smooth and spritely matrix routine using the four coins and two playing cards, and ending in the production of a jumbo coin. Static Currency is a gem of a presentation as a borrowed dollar bill is charged with static electricity, clings to the magician's outstretched fingers, and oh-so-briefly floats in mid-air. The bill is then transformed into a mismade bill. In Fifty-Two to Tango, Andrew had a card selected and signed. The chosen pasteboard then went on a magical journey. It appeared under the cup from The Hole-y Grail, was shuffled back into the deck, then an indifferent card was placed under the cup and it changed into the signed card. A second spectator chose a card that was lost in the deck only to be found on Andrew's forehead. The other selected card was again found under the cup, and finally appeared in Andrew's wallet, folded in quarters. The finale was a real head-scratcher. Andrew located a "prediction" card and signed its back. A spectator selected another card and signed its face. At the end, the prediction card, which had not been in the deck, and the selected card impossibly became one as the same card was signed on both sides. This was Open & Closed Prediction, wrapping up a very effective performance. It was obvious that the magic we had seen would blow away an audience in the real world.

Before we were shown the methods used in the performance pieces, we learned some of the concepts behind The Shared Experience. For many of us this was the real meat of the lecture. Andrew has combined his experience, his knowledge of the theater and performing arts, and some serious psychological thinking into a system that successfully breaks down the pre-conceptions the audience may have about a performance of magic and allows them to relax and enjoy themselves. Andrew's system also provides a framework in which a performer can structure his or her effects and routines for maximum impact.

After a short break Andrew explained the methods used in his performance pieces, including his thinking on moves and handling, selection of the natural looking props that were used, and much more. We were given free handouts that outlined much of the thinking behind The Shared Experience approach, and the sale table was well stocked with lecture notes, videos, and equipment. Andrew's performing persona was friendly, personable, and very funny. His ability to successfully ad lib, both during the presentation and during the lecture portion of the evening, helped a very full evening fly by quite enjoyably.

The proof to me of the success of the evening was found in the comments I later heard from Ring 122 members. Everyone I talked with was impressed by Andrew's technical and performing skills, and with his philosophy of magic. At least one performer I know is rethinking his presentation of a key routine based on one of Andrew's observations. I think we all look forward to Sharing another Experience with Andrew J. Pinard.

An Evening with the Spirits

A theatrical reproduction of an authentic spirit seance as it was attended around the turn of the last century. This last is performance only with a discussion of Spirit Theatre following. This last requires advance time in the space (2-3 hours) and the ability to completely black-out the performance space.

At the end of the nineteenth century and beginning of the twentieth century, supposed spirit phenomena occurred more frequently, and many organizations developed long-term studies of the paranormal. A new word was introduced into the English language to describe the movementSpiritualism. It is again the beginning of a new century, and once again the spirits have become restless and you have the opportunity to participate in what may be a once-in-a-lifetime experience.

On eveningswhen conditions are rightguests gather with the hope of being united with those who have gone before us. As the clock tolls the hour, they step into the séance room, andin a very real sensestep back in time about one hundred years. Before their eyes and inside their minds, medium Andrew J. Pinard will recreate an authentic spirit séance.

Over the course of the performance, the sitters learn the curious history of an inn, its destruction in 1897 and the gruesome details surrounding the death of a young womanLillian Sinclairwho perished at the hands of her husband.

This is an historical recreation of an authentic spirit séance. This painstakingly researched and highly unique theatrical piece recaptures the sensations of an actual attempt to communicate with those who “have passed beyond.” Participants feel and witness “manifestations” as they were perceived by sitters in the late 1800’s and again in the early 1920’s.

An Evening with the Spirits is unique in that the audience is not merely passively witnessing a performance, but they are actively involved in the performance, resulting in an exclusive experience that can only occur once for those fortunate few who serve as the “sitters.”

At no time are any claims made of any actual spiritual occurrences, and any statements made within the context of the performance are delivered in character. At the same time, however, we do not deny the possibility that such phenomena may exist. The purpose of the performance is not to alter or refute anyone’s belief system, but rather to recapture and perhaps enhance the sense of wonder that we all are capable of experiencing.

An Evening with the Spirits had its premiere performance in April of 1997 at the Candlelite Inn in Bradford, NH and has been performed since that time for resorts and private audiences including a performance for the Society of American Magicians in Boston, MA.

Our novel program for April was provided by two guests, only one of whom was a living person. The real center of attention that evening was the very unreal but compelling presence of the lovely Lillian Sinclair, who was murdered . . . years ago, but who, through her spirit medium, Andrew Pinard, still obviously “gets around.” This particular evening, we were treated to an example of how magic effects are used as one of many tools to create a dramatic sequence. Andrew’s seance is a self-contained group experience in which the abilities of the performer . . . engage the emotions of the audience through solid acting and other theatrical techniques . . Of great interest to our group was the question-and-answer session that followed the performance . . .—Alan Wassilak, M-U-M Magazine, July, 1999.

Serious Bizness

A lecture/workshop on physical comedy and incorporating comedy into your act.

The focus of this lecture is primarily on visual comedy. The principles introduced are applicable to all forms of comedy, in fact, the strongest comedy is most often a combination of all the principles (however, it may not be three times as funny).

The information presented is intended to help workshop attendees expand their comic abilities and reach beyond what they are currently capable of. These techniques help them recognize and identify their personal comic strengths and allow them to focus on areas which they can improve. Emphasis is placed on character development and through active involvement, attendees will explore their comic abilities through a series of scenarios intended to cultivate the comic potential of the performer's relationship to the environment around them.

Some of the topics to be discussed include: Physical Comedy, Character, Attitude, Forms of Visual Comedy, Slapstick and Violence, Magic and Surrealism, Imitation, Parody, and Satire, Pantomime and Body Language, Form and Plot, and The Anatomy of Humor.

I really enjoyed your "Serious Bizness" notes.—Jay Sankey (performer and author of Zen and the Art of Stand-up Comedy)

ANDREW J. PINARDThe Man Behind The Curtain

Andrew J. Pinard has been performing since he was a child. He has traveled extensively as an actor, director, and scenic and lighting designer and has appeared on the stage, as well as on radio and television. He has written and adapted several plays for family audiences. An award-winning educator, he taught theatre for five years at Pembroke Academy in Pembroke, NH.

An astute businessman, Andrew uses his theatrical and magical skills to create custom presentations for corporate events. When he is not on the road, Andrew can be seen performing his special brand of close-up magic and comedy each week at a number of resorts and restaurants throughout the Northeast including: The Mount Washington Hotel in Bretton Woods, NH and almost eleven years for Newick’s Seafood Restaurant in Merrimack, NH.

His Alejandro’s Olde Tyme Magik Showe has been seen throughout the Northeast since 1989, including performances for fairs and festivals throughout New England and abroad. His original theatrical séance—An Evening with the Spirits—premiered in April of 1997 at the Candlelite Inn in Bradford, NH and has been performed since that time for resorts and private audiences including a performance for the Society of American Magicians in Boston, MA. A favorite with audiences, Up Close & Magical is a formal close-up show which strives to expand audience’s experience of magic.

In October of 2008, Andrew premiered his original "magi-musical" Fantasmagoria Cabaret at the 800-seat Concord City Auditorium in Concord, NH. This fusion of original music, magic, circus, vaudeville, burlesque and side-show received rave reviews.

Not only an accomplished performer, Andrew is also a teacher, writer, and creator of magic. His articles on restaurant and strolling entertainment have been published in several magazines including: MAGIC, Genii, Magicol, The Yankee Magic Collector, The Magic Menu, M-U-M, and The Main Event magazine.He currently serves on the board of the New England Magic Collectors Association as Editor of The Yankee Magic Collector (a historical journal published in even-numbered years), provided editorial assistance on several issues of Gibichiere and served as co-editor of acclaimed journal The Magic Menu—the International Journal for Restaurant and Bar MagiciansAndrew educated other performers through his regular column, “Absolutely Entertaining.” His ideas and creations have appeared in several books and magazines for the trade, and his work as a graphic designer, consultant and editor can be seen in such titles as: Switch by John Lovick, The Lost Notebooks of John Northern Hilliard, In A Class By Himself by Jon Racherbaumer, Extending Magic Beyond Credibility by John Booth, Best of Friends 3, Mathematical Wizardry, Harry Lorayne's The Classic Collection: Volumes 1 through 4, Harry Lorayne's Personal Collection, Doug Edwards Packs A Wallop, The Himber Wallet Book and an upcoming untitled new book on card magic by Harry Lorayne, Magic with Canes and Candles by Fantasio, Billion Dollar Bunko, Simon Says and Son of Simon Says by Simon Lovell, The Magic Menu First Five Years, Years Six through Ten, and The Final Four by Jim Sisti (and myself), Scatter Thought by Richard Stride and Alan Wassilak, Ibidem Volume 2 & Ibidem Volume 3/Aziz & Beyond by P. Howard Lyons, The Award-Winning Magic of John Cornelius by Lance Pierce, Constant Fooling 1 & 2 by David Regal, recent facsimile editions of The Complete Ganson Magic Teach-In Series by Louis Ganson, The Magical Arts Journal by Michael Ammar and Adam Fleischer and others in production including the forthcoming The Compleat Magick: Testament and Compiled Indexes to be published by Collector's Workshop.

Andrew has served as a correspondent on Reel Magic Magazine, producing the segment Continuum where he has interviewed such notables as Johnny Thompson, Harry Lorayne, Bill Kalush, Charles Reynolds, Todd Robbins, Jay Sankey, Eugene Burger, Eric DeCamps and Kostya Kimlat.

As a "maker of magic", Andrew produced the acclaimed La Maggiore shell game equipment, published several books on magic including Richard Stride's Scatter Thought. He is a recognized expert on the subject on Troublewit and recently began providing hand-crafted Troublewit through his website. He has shared his research on both with others around the world and is currently producing a book and historical presentation featuring new discoveries on origins of the latter.

The Shared Experience: An Approach on Performing Magic is the title of Andrew's book and workshop of the same name. This workshop, presented since 2002, has been seen throughout the Northeast and goes into detail regarding Andrew's unique fusion of magic and theatrical technique to engage audiences in a unique, original experience.

His lecture on physical comedy, “Serious Bizness,” has been presented to groups in New Hampshire and Massachusetts and his book of the same name has been used by performers from Utah to North Carolina to improve their own acts.

In 1998, Andrew was recognized by his peers as one of the finest close-up performers throughout the Northeast and in April of 2000, Andrew took the top honors in the 18th Annual New England Magic Competition. Andrew was selected twice as Editors’ Choice for Best Magical Entertainer in the “The Very Best of New Hampshire” July 2000 & 2002 issues of New Hampshire Magazine. He served for over a decade as a National Deputy of the Society of American Magicians. Andrew has worked as a consultant for many regional theatre companies including: the American Stage Festival, the Hampton Playhouse, the Lakes Region Summer Theatre, The ActorSingers, Kearsarge Arts Theatre Company (as Technical Director and Lighting Designer for three years) and The New London Barn Playhouse.


A truly creative and versatile magician.—Martin Lewis

Around 8 p.m. it was time for the main course: gifted New England magician Andrew Pinard. . . . If, however, you’ve never had the pleasure of attending a Pinard lecture or performance, you have a major treat left in your future. Andrew’s past visit to our assembly was great, offering polished ideas on everything from misdirection to motivation in handling props and delivering more convincing performances. Andrew is a very nice guy whose art is informed by a theatrical sensibility; he is truly a performer worth listening to. . . . This evening was about entertainment and relaxing while Andrew delivered from his own gourmet menu: a “Lying” routine; his slick Hole-Y Grail Chop Cup routine; a Stroop Effect, using cards to demonstrate how mental responses are slowed by colors that conflict with words; a comedy exercise with Troublewit’s many origami-like possibilities; a nice three-ring routine; Jack Spade, P.I., a story deck routine worthy of Bill Malone, told with jumbo cards; an impressive Three Shell Game; and the Pinard spin on the Professor’s Nightmare. Topping it all was dessert: Andrew’s Fifty-Two to Tango, a card journey from glass to forehead to wallet that masterfully misdirected a room filled with magicians—over and over again. It doesn’t get much better than that.—Bob Forrest, captainalbrightsql@comcast.net. www.sam104.com

Andrew Pinard is that rare individual who combines a rich theatrical background and consummate technical expertise with a deep love and respect for the craft of magic. Here, then, is a lecture experience with something of profound value for performers of all experience levels.—Jim Sisti, Publisher and Editor, The Magic Menu

Andrew Pinard turns a night out into something magical . . . When performing, he is part actor, part storyteller, part comic and consummate magician. Pinard . . . combines magic with integrity and a sense of theater. Pinard seeks to meet a higher standard, a standard that includes the unique relationship with the audience, the storytelling, and, perhaps lastly, the tricks.—Victoria Shouldis, Concord Monitor, May 25, 2000

Pinard . . . puts his theater and acting skills to work as he takes his audiences with him on a journey of discovery.—Kathryn Koch, The Argus-Champion, May 17, 2000

. . . a striding magician . . . nothing aimless as he moves quickly and purposefully . . . armed only with the most basic of props . . . prestidigitation distilled to its purest form.—Camela Zarcone, The Sunday Telegraph, November 7, 1999

Andrew captured and held the attention . . . and conducted himself with poise, concentration and confidence. . . . Andrew is an effective storyteller and his stories become the backdrop for his magic. . . . [his] performance style is interactive and personal . . . he has an impressive ability with sleight-of-hand technique.—Robert Shea, NH State Council on the Arts

To inquire about pricing and availability for your next function, please fill out our Online Event Request Form or contact us by phone at 603-938-5158.

Tradeshows, Sales Meetings, Corporate EventsCustom presentations for specific needsAvoiding "Missed" Perceptions
Theatrical Sleight-of-HandInformal miraclesHistorical recreation from the era of Spiritualism
Get to know Andrew J. PinardStage Shows, Fairs & Festivals, Community Events and more
Partial Client ListTestimonialsAdditional entertainment available through Absolutely Magic
Press Releases
Last revised April 20, 2011.
Copyright © 1998-2011 Andrew J. Pinard. All rights reserved.