2.2 CARACTERÍSTICAS LITOESTRATIGRÁFICAS DEL ÁREA DE ESTUDIO ESTUDIO
2.2.3 JURÁSICO MEDIO
2.2.3.1 DESCRIPCIÓN DE LAS FORMACIONES La Formación Veleta
park and performed at Ripley’s until I joined the U.S. Coast Guard in 1977.
“While stationed in south Florida, I was kept busy as a military photojournalist – but at night I performed a mu- sic-and-magic street act in Fort Lauderdale, table-hopped in restaurants, and moonlighted some weekends at Paul Diamond’s Magic & Fun Shop. I gained three friendships with magicians who taught me the difference between being a performer of magic and just another guy who does tricks: Kirk Stiles, Dave Rumfelt, and Russ Burns. Those guys taught me the importance of scripting, the difference between practicing and rehearsing, and, most important, the value of being of good character both onstage and off.
“During the ‘80s, I left the Coast Guard and broke into the trade show market as a semi-pro performer. I traveled to cities across the United States and Canada using magic to develop leads for corporate clients. In 1989 I relocated to the Deep South and made the commitment to be a full-time conjuror.
“Throughout the ‘80s, I taught myself to play fiddle, banjo, mandolin, and tin whistle. Each one I own is a restored vintage instrument dating from the early to late 1800s. People often find it curious that I do not play bluegrass. The music that speaks to me most is called ‘old-time’ and pre-dates bluegrass considerably. Though I have done some studio work with other artists, I have two CDs of my own that are marketed through Disney. I am currently working on a third recording project.
“Early in my career, I performed solely as a magician, as a musician, or as a storyteller. That changed in 1990 when the Charlotte Folk Music Society in North Carolina engaged me to perform a two-hour concert in a college amphitheater. That’s a long time to listen to one guy play the fiddle or banjo – even with an intermission – so I wove in cameo moments of magic and funny stories. I received a standing ovation and realized I had found the hook for a good act and the roots of my onstage character as well.”
Mick, Katalina, and I spent about an hour talking and laughing, but then it was time to enter the property to see Mick work. Disney’s Hilton Head Resort sits on a private island nestled in Broad Creek within Hilton Head Island. As we crossed the short bridge leading to the resort, Mick leaned in and spoke in a hushed tone, as if someone might hear us. He explained that once we were on the property, we had to call him B’lou Crabbe. This was his character name at the resort.
The resort is themed as a 1940s era low-country fishing lodge. Disney wanted a character entertainer who was specific and unique to this resort. Working with Disney, Mick created a relaxed island codger named “Bartholomew Louis Crabbe.” Nicknamed B’lou (pronounced “Blue”), he always looks like he just stepped off a creek boat after a day of fishing. He sports a straw plantation hat along with a well-worn fishing vest that has a trick in every pocket. Mick looks every bit the part.
As we toured through the magnificent resort property, Mick explained that he engages in many different types of performanc- es here. He performs a magic show, a mentalism show, plays the fiddle, tells stories, and is the resident “interesting” character that can be seen at any time wandering the property.
We had just entered the property when two guests gave Mick a cheery greeting, “Hello, B’lou, are you going to tell some scary stories tomorrow night?” they inquired. Mick paused and went
Southern drawl. He engaged them for a brief time, giving them some history of the region before we continued our tour.
Mick explained that he did not get this job in the traditional way. He had been auditioning for a job down in Orlando for Disney’s EPCOT center. “I was quite nervous and had even brought my fiddle hoping that might help me stand out. After showing them
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Early in my career, I performed solely as a magician, as a musician, or as a storyteller. That changed in 1990 when the Charlotte Folk Music Society in North Carolina engaged me to perform a two-hour concert in a college amphitheater. That’s a long time to listen to one guy play the fiddle or banjo – even with an in- termission – so I wove in cameo moments of magic and funny stories. I received a standing ovation and realized I had found the hook for a good act and the roots of my onstage character as well.”
something for them. You don’t have to ask me twice. What started as a ten-minute audition turned into two hours.”
Mick informed us that at the end of the audition they explained they didn’t want him for the Orlando gig. Upon hearing this he was crushed. Then they went on to explain they had a much more interesting gig in mind for him. They loved the fact that Mick had a wide variety of talents, not just magic. Add that to the fact that Mick is a walking encyclopedia of knowledge and history of the Hilton Head area and you have serendipity.
Mick was simply the perfect set of talents, auditioning at the perfect time, for the perfect job. Mick has now been performing at the Disney Resort for twelve years. He has a plethora of fascinat- ing stories about performing for Disney. However, one question that came right to the tip of my tongue was about changing up his show, since he was inevitably going to get much of the same audience year after year.
“Because of the unique environment of the property, most of my shows are only twenty-minutes to one-hour long. This makes changing the material much easier. Unlike many resort perform- ers I don’t have a large hour-and-a-half production show. I have many twenty-minute shows that I do for a year or two, and then I write a new one,” explained Mick.
Don’t let his easy answer hoodwink you. Mick’s shows are very well thought out. Mick has a website where he sells the com- pletely scripted shows that he no longer performs. They range in length from thirty to sixty minutes. Many fulltime pros have purchased these shows and then chastised Mick for letting them go so cheaply. What makes these scripts so powerful is that Mick has forged them under the fire of live audiences. By the time he writes them up to sell, he not only has a solid script, he has the ever-so-elusive transitions as well. I already know what you’re thinking. Don’t worry, I twisted Mick’s arm to part with a couple of pieces for this article [see page 40].
After enjoying the ambiance of the resort, we settled into a quaint upstairs room and waited with the gathered guests of the
resort for Mick’s show of magic. His Southern charm and personal warmth quickly took over the room. He had children and adults both spellbound with his ability to intertwine funny anecdotes with his sleight of hand. The show was over much too quickly and we were off for some ice cream.
As we enjoyed some of the fabulous treats of the Disney Resort, Mick explained, “The resort’s overall theme means that I won’t use a prop that doesn’t make sense for the environment or fit B’lou’s character. For example, when I perform a Chop Cup routine I first bang up the cup to make it look like the top of an old thermos bottle. I remove the traditional knitting from the balls and paint them red to look like old cork bobbers. The final loads are two tangled balls of fishing line. The audience loves it because it fits the atmosphere of the resort.”
As you spend time with Mick, you can’t help but be impressed with his colorful portrayals of the history of the region. I asked why he knows so much about the area. Mick sat back and sipped on his tea as he recounted the following: “The sea islands of South Carolina are rich with history and folklore. My grandmoth- er, Genevieve Wilcox Chandler, was part of the Writer’s Project Administration back in the 1930s. She collected and preserved countless ‘slave narratives’ for the Library of Congress. Stories, music, spirituals, work songs, histories, superstitions, and folklore from the African-Americans who were in their eighties, and who had been slaves as children and lived through the Civil War. To this day, scholars consider her efforts very important to the human record of that period.
“During this time, my father managed a rope-hammock factory where most of the weavers were direct descendants of slaves brought here from the bulge of Africa during the plantation era. As a boy, I worked alongside them as they taught me how to weave a four-rope braid for the sides of the hammocks. These folk are great lovers of storytelling and rhythmic singing. Every day, I heard call-and-response work songs and spirituals that were in their culture for centuries. I fell in love with these people and the
tricks made the hours of the day slip by much too quickly. Katalina and I made plans to meet Mick again the next and made our way back to the hotel.
The following day, Mick took our early morning hunger to a hidden gem of the Hilton Head area. It was a local restaurant that looked like it came right out of the 1920s. Bright murals were painted on the walls, the aroma of fresh cooking hung in the air, and the food was delicious. After filling our bellies with the fine Southern breakfast it was time to head back out to the Disney Resort. We watched as Mick pulled out his fiddle and in no time at all had a small crowd around him as he became the pied piper of Hilton Head. The crowd enjoyed his down-home playing; Mick interspersed his songs with little bits of Southern wisdom, jokes, and playful banter.
Following Mick around the resort you get to experience how he is more than just a magician or fiddle player. He is an ambas- sador for the resort. People stopped him to ask for directions, in- formation, or just to chat a while. The whole time he remained in character.
“I’ve been here long enough that I have now performed for children of the children I performed for a decade ago. I have developed relationships with many of the guests who have been coming here year after year. They only know me as B’lou. Sometimes that can be a bit weird. However, it really hits home emotionally when the resort gets a letter telling them how much fun a family had and how they really appreciated seeing old Bar- tholomew Crabbe once again,” Mick reflects.
One surprise for me was that Mick teaches the same trick I
under the collar of your shirt). We compared how we teach this old classic. I use a lot of comedy and wordplay. Mick, of course, wraps it into a storyline that fits his character at the resort.
“When I teach this trick, I tell them about the time I showed this to my mother when I was a child. The scripted lesson comes across as a tall tale, though every word of the story is true. It describes how a series of funny events turns my first performance into an unintentional miracle. Stories like that have been an integral part of my acts for the last twenty years. I want the guests to walk away believing the magic comes from me and not my props.” From the guest’s reactions at the resort, it looks as though Mick is accomplishing his goal.
We spent hours discussing tricks, performing philosophies, premises, and character development, but our time together even- tually came to an end. As the moon crept up into the sky, we made our way to the clubhouse where Mick was to share some spine-tingling stories with the guests of the resort. The room was warm and snug. The adults relaxed in large comfortable chairs. The children sat on the floor gathered near Mick’s feet.
There wasn’t need for an introduction, because most of the guests already knew Mick; he was much like a wonderfully odd uncle who entertains at the family get-togethers. It was fascinat- ing to watch Mick entertain with only stories. The first couple of stories were fun and not too frightening. The children giggled at Mick’s pun-filled jokes.
The mood changed as Mick began telling his last story. Chaining together his knowledge of the area with the theme of the resort, you began to wonder if this story was fictional or not. As the story progressed along its darker theme, you could see some of the children move back closer to their parents. Mick shared about an unfortunate soul who sat in a haunted car that traveled slowly down a dirt road at night – but without a driver. As I looked around the room, I wondered how Mick was possibly going to end this story.
As it turns out, the car was being pushed from behind by two characters Mick had talked about earlier in the story. All the guests broke out in relieved laughter as Mick tied up all the loose ends. Later, Katalina and I told Mick that we enjoyed his ghost stories the best. His skill at relating a story with just the right amount of fright and just the right amount of humor was masterful. Again, Mick was showing why Disney wanted more than just a one-trick- pony at this resort.
Before we said goodbye, I asked Mick to share what he would tell any young magicians aspiring to become professionals: “During lectures, I often get on a soapbox about what I call ‘The Five Obligations of Magic.’ To entertain well requires hours of study, disciplined practice, eloquent scripting, diligent rehearsal, and a passionate performance. Drop even one of these and you’re done. I am amazed at how many magicians embrace only one or two of the disciplines and ignore the rest – or worse, they think that practicing and rehearsing are the same thing.
“For young people who are just getting started, here are four tips: First, get a college degree in Business and Marketing, you’ll need it. Second, don’t put all your eggs in one basket as an en- tertainer. Develop other skills and talents that are marketable. Third, if you desire to spend a major part of your life performing on stage, then familiarize yourself with every aspect of it. Join a local theater company; audition for a part; and volunteer to work backstage. Immerse yourself in the theater life. Fourth, write a detailed script for every routine you do. Every working pro worth his or her salt does this.”