Alexander Boyce is a young magician who wows the audience with his mind-boggling performances while dressed in dapper attire reminiscent of the 1960s “rat pack” era. Although he is still attending NYU Tisch School of the Arts to study acting, Alexander has already made a name for himself in the entertainment industry. Since his training began at the tender age of eleven, Alexander has performed his Magic at colleges, banquets, corporations, performing art centers and more. He has been lauded by the press and patrons alike and currently teaches magic at Tannen's Magic Camp, a prestigious venue for aspiring magicians.
Alexander is presently performing regularly at “Monday Night Magic” which is the longest running magic show in New York City. He also served as a magic consultant for the Lincoln Center show titled “How to Transcend a Happy Marriage” which starred famed actress Marisa Tomei.
Alexander Boyce recently discussed his talents and his aspirations for the future in an exclusive Interview.
Style
Blasting News (BN): You are a highly skilled performer in a number of acts like magic, comedy, juggling, etc., so how did you initially get interested in the entertainment industry?
Alexander Boyce (AB): I’ve always wanted to be in front of people. The story of Olivier answering Dusting Hoffman’s question of “Why do we do this?” with “LOOK AT ME!
LOOK AT ME!” has always struck a chord. I know it goes beyond the applause though because so much of my acting work of late that I find particularly enjoyable is on film. Something about performance, even with an absent audience, gets me in the mindset where I feel most productive and passionate.
BN: What kind of childhood did you have and do you think your experiences growing up influences your performance style at all?
AB: My performance style grows and morphs as I do. College has been a major influence on that. I’m so grateful to my professors at NYU who exposed me to theatre like Ivo Van Hove’s “Scenes from a Marriage” and my teachers at the Adler studio who guided me into a better understanding of acting. I’ve found that performing sleight of hand at cocktail parties has had a strong impact on all of my performances as well because in those situations I must introduce myself to a group who knows nothing about me, connive them I’m worth their time, create astonishing moments, build crowds, and leave long lasting memories of that night.
BN: How would you describe your style of magic and comedy and why do you prefer to perform in a suit a la the 1960s style?
AB: The live performance era of the 1960s is particularly interesting to me because vaudeville had fallen and cabaret nightclub venues began to thrive. The performances of that era found a size and elegance along with a very personal audience connection that I’m chasing. I want to have a good time while onstage and I personally love the Rat Pack, jazz music, so I create an environment through those. My show is certainly not a throw-back show but has elements that are vintage. There was a magician from the era that highly influenced me named Channing Pollock. However, since Pollock performed on the Nite-Club and hotel circuit his act was much more reminiscent of something from the 30’s or 40’s than the 50’s/60’s since those markets catered to an older audience.
One of my mentors and magic’s living legends, Johnny Thompson was very close with Channing Pollock. I have some of Pollock’s ties, which were handmade by his wife hanging in my room. When I told my Johnny that I had them he one-upped me by saying “I have his lamp, china plates, and couch so…”
BN: You're very young but have worked with an outstanding list of A-list companies as clients, so how did you get these amazing opportunities?
AB: I began performing professionally at a very young age and have found that mentors to be invaluable. The guidance and experience I’ve received with those that have taken me under their wing have given me the confidence to accomplish artistic and professional goals.
My youth is certainly something I’m aware of but has never been part of my decision-making process. Recommendations have always been invaluable. Some of my most recent work like performing for the DuPont family, serving as the Magic Consultant at Lincoln Center for “How To Transcend a Happy Marriage” by Sarah Ruhl, and acting in a short film about a magician who plans a disappearance all came from recommendations.
Magic
BN: You're scheduled to perform at "Wondershow" at the Cutting Room soon. Will this be your debut there and how did you get the gig?
AB: I’m very excited to make my “Wondershow” debut at the Cutting Room. I’m very grateful to Patrick Terry for inviting me to be on the show. Patrick and I are both alumni of the world-famous Tannen’s Magic Camp, a weeklong seminar for teen magicians.
Some of the greatest magicians from around the world travel to Bryn Mawr, Pennsylvania to share advice with the up and comers. Tannen’s Camp is like a big family and I met Patrick through former campers. One of the weeks I look forward to most every year is Tannen’s, where I now teach.
BN: Do you have a favorite venue and trick/routine and, if so, which ones and why?
AB: One of the most beautiful venues I’ve performed in was the Kimmel Center in Philadelphia. I had just seen the Philadelphia Orchestra play with Josh Bell and Chris Botti when I got the call requesting that I perform magic while they accompany me at one of the concerts. Philadelphia magician and magic historian Marc DeSouza and I took the stage as Wizard characters and produce magical effects for the audience visually as the orchestra created magic musically.
The Kimmel Center is one of the great music halls in the country and to look straight up to the audience four balconies up only feet from the first violinist for one of the finest orchestras in the world was thrilling.
BN: Do you ever involve members of the audience in your magic and, if so, how do you choose your targets and what have been some of the most memorable reactions?
AB: Involving the audience is essential to magic and one of the aspects of the genre that is so appealing. Sometimes magic requires just the audience’s very focused attention. Obviously, when people come up on stage in front of everyone that takes a lot of bravery and I would never betray that trust they give me. Once they step onto the stage they become both a partner and a new window for the audience to see the magic.
BN: What have been the biggest rewards and highlights of your experiences as a performer?
AB: The real highlights of my time in entertainment and magic has been the relationships. When you’re working with other people from diverse backgrounds together on a show the usual hierarchal constructs are broken down. Age difference really doesn’t matter. I’ve seen the sleight of hand performed by middle-schoolers beyond my expertise and held shared insight with senior citizen magi. When I was 13 I took a plane from upstate New York to Dallas Texas with an 80-year-old clown for an annual magic conference. I’m not sure who was babysitting who.
BN: Where do you hope to go from here and what are your ultimate goals for the future of your career?
AB: Thanks to mentors in magic and professors at NYU I’ve seen my opportunities grow so much over the last few years which come as I’ve accumulated more experience. You learn the do’s and don’ts. Don’t: play The Who’s “I’m Free” wearing a straight-jacket and riding a unicycle when you can’t really ride the unicycle well (Age 12). Do: engage the audience with sincerity and a unique perspective by tapping into your real passion (Greased Lighting Age 5).
