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
- The Hole-Y Grail. My multi-layered chop cup routine. A perfect
- Coins Across Redux. Five phases including a gutsy hands-off
- 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 Andrews 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 Andrews 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
From The Silent Messenger, the newsletter of IBM Ring
122, Watertown, MA:
The Play's the Thing
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
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
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
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 1800s and again in the early 1920s.
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 anyones
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. Andrews 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.
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
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
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 Newicks Seafood
Restaurant in Merrimack, NH.
His Alejandros 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 séanceAn
Evening with the Spiritspremiered 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 audiences
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 Menuthe 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
A truly creative and versatile magician.Martin
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, email@example.com. 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.
Last revised April 20, 2011.
Copyright © 1998-2011 Andrew
J. Pinard. All rights reserved.