Holy Smoke by Steve Spill

Review by Michael Close

Steve Spill certainly has as much flight time as anyone on the planet. As “Highdini,” he opened for rock bands in the 1970s; for many years he worked with Bob Sheets at The Jolly Jester in Aspen, Colorado, and at the Brook Farm Inn of Magic in Chevy Chase, Maryland; and for twenty-one years he owned, operated, and was the featured performer at Magicopolis in Santa Monica. Throughout his performing career, Steve has created fresh, engaging, commercial material that suits both his performing persona and his venues.

I was enthusiastic about Steve’s previous book, Assassin, and I am equally enthusiastic about his new release, Holy Smoke: Ways to Work in Mysterious Ways if You’re not God. As I recall, Assassin focused on the nuts-and-bolts aspects of show business as a profession. Holy Smoke’s first section (Reflections) offers five chapters of more generalized (but no less important) information, geared toward anyone who wants to perform magic to a group outside of their families and friends.

Here are some gems:

“Magicians are not God, and their mysteries are not best received without also putting across something imbued with conflict or intrigue or comedy or drama or humanity as part of the process.”

“An audience wants to know how you feel, who you are, what you think, what peculiar process it takes to achieve these impossibilities…leave the crowd with something that’s you.”

“Prepare what’s said onstage so it sounds how you talk with the one person on this planet you feel most comfortable with – the one person you can be your real self with, whether that’s your twin, spouse, BFF, or pet hamster.”

“Find one magician who’s better than you, one magician who’s at your level, and one magician who’s less experienced. Get mentoring and coaching from the first, trade notes with the second, and use the third as a cautionary reminder of all the boneheaded mistakes to avoid so you do not suck.”

And these are just a few examples of the myriad practical and useful suggestions in these opening chapters. What makes this advice so valuable is the point of view Steve takes. He explains it this way:

“What is offered in this book was gained through looking with the eyes of an audience rather than my viewpoint from the stage…Being able to put yourself in the position of those viewing your work is extremely important. Why? Because magic only exists in the minds of those who witness it. Understanding what they think and feel can make or break your onstage success.”

If Holy Smoke only contained the sage words gleaned from fifty-plus years of experience, it would be worth the price. But in part two (Deceptions), you also get twelve routines from Steve’s past and present repertoire, providing you with real-world examples of how Steve’s creative process works.

I think you will be greatly amused to learn how Steve has taken some classic effects (including the Living and Dead Test, the Hummer Flying Card, the Rice Bowls, the Crazy Compass, and the Multiplying Bottles) and dressed them up with wildly engaging presentations. A personal favorite is E-Meter, which turns the standard “this is what you’re thinking of” mentalism plot into a visually memorable experience for both the assisting spectator and the audience.

The final section (Psalms) contains two short essays. The first is about Steve’s friend, the late (and greatly missed) Martin Lewis. The second is a deep bow to those who helped Steve bring the book to fruition. He ends by saying, “It is an honor and a privilege to indie publish and have readers enjoy the work. My life is the richer for it.”

Holy Smoke is a terrific book. Read it, study it, and apply what you learn. You’ll be a better magician for it. Highly recommended. ◆