Price$39.95
Media TypeTrick
CategoryMentalism
Date AddedFeb 23, 2013
Flown Away
Blakeley, Jasper
Paul Romhany
(Based on 1 review)
From the mind that brought you mentalist effects Dial-abolical and Plunge of Death, comes Flown Away, a truly practical and real-world mind-reading miracle.
In this initial release from Pro-menatlist, the collaboration of performers/creators Paul Romhany and Jasper Blakeley, comes an incredibly simple but amazingly powerful mental trip.
With a fool-proof invisible method, Flown Away can be played for laughs or for serious. This effect has not been created just to sell, it is part of Jasper's everyday stand-up comedy act.
Watch covert footage of actual stand-up comedy-club performances of Flown Away, done by Jasper's Russian-esque comical mind-reading character, Kockov.
With several different performances to work from, you have a unique opportunity to see how this effect plays out in the real world.
The Effect:
A volunteer is called to the stage, they secretly choose any one of fifty popular world-wide destinations from a stack of cards, they place one of the cards into a separate envelope and the performer reveals the destination they chose.
Here are the questions you want to ask:
- All 50 cards & place names are genuinely there, only 50 cards no more no less
- Unmarked cards - nothing to see or find by spectator
- Completely and totally free choice by spectator
- The spectator can handle the cards in any way
- THE PERFORMER NEVER sees the place name on the card until it is taken out of the envelope at the end
- The volunteer can hold the envelope throughout
- The volunteer can take the card out of the envelope at the end
- Longer & funny 'kicker ending' version available
- Takes less than 15 minutes to make and costs less than the price of a packet trick
- Plays to small dinner parties, cabarets, or to large stage audiences
- Can be played straight or for laughs - full script and routining included
- Nothing to find at all
- Adheres to cliché 'packs small plays big'
- Limitless presentational possibilities
- Corporate , trade show and children's show applications included
Reviews
(Top ▲)
I was not sure what to think when I finished reading the booklet and watching the included DVD. I am still not sure what to think.
It was frustrating because as you read through the book and find something, you think to yourself, "Oh, that is clever." Two sentences later you think, "Huh?"
The basic effect is that you show an envelope with 50 of the top travel destinations on it. A volunteer is asked to select a card with one of those choices on it without showing it to anyone. The card is placed into an envelope that is secured with bulldog clips and hung or placed in full view of everyone. The magician introduces and signs" a "travel insurance policy" which is given to the volunteer to put in their pocket. After taking an imaginary plane journey, the performer names a city and it ends up being wrong. After a bit more byplay, the correct city is revealed. At the end, the insurance policy is taken out and read by the volunteer where it also names the correct city.
I am not sure if the insurance policy adds all that much to the routine, but it is an optional bit.
I will start with the ad copy before going into other things.
I would say the ad copy is close to completely truthful. The few points I have an issue with are:
"The volunteer can hold the envelope throughout." - This is half true because one of the envelopes they can hold onto and the other they COULD hold onto, but you would not WANT them to because they may fiddle with it a bit too much.
"The volunteer can take the card out of the envelope at the end." - Yes they can, but with your help or with you holding the envelope.
"Nothing to find at all." Really? For the most part this is true, but the if the volunteer were to place the single card into the envelope completely by themselves, if they were to hold onto the envelope the entire time and fiddle with it too much or if they were to remove the card themselves at the end without your help, they COULD find 'something'.
The rest of the claims in the ad copy are absolutely true. The ad copy does not claim to provide any "optionally necessary" templates but in the book there is a mention of "templates" on the DVD and at the end, the book says there is a PDF of the insurance policy on the DVD. This is absolutely NOT true - more on that and the DVD in a bit.
The method for this is very clever and it is well hidden when done properly and it is rather easy to construct. You have to keep in mind the sizes of cards and envelopes (or rather, the proportions) you use when making the gimmick, but there is no limit to the sizes of cards and envelopes you can use. This also applies to visibility, obviously. You would not use small cards and envelopes for a large theatrical audience.
Jasper writes about the origins of this idea in the beginning of the book, which I found rather interesting. He then describes the effect itself, then the method and then moves into the construction.
You are given a list of necessary materials to build the gimmick and through a series of text instruction, along with black and white photographs, shows you step by step how to construct everything.
What follows is a section on "stager gags" and how/where/when to incorporate them into your script, which is then followed by a section on performance tips.
At the beginning of the performance "tips" section, he defines some theatrical terms that he uses in the ensuing text. To me, it reads like he is showing of that he knows these terms and using them to appear knowledgeable. To be fair, he makes some decent points in this section, but as such a lot of it relates to him as a character actor/magician. He performs often as what he describes as a "Russian-esque" character named "Kockov" who is rather lewd, rude and profane. He said this character is used mostly in comedy clubs. He talks about this character being that way and that he makes those traits known to the audience throughout the show for various reasons.
Now here is where I have a bit of issue: He says that in his opinion and in order to reinforce the 'conceit' of this character, it is important to make physical contact with your spectators as much as possible. He says that he cannot stress enough how important that physical connection is and that it will lead to getting them to do what you want them to.
Well minus the personality traits, he is absolutely right about the physical contact creating rapport with a volunteer. BUT...
He then says (and this is verbatim), "You may wonder, "What if the person you have invited on stages does not like being touched?" Then you are not good enough at choosing volunteers yet." Huh?! I guarantee you that you can have a very willing volunteer that does everything you want on stage without any issues whatsoever - that does NOT mean they like to be touched. Yes, you do need to be able to spot the right types of volunteers for any effect/routine you use them for, but there are certain things you have no way of knowing just by looking at and talking to them.
The rest of the book is basically what to do in various situations such as the delivery of the effect, alternate presentations, dealing with a difficult volunteer and such. Paul Romhany gives a very nice alternative presentation theme which I thought was even better than the original. The last two pages are just a 'lorem ipsum' example of what your insurance paper should look like.
The travel insurance policy is given as an optional addition to the routine and I assume that it is the "kicker ending" that is mentioned in the ad copy, though they never call it that in the book.
Then there is the DVD. The production quality was just awful - it was filmed in what I assume was a comedy club with what looks like a low-quality home video VHS camera. There are three "different versions" on the DVD. Actually, it is pretty much the same exact thing done three different times with three different people on the same stage from different angles. There was really only one or two slight changes between the three performances. These three together dragged on for about 20 minutes. The lighting was bad and the in-house microphone system overpowered the mic in the camera, which made it very difficult to hear/understand most of any of the performances. Also, while I realize that it may be part of the Kockov character to talk speedily, he was speaking very fast and for the parts I could understand, it was difficult because of how fast he was talking. At the end when he revealed the card with the chosen city, they camera could not pick it up because it was washed out by the lights.
The supposed "PDF" template of the insurance policy was essentially nothing more than a low-quality screen shot of the last two pages in the book where it is shown.
To me it would have been better to seen this effect presented with three different themes, like some of those given in the book, rather than what they did show.
One quick thing about the performances on the DVD: You can see the same three performances from the disc on YouTube if you would like to get an idea of what the effect is like. PLEASE do not judge it based on the lackluster reactions or the character that is presenting it.
You will not agree with everything that is in the book as far as the performance ideas and tips are concerned, but Jasper does make some very valid points that are worth thinking about and/or putting into practice.
SO, for $39.95/USD you get a really crappy DVD (which should have been left out), a good method for a potentially strong and useful effect, a booklet with a few typos and some okay ideas and a really nice alternate presentation idea at the end.
I think this price point is a bit high for what you get, but if you think you might have a use for this effect, go for it.
It was really hard to rate this when taking everything into consideration, but ignoring the crappy parts and basing it on the versatility of the presentation possibilities, I am giving this 3 stars.
It was frustrating because as you read through the book and find something, you think to yourself, "Oh, that is clever." Two sentences later you think, "Huh?"
The basic effect is that you show an envelope with 50 of the top travel destinations on it. A volunteer is asked to select a card with one of those choices on it without showing it to anyone. The card is placed into an envelope that is secured with bulldog clips and hung or placed in full view of everyone. The magician introduces and signs" a "travel insurance policy" which is given to the volunteer to put in their pocket. After taking an imaginary plane journey, the performer names a city and it ends up being wrong. After a bit more byplay, the correct city is revealed. At the end, the insurance policy is taken out and read by the volunteer where it also names the correct city.
I am not sure if the insurance policy adds all that much to the routine, but it is an optional bit.
I will start with the ad copy before going into other things.
I would say the ad copy is close to completely truthful. The few points I have an issue with are:
"The volunteer can hold the envelope throughout." - This is half true because one of the envelopes they can hold onto and the other they COULD hold onto, but you would not WANT them to because they may fiddle with it a bit too much.
"The volunteer can take the card out of the envelope at the end." - Yes they can, but with your help or with you holding the envelope.
"Nothing to find at all." Really? For the most part this is true, but the if the volunteer were to place the single card into the envelope completely by themselves, if they were to hold onto the envelope the entire time and fiddle with it too much or if they were to remove the card themselves at the end without your help, they COULD find 'something'.
The rest of the claims in the ad copy are absolutely true. The ad copy does not claim to provide any "optionally necessary" templates but in the book there is a mention of "templates" on the DVD and at the end, the book says there is a PDF of the insurance policy on the DVD. This is absolutely NOT true - more on that and the DVD in a bit.
The method for this is very clever and it is well hidden when done properly and it is rather easy to construct. You have to keep in mind the sizes of cards and envelopes (or rather, the proportions) you use when making the gimmick, but there is no limit to the sizes of cards and envelopes you can use. This also applies to visibility, obviously. You would not use small cards and envelopes for a large theatrical audience.
Jasper writes about the origins of this idea in the beginning of the book, which I found rather interesting. He then describes the effect itself, then the method and then moves into the construction.
You are given a list of necessary materials to build the gimmick and through a series of text instruction, along with black and white photographs, shows you step by step how to construct everything.
What follows is a section on "stager gags" and how/where/when to incorporate them into your script, which is then followed by a section on performance tips.
At the beginning of the performance "tips" section, he defines some theatrical terms that he uses in the ensuing text. To me, it reads like he is showing of that he knows these terms and using them to appear knowledgeable. To be fair, he makes some decent points in this section, but as such a lot of it relates to him as a character actor/magician. He performs often as what he describes as a "Russian-esque" character named "Kockov" who is rather lewd, rude and profane. He said this character is used mostly in comedy clubs. He talks about this character being that way and that he makes those traits known to the audience throughout the show for various reasons.
Now here is where I have a bit of issue: He says that in his opinion and in order to reinforce the 'conceit' of this character, it is important to make physical contact with your spectators as much as possible. He says that he cannot stress enough how important that physical connection is and that it will lead to getting them to do what you want them to.
Well minus the personality traits, he is absolutely right about the physical contact creating rapport with a volunteer. BUT...
He then says (and this is verbatim), "You may wonder, "What if the person you have invited on stages does not like being touched?" Then you are not good enough at choosing volunteers yet." Huh?! I guarantee you that you can have a very willing volunteer that does everything you want on stage without any issues whatsoever - that does NOT mean they like to be touched. Yes, you do need to be able to spot the right types of volunteers for any effect/routine you use them for, but there are certain things you have no way of knowing just by looking at and talking to them.
The rest of the book is basically what to do in various situations such as the delivery of the effect, alternate presentations, dealing with a difficult volunteer and such. Paul Romhany gives a very nice alternative presentation theme which I thought was even better than the original. The last two pages are just a 'lorem ipsum' example of what your insurance paper should look like.
The travel insurance policy is given as an optional addition to the routine and I assume that it is the "kicker ending" that is mentioned in the ad copy, though they never call it that in the book.
Then there is the DVD. The production quality was just awful - it was filmed in what I assume was a comedy club with what looks like a low-quality home video VHS camera. There are three "different versions" on the DVD. Actually, it is pretty much the same exact thing done three different times with three different people on the same stage from different angles. There was really only one or two slight changes between the three performances. These three together dragged on for about 20 minutes. The lighting was bad and the in-house microphone system overpowered the mic in the camera, which made it very difficult to hear/understand most of any of the performances. Also, while I realize that it may be part of the Kockov character to talk speedily, he was speaking very fast and for the parts I could understand, it was difficult because of how fast he was talking. At the end when he revealed the card with the chosen city, they camera could not pick it up because it was washed out by the lights.
The supposed "PDF" template of the insurance policy was essentially nothing more than a low-quality screen shot of the last two pages in the book where it is shown.
To me it would have been better to seen this effect presented with three different themes, like some of those given in the book, rather than what they did show.
One quick thing about the performances on the DVD: You can see the same three performances from the disc on YouTube if you would like to get an idea of what the effect is like. PLEASE do not judge it based on the lackluster reactions or the character that is presenting it.
You will not agree with everything that is in the book as far as the performance ideas and tips are concerned, but Jasper does make some very valid points that are worth thinking about and/or putting into practice.
SO, for $39.95/USD you get a really crappy DVD (which should have been left out), a good method for a potentially strong and useful effect, a booklet with a few typos and some okay ideas and a really nice alternate presentation idea at the end.
I think this price point is a bit high for what you get, but if you think you might have a use for this effect, go for it.
It was really hard to rate this when taking everything into consideration, but ignoring the crappy parts and basing it on the versatility of the presentation possibilities, I am giving this 3 stars.