(March 1998)
Dateline: October, 14 1995.....
I head to The Magic Castle to check out Bob Borgia's new illusion.
More amazing than his stretcher effect was the fact that he has somehow
convinced two guys to assist him for nothing more than a pass at the salad
bar. Each of the two gentlemen stood well over six feet tall.
Dressed in black from head to toe, they move around the stage creating
order from mayhem, all the while maintaining a hip Euro-trash fashion sense.
I came to meet the two twenty-three year olds as Doug and Seth and learned
that the black turtle neck look was one chosen by Borgia. More importantly,
one thing was clear, these two guys were not here for the money.
It was all about gaining experience in the real life world of magic.
The next day, I invited them over to check out the special I had just shot
in Japan.
Dateline: October 16, 1995.....
We watch videos at my house.
Dateline: October 18, 1995.....
I receive cards in the mail. Yep, thank you cards. (An
event still confusing to this day.)
Dateline: November 3, 1995.....
The Gamesters audition for The Magic Castle. An on-stage transformation
took place, gone were the calm demeanor of the two, replaced by over-the-top
antics of cartoon-like characters dressed in Zoot Suits pulled from the
era of Cab Calloway and Guys and Dolls. The performance left me with
a spectrum of emotions. I felt I was watching myself not too many
years ago. Clearly the two had a dream. It wasn't about card
tricks or tricks or dove steals but about magic in its most rudimentary
form as a vehicle for their characters... or so I thought.
Dateline: November 26, 1995.....
Upon their request I dropped by their apartment to preview the next
version of their act. Walking through the door I felt myself shoot
back to my college years. Standing in their two-bedroom dig on Hollywood's
Sherbourn Street, I became surrounded by the images of my adolescence.
It was complete with a pizza box on the floor, a myriad of magic and show
pictures covering the walls, and arts and craft supplies laid out on a
shelving unit made up of plywood and cinder blocks. The only thing
that was missing was my Olivia Newton John poster and the smell of flat
beer. In a flash it all made sense. Straight out of college
the two took the risk of their careers and moved out to Los Angeles.
They had the drive, the aggression, and the vision. What they needed
was a little jump start. Having assembled their oversized props in
the living room of what they dearly referred as "The Sherbourne Theater,"
they ran through what was the next incarnation of "The Gamesters."
Although the relationship of their two characters seemed a bit more developed
since The Castle, there were still many elements that just didn't make
sense. Their performance completed, I asked them, "OK, what's your
motivation?" I expected a series of Ray Pierce-like philosophy and
theories thrown back at me, instead I watched two guys looking at each
other like the RCA dogs. "Waddya mean?" said one. The other chimed
in "We just wanted to do an act that seemed different. One thing
led to the other, it just kinda happened." For the next five hours
they ripped apart the act, moment by moment and move by move.
When I left, of the act's ten original minutes 40 seconds had now become
premeditated. More importantly, the two realized the work they had
in front of them.
Dateline: November 27, 1995.....
Lunch with The Gamesters. Doug and Seth both look ten years older.
Not old as in "old and wise," but old as in staying awake all night and
rethinking the very core of your art form.
Dateline: December 12, 1995.....
Back at "The Sherbourne Theater" I sit back for a screening of "The
Gamesters Version III." The improvements were astronomical.
Their display of effort effort and commitment to growth was staggering.
Dateline: January 5, 1996.....
I happen to see some graphic work the two designed for Tony Clark.
Impressed, I commissioned them to create the art design for my latest illusion.
After a few passes our design styles eventually connected (or they just
gave up and did it my way). This was followed by hundreds of hours
spent together in front of the computer creating all the promo art for
my upcoming tour. It also meant an opportunity to watch The Gamesters'
act, grow and develop.
Dateline: February 27, 1996.....
Having learned of Doug's infatuation with Michael Jackson I invited
them to come along on a gig at Jackson's ranch.. An experience that
had become old hat took on a rebirth of excitement,. from secretly
spying on Doug moonwalking in Michael's dance studio, to watching the whole
cast ride the ferris wheel (not unlike the final scene of "Grease").
With Doug and Seth along everyone in the company regained that buzz we
all felt way back on our first visit.
Dateline: July 1, 1996.....
Learning that my show is scheduled to headline Laughlin's Riverside
Resort, I hired The Gamesters as the opening act. I thought what
better way to push them over the top than to put them slightly out of their
league. (If nothing else it would give me ten minutes off stage to
relax and have a donut.)
Dateline: August 1, 1996.....
Opening night, Laughlin, Nevada. Having watched them work right
up until the last moment, I stood in the wings and looked on at what would
become their professional debut. Despite a few technical glitches...
they did... OK. That night the whole company went out
to celebrate, except for Doug and Seth. They remained in the theater
analyzing the video tape and adjusting the act. This trend would
continue for the weeks to come. During the day, the technicians and
I would enjoy Laughlin, boating, swimming, jet skiing... you get the picture.
While The Gamesters moved into the theater developing and growing.
Their dedication and drive was titanic. Although I can't confirm
this, I'm pretty sure that to date, Doug Leferovich and Seth Yudof left
Laughlin, Nevada whiter and less suntanned than anyone in history.
They did, however, leave with one other thing: a solid, polished product
(and a few towels).
Dateline: September 16, 1996.....
Michael Jackson prepares to go out on his HIStory World Tour, along
with a number of my illusions. I was simultaneously in preproduction
for the musical Ragtime. This made it impossible to commit full attention
to either project. Luckily by this point Doug and Seth had proved
their competence many times over. Seth worked with me on Ragtime's
Houdini illusion, while Doug took on supervising the Jackson project (who'da
figured).
In the months to come this formula is repeated. From the MTV Music Awards illusions for Bone, Thugs and Harmony, to in-concert illusions for LL Cool J, Mary J. Blige and Usher.
Dateline: January 5, 1997.....
Over three hundred television appearances and nine hundred articles
worldwide made the 97 Corvette the most publicized car introduction ever.
At the heart of it all was a live mega illusion. The instant teleportation
of a Vette and a GM official from Detroit to Los Angeles. Via satellite
live audiences at both locations, along with countless television stations
witnessed the illusion. Enter Doug and Seth. While I was in
Detroit orchestrating the sending side of the effect, my now magical eyes,
The Gamesters, were in L.A. supervising the receiving half of the illusion.
On the screen in Detroit I watched them direct over ninety technicians
maintaining the effect's magical integrity. I remember thinking what
a dramatic change had occurred. Where not long ago the two were struggling
to get through a performance in their living room, now they were controlling
one half of a seven million dollar production. I also remember regaining
consciousness and the return of my blood pressure.
Dateline: February 23, 1997.....
I stopped by B&R Staging (the company that constructed the Corvette
illusions). While there I got a glimpse at Garth Brooks' new touring
set. I also stumbled on a familiar site. Doug and Seth along
with their props. It seems the two managed to endear themselves to
B&R's owner. Furthermore, they are in the midst of replacing
their home built illusions with new high-tech versions with the help of
the most prominent effects company in the business.
[Please note, this kind of stuff does not happen to normal people. I can only suspect that not unlike myself, the company's owners saw The Gamester dream and wanted to be a part.]
Dateline: March 14, 1997.....
We are shooting the vanish of the Luxor pyramid for a Japanese television
special. Again, Doug and Seth are there. Again, they're taking
in and learning as much as possible. However, this time a small change
has occurred. Upon their request they are not seen on camera.
This is to avoid jeopardizing future television work in their own right.
TV, a goal which seemed so distant only a year ago now has become a very
real possibility.
Dateline: May 5, 1997.....
The possibility has just become a reality. The Gamesters have
been booked to shoot a segment on physical misdirection for the Discovery
Channel's "Science of Magic." This project would teach them some
of the most valuable lessons ever. For the month to follow The Gamesters
created an entirely new act employing their now redefined characters.
By the producer's request this act demonstrates a number of philosophical
misdirections and optical illusions.
Dateline: May 7, 1997.....
Shooting commenced over a period of three days including the new act
along with interviews and background documentaries. In the end however,
the greatest lesson would come months later.
The original producer left to work on a network show. I remember getting the call from the new producers... "The program is running long, there is a chance that The Gamesters may be edited out." It's been my experience that honesty in Hollywood is the greatest illusion of all. No one is direct or truthful, covering themselves in the event that you may be the one in control next year. In the weeks to follow the reports came in from Doug and Seth. "The producers called, there is a chance our spot may get shortened." "Our segment may be saved for Show No. 2 (if there is a show No. 2)". "The producers are considering a different direction, yadda, yadda, yadda." Doug and Seth, welcome to Tinsel Town!
Dateline: May 21, 1997.....
My show has been booked for the summer to headline the Tropicana in
Atlantic City (a hotel whose stage is larger than Radio City Music Hall).
By this time there was no question that The Gamesters should be involved.
Not only as my eyes in the audience, but now as a truly viable product
in their own right. The following month's pre production dictated
a crash course in staging for the boys. To accommodate the immense
stage their act needed to be expanded and augmented. Back to the
computer. Many more all nighters were spent designing massive scenic
elements that would transcend them from a filler act into a full blown
theatrical production. (As a side note, my show's on-stage video
screen required that all the the music coincide with matching video images.
I was startled to see how swiftly the two adapted their own graphics work
to the video medium. Within the month, Doug and Seth transformed
their act into a production comparable to any in the world, if not even
surpassing many others in technical sophistication.
Dateline: June 12, 1997.....
The limo approaches Atlantic City, behold - Gamester joy - as their
faces light up upon spotting a montage of billboards and advertisements
all with their name on it.
Dateline: June 19, 1997.....
Press night at the Tropicana and the reviews are in. The press
was thrilled with the Gamesters' performance, and the Gamesters were thrilled
with the attention.
Dateline: June 28, 1997.....
Note to myself - After the show, The Gamesters consistently sell more
T-shirts than I do... something is wrong with this picture.
Dateline: June 30, 1997.....
A few weeks into the run, the show has found its equilibrium (well
almost). As inconceivable at it sounds, Doug and Seth continue to
spend afternoons developing and refining the act. This is either
a stellar display of dedication or Seth's desperate attempt to avoid sporting
a bathing suit.
Dateline: July 6, 1997
At The Gamesters' suite, still more all-nighters are spent generating
graphics, talking magic and redefining the art of room service. The
luxury of The Gamesters' suite incidentally is not unlike the luxury of
the headliner's suite (this undoubtly a product of Gamester charm).
A phenomenon still not fully understood, these guys possess the uncanny
ability to wrap the entire hotel staff around their finger. From
special favors from housekeeping, to complete access of the Tropicana's
advertising and business center (its got to be the aftershave).
Dateline: July 14, 1997.....
The show temporarily closes at the Trop and the cast travels to New
Orleans. Because Hypereality travels in four semis, two separate
show units are needed in order to accommodate an efficient tour schedule.
Upon our arrival Show B is already assembled and ready for the technical rehearsal. This is where The Gamesters' sense of foresight shines. Under any other circumstances an act of their magnitude would require either substantial truck space or an expensive airfreight bill, proving it too costly to tour. Flash back to February. With the help of their new friends at B&R staging (along with Seth's degree in mechanical engineering) the two created a visually huge act that breaks down into tiny pieces. Its innovative mechanics allow props the size of a phone booth to fit into suitcases small enough to check as baggage on any airline. In moments Doug and Seth reassemble their act and are back up to speed, ready for their own technical run through.
Dateline: July 19, 1997.....
The boys perform their final show in New Orleans. Now comfortable
working with state of the art technologies, Doug and Seth have requested
a virtual fire storm of pyrotechnics. With an audience of 10,000
watching, the two display a symphony of explosions, fireworks and effects
bordering on the thermo nuclear. Though never admitted, I'm certain
for a brief moment that night, on stage, Doug Leferovich actually became
Michael Jackson.
Dateline: July 20, 1997.....
Back to Atlantic City for more shows, more T-shirt sales and more room
service.
Dateline: July 29, 1997.....
We arrive in Lima, Peru and again rejoin Show B. By this time
our duo have learned the golden rule of rock and roll touring...
Why do when you can point. Leaving it to the technical crew to snap
together their act, they join me on the press tour. Over the course
of three days Doug and Seth rack up more television time than most artists
do in a career. With their equipment unavailable at the stadium,
they resorted to a number of manipulation routines I had no idea existed
(quiet frankly some of them as innovative as their main act).
Seth's Spanish proved to be a great asset on talk shows. I'm fairly
certain, given a little more time, he could have landed himself a job co-hosting
Good Morning Peru (or at least landed the weather girl).
Dateline: August 8, 1997.....
Back in the states I find myself in New York City locked in a traffic
jam. For the first time in my career I phone the theater warning
them that I may be very late. Having watched a hundred shows or more
The Gamesters often joked how quickly I could be replaced. Suddenly
this wasn't so amusing. Half an hour from show time I received a
call on my car phone (from Doug). "Relax, we've got you covered".
I learned that during the course of my drive they had not only spot rehearsed
the 90 minute show, but actually made a few improvements. (This is
very humbling to say the least.) I arrived at the theater with ten
minutes to spare. Instead of a warm reception, it was almost one
of disappointment. "Oh... you're here. I guess you want
your microphone back." That night, I felt guilty for doing my own
show.
Dateline: August 24, 1997.....
Show B arrives in Honolulu, Hawaii and so do The Gamesters. Again
a frantic press tour follows, but this time Doug and Seth are in control.
They waltz through a string of television and radio shows with the professional
grace of seasoned pros. Their presence in Hawaii however is shrouded
with the recurring questions...."Who are these guys? Where did they come
from?" and "How can they exist on the Islands without tanning?" Five performances
for crowds totaling over 11,000 later, The Gamesters return to Atlantic
City tighter than ever.
Dateline: September 14, 1997
Closing night at the Tropicana. The boys, having built a presence
in South America, head off on their own to be featured on a Chilean television
show. The feeling is comparable to separating with an old girlfriend.
Even though the two of you have agreed to see other people, you're still
shocked to find out who she actually is. (I'm not certain how my
actual girlfriend would feel about this analogy.)
By the summer's end, The Gamesters had been seen by over 124,000 people live and an additional eighty-two million on international television. Never-the-less, they still hadn't played Hollywood's Magic Castle. Billed as Hypereality's return to L.A., The Castle agreed to showcase Doug and Seth.
Dateline: September 26, 1997
Opening night at The Castle was a shocker. In recent months,
The Gamesters refined their act playing large venues and arenas.
When it came time to bring it down to the intimate level of the Palace
of Mystery, it just didn't work. Time for one more all nighter at
the fabulous "The Sherbourne Theater." Ripping the act apart and
returning to its roots proved to be the solution. By closing night
at The Castle, the two had proved they could work anywhere.
Dateline March 4, 1998.....
The Gamesters join Greg Wilson and Company for a tour of the Midwest.
As reports have it, their new found experience paid off big time.
I've just learned that the guys closed a deal as featured guests at
Harrah's in "Dancin' in the Streets". (My ex-girlfriend has just
found a new boyfriend). This summer they'll be on their own doing
over 100 live shows and once more redefining the art of room service.
Come this fall we'll meet up again. This time in New Delhi, India.
The Mahatma Ghandi Stadium, ten shows, 12,000 people per show. Yep...
sounds like another Gamester Gig.