Bubble Magic with Meadow Perry

[00:00:00] Speaker A: Hello, I'm Dr. Todd. This is Magician's Workshop, and today we're talking with Meadow Perry. She is a dynamic performer bringing fresh, whimsical energy to modern magic. You may know her from the Magic Duel, where her quick wit and sharp improvisation makes every performance completely unique. She's also known for her mesmerizing bubble magic, turning something as simple as soap and air into moments of pure wonder. Blending comedy, creativity, and technical skill, Meadow is helping redefine what a magic show can be. [00:00:28] Speaker B: And. [00:00:29] Speaker A: And today we get to step inside her world. Welcome Meadow Perry to the show. Thank you for being on with us. [00:00:34] Speaker B: Thanks for having me. I really appreciate it. [00:00:37] Speaker A: Yeah. Last time. Last time we talked, we were trapped in a. In a. In a house of a thousand trap doors. [00:00:44] Speaker B: Yeah. [00:00:44] Speaker A: It's hard to explain. You know, once you live through that with somebody, it's like you know them. [00:00:49] Speaker B: Yeah. So many secrets. [00:00:51] Speaker A: So many secrets. So you are. You are my first and maybe only bubble mat magician that I've. [00:00:59] Speaker B: That's a lie. [00:01:00] Speaker A: Okay. That's. [00:01:01] Speaker B: Okay, that's a lie. [00:01:03] Speaker A: You are. You predominantly still do bubble magic. [00:01:07] Speaker B: Well, no, that's a lie. Because Carissa. Carissa used to do bubbles. [00:01:13] Speaker A: She did. [00:01:14] Speaker B: Used to do bubbles, so she's technically a bubble magician. [00:01:17] Speaker A: So. Okay, so, yeah, you are. You are a. My. You are my first bubble magician that I've talked to recently in the last couple. In this year, in 2026, you're the first. Yeah. So I. I wanted to get into that. But you are multifaceted. You saying you do other types of magic and your bubble works are. Which I. Honestly, until I saw Carissa and you, I didn't know that was a thing. And then I. Yeah, no, I was. But then I watched. I was like, this is kind of awesome. Like, because it's physics, too. It's not like it's a. You can't fake, you can't cgi, a bubble in. In real time. So anything you do is. It's skill, which is. I love skill based magic because, you know, But I know that's not all you do, but I want to start with the basic magic that we all talk about. So last year I got to know magicians as kind of on a surface level. It's like, hey, I want to be a magician. How do you get into magic? Very, very basic stuff. And this year I wanted to do more. More. How do I put this more in depth? Like your psychology of why you do what you do, why you pick your opener, how. Why you pick your outfits, like l really from that and kind of get into more of that. So I, I thought, if you don't mind, I'm going to pick your brain a little bit. [00:02:33] Speaker B: Sure, absolutely. [00:02:35] Speaker A: Those juicy bits inside. But first you got to start off with what got you into magic in the first place. Because it is a very niche, like. [00:02:42] Speaker B: Sure. [00:02:42] Speaker A: Career. [00:02:44] Speaker B: Well. So we kind of have to go back to me being in kindergarten. I know a lot of magicians have this story of like, I got a magic kit for Christmas and then it, you know, I was always interested. Well, I got a magic kit, but we also, we had a family friend whose name was Crackles T. Clown. [00:03:04] Speaker A: Love it. [00:03:04] Speaker B: Who was Randy Blades. And some magicians in like Indiana will know him. He was on a television show in Indianapolis with Steve Hart. And there was like puppets and clowns and magicians and it was a kids show that was really well rated. Um, anyways, Randy was a family friend and so he did magic. He did like a show, a going away show at my kindergarten. Turned me into a bunny rabbit, you know, with the like, the like hole in the head thing. [00:03:32] Speaker A: Yes, love it. [00:03:33] Speaker B: Hole in the head. Hole, yeah, head in the hole. And I was fascinated since then, but then just kind of forgot about it. Like, I got a magic kit after that. Like, and we moved away and, you know, just kind of girls didn't really do magic. And there was no one in my life that like cultivated that. So I went into choir and theater and that's where my life direction went. And then fast, I kind of was like, this is really hard. Auditioning is hard. It sucks. I ended up becoming a stay at home mom for a little while and sadly my marriage fell apart. I was like, preach. I know, right? I was like, well, okay, I have this skill set that I'm not using. How can I use it to survive basically financially? And I started doing princess parties because that was an easy. Like, I didn't have to go for like big rehearsals. I didn't have to go for auditions all the time. I could, you know, still, you know, watch my babies. And so I started doing princess parties. I saw a magician. I saw a magician kill it. And I'm there as Elsa. And I was doing, which I guess is magic. I was freezing bubbles as Elsa, which is a magic trick. But I didn't consider it magic then. And I decided I wanted to try to make my own thing that involved magic. And so I created this fairy character. Her name was Meadowlark the Fairy. And. And a friend of mine said, you should try this bubble stuff. So I did, and I, like, fell in love with the idea of bubbles and all that stuff, but the wind is the thing. So I took this show to the Renaissance Faire, and it was really hard to do a show outside. I was like, well, I have to learn more magic to have as a backup. So if I'm doing a show, I can pivot and do magic when the bubbles are not working. So that was how I kind of got pushed into magic, was I was like, wow, that's a really cool thing. And. And then I was trying to, like, dip my toe in, and then I just got shoved in. So. And then it's just evolved from there. I just. I really loved the bubble artistry, and I learned that I took to that really quickly, and I think it takes a really specific person to dive into bubble artistry because it can be very frustrating. And my background in musical theater and my breath control lends itself really well to bubbles. And my theatricality with magic, I really love. And then, of course, I had a whole pandemic to, like, perfect things. So that is how I got into magic. [00:05:55] Speaker A: Wow. Okay. [00:05:56] Speaker B: Yeah. [00:05:57] Speaker A: So what about kind of why you. You got into why you do bubble magic. But how do you. How do you learn about, like, that? Kind of, like. Because if you want to learn card tricks or almost any type of magic, you just. You can put it into Google and you'll see a list you know, of, like, you know, there's penguin magic, vanishinginc.com. a lot of shameless promotion. So. But what. How did you learn to the. How to do bubble tricks? [00:06:24] Speaker B: Tenacity. You have to fail. You have to fail a lot. You have to be willing to just play and fail. And that's, like how a lot of performing arts goes, right? For learning improv or crowd work or even some magic tricks. You have to play and fail, and then you do better. So I failed a lot with bubbles, and there was a lot of tears. And it's funny, people often ask me, well, what's your recipe? And I say, well, fairy tears. That's true. I used to be a fairy, and I used to cry a lot because the bubbles would frustrate me. [00:06:53] Speaker A: Oh, my gosh. Yeah. [00:06:55] Speaker B: But, yeah, just kind of like, if you look deep enough at something and you play and you start to understand how bubbles move and operate, then you can sort of piece together, oh, how are we making this happen? And troubleshooting. And, of course, things like bubble U that Carissa started, has some phenomenal tutorials, and now I've taken Up the mantle with bubble U. And I've learned that teaching bubbles, there's so much nuance to it that once you're in it, you don't realize. And, and it's. It's the common thing where people say you make it look so easy, it's really freaking hard. But I've just been doing it for so long that it's easy for me. So teaching it to someone else, you. You have to really break it down. Like, one of my favorite things to talk about is the peanut butter and jelly, where you have to tell someone how to make a peanut butter and jelly sandwich. But you have to be very specific with your diet. [00:07:50] Speaker A: Oh, God, I hated that exercise in school. Yeah, the kids were ruthless on your recipes. [00:07:55] Speaker B: I know, I know. So it's exactly that. You have to be like very specific with the straw has to be completely wet and has to be wet all the way up three fourths, not, not one half ease. So like, it's very specific. [00:08:07] Speaker A: That sounds like work. I like self working card tricks, so I think I'll stick to those. [00:08:11] Speaker B: Yeah. [00:08:12] Speaker A: So could you explain to somebody who obviously this is, you know, we're in a little bit of a visual medium here, but also if you're listening to this on the, on anywhere you get your podcasts, what would, what would I. When I say you're a bubble magician, what does that even mean? [00:08:29] Speaker B: I make bubbles do the things you didn't know they could do. That's what I tell people. Because there's so many times where people are like, what the heck is a bubble magician? It's really hard to describe because people think of bubbles in a very singular way. And like you blow bubbles from a wand and that's it. Like, people don't think that you could make a cube bubble or you could make a tornado inside of a bubble. If you add. Even adding smoke to bubbles is preposterous to some people. Even though it's like, duh. Of course you could add anything that exists in the air inside of a bubble. You can put helium in a bubble. You could put butane in a bubble. You put all sorts of gases inside of a bubble. But people don't think about that. No, because we're, we're, we're very linear. Linear in our thinking. So to try to explain bubble magic to people, I basically say that I make bubbles do the things you didn't know they could do. Okay. Yeah. [00:09:21] Speaker A: I wanted to get into your character. Like how. Because as I, I explore and try to get better at doing Magic. I realize that there is an important part of it is to determine what your, who you are on stage. So if you had to describe your on stage Persona. [00:09:42] Speaker B: Yeah. [00:09:42] Speaker A: What would you prescribe your character as? [00:09:45] Speaker B: I would describe her as a diva. She's a bit of a diva. She wants to be in the spotlight. Let's see. Diva. I just had this conversation yesterday. Diva, she's eager. She's eager to be on stage. She's a people pleaser. She wants to please her audience. That's a very specific. She's looking for adoration. [00:10:11] Speaker A: Got it. [00:10:11] Speaker B: She's. But she's also a show off. She wants to, she wants to show off and she basically is like getting them on her side of like, I have this big dream and I want you to be a part of it and, and trying to share. Wonderful. Enjoy. So, but diva is probably the best like all encompassing term. [00:10:29] Speaker A: And is that, would, would you say that that's the, that character will be the same for when you do your one person show versus when you're doing dueling. And we got to talk, we got to explain what the dueling magicians is because it's such a good concept that I want to get into. That's the, and it's. I think you're perfect for that because you're a great foil to the classic male magician. [00:10:51] Speaker B: Yes. [00:10:52] Speaker A: And he's great. I love his mustache. Is, is amazing. [00:10:55] Speaker B: Mark does have a great mustache. [00:10:56] Speaker A: Mark. And I love, what I love is you guys are, are dressed really, really like, like I want magicians to be dressed now. [00:11:04] Speaker B: Yeah. [00:11:04] Speaker A: You know, you know what I mean? It's, it's like we're, we're. You're so put together and it's just you, you're such a good foil for each other. But what, what is Dueling Magicians? [00:11:13] Speaker B: So Magic Duel is Magic Duel. [00:11:15] Speaker A: I'm sorry, I still. [00:11:16] Speaker B: No, that's okay. We are dueling magicians. [00:11:18] Speaker A: Magic Duel. [00:11:20] Speaker B: It's the magic duel. It's two magicians go head to head for best magician. And it's typically where we're based. So usually we're in DC, so it's DC's best magician. But we've been in like weird little towns where we're like, you know, Rumpel Buskin's best magician, you know, like, and that, that's funny, you know, for like a one horse town to be like the best magician. So that's part of it. But we do four rounds and the audience gets to pick through different styles of magic. So we do the Four rounds, and then intermission, they vote on who they think is best, and then we come together in the second half to have audience members do a couple tricks while the votes are being tallied, and then we announce the winner, and then we do one trick together at the very end. It's a grand finale, but it's. It's great fun. Also. One of the unique things about the magic duel is that it's a man and a woman, but we are not romantically involved like most duo acts are. And we are peers, we are colleagues, and we antagonize, agonize each other, and have a lot of fun doing it. [00:12:25] Speaker A: I like that the most. It's not just. It's not just somebody putting. Putting somebody else in a box and cutting them. It's. Yeah, it really is. You're equal. [00:12:34] Speaker B: Yes. [00:12:34] Speaker A: Equal magicians, you know, I love that. What is. Is there. Are there any real challenges to doing a dual act like that? What are, like, some of the more unique challenges to having two magicians trying to. And trying to make it balanced? [00:12:47] Speaker B: I would say it's hard to balance turning the audience on one of us, which we kind of discovered very early on that the dynamic of me being a woman and being super likable is that if Mark is too mean to me, the audience will turn on him. [00:13:04] Speaker A: Got it. [00:13:04] Speaker B: And then I just win all the time. So he has to be very careful to give me these roasts and these digs that are not actually about me, but they're, like, mean adjacent, you know? [00:13:16] Speaker A: That does sound hard. [00:13:17] Speaker B: Yeah. So that. That's a real challenge to try and find stuff that's funny. There's, like, comedy involved. It's a funny roast. So they've gotta be a little mean. But it can't be about how I look. It can't be. Or it has to be. You know how there's backwards compliments? It has to be a backwards insult, if that makes sense. [00:13:39] Speaker A: It does. It's. It's. It is one of those things that I think the best. It's. It's something that I've noticed is when people are interacting with audience members. The best people that do it are able to. You're in on it. Like, it's ok. Okay. When somebody. If some. If you feel safe about, like, somebody making fun of you. Some magicians are the best at it, and some are just awful. And I'm just like, oh, I'd hate to be on stage with that person. So it's just, like, the fact that, you know, it. It. I'M actually always curious as to, as to openers. Like, what, what is your, what is your philosophy on openers and what is your what. What opener would you say is your go to? [00:14:14] Speaker B: Wow. [00:14:15] Speaker A: Because I feel like that's like, for me, that's one of the most important things. Right? You're introducing yourself. [00:14:20] Speaker B: Yeah. So it's a little different between magic duel and my solo show because my solo show is so bubble centric, so I like to do bubbles right off the top. But in the magic Duel, I come out and I produce a bottle of champagne, which is very much my character. She's ready to celebrate, she's ready to win. So that's a really fun bit. But, you know, I've always heard from a lot of magicians that you should be doing something flashy right off the top within the first minute. I don't think that's true. You know, I come from a musical theater background, and I often say to some of my magician friends, you know what? People sit through shows that have zero magic in it, and they walk away and thought it was the best thing ever. So why do we have this need and this pressure to do a big flashy magic moment within the first minute? Why not build your repertoire, your rapport, Build your rapport with your audience first. You don't, you don't need to do magic right off the bat. Like, slow down. Let's go on a date first before we do the magic. [00:15:27] Speaker A: Yeah. Before you start pulling mouth coils out of things, let's make sure. Let's, like, buy me dinner first. [00:15:31] Speaker B: Yeah. Let's get to know each other first. [00:15:34] Speaker A: And would you say there's anything else that musical theater taught you that you bring with you to magic specifically? [00:15:40] Speaker B: I would definitely say characterization and improv. There's a lot of stuff about character design that I bring with me from the musical theater world. I often joke that for Meadowlark the Fairy, I did a whole D and D character sheet about her. [00:15:56] Speaker A: Oh, good. [00:15:57] Speaker B: What's her background? What is she scared of? What is she really, like? What does she really hate? What does she think of this? What does she think of that? Who are her parents? Where does she come from? Like, all of that stuff. And those are the things that, like, when you're a Persona on stage, it's you. But if you're amplified, does that change anything? You know, like, I come from the Midwest, so there's the whole ask culture culture versus guest culture. And, you know, like, am I going to be forward and ask my audience something or am I going to do something and let them come to the conclusion. So the way that we are raised and where we come from and our. Like, our. Where we grew up and how we grew up informs how we act on stage. Whether you're a male or a female depends on how you act on stage. [00:16:45] Speaker A: Yeah. [00:16:47] Speaker B: Different things just inform, you know, all of that. Were you poor? Were you rich? You know, did you recently come into money? You know, are you a mom or a dad? Do you have children? Do you not have children? Like, so there's a lot of things that inform how you move through this world and translates to the stage. Now, when you're a character, it changes because the character is a different person. So I. It's weird. I flirt the line between amplified version of myself and, like, a characterization Persona, and it's a really difficult line to flirt. I have been having this conversation of this amplified version of myself that I call Queenie, and I don't know where that came from, I guess. I love the musical the Wild Party, and her name is Queenie, so maybe that's where it came from. But I often am like, oh, that's Queenie. She. She's. She's doing her diva thing. Like, I'm like. You know, there's just these moments where you go into a character. So that's like, where I come from in the musical theater. I also bring costume stuff to it where there's really intentional things with costuming. I'm a big fan of Six the Musical and how they have intentional costume choices there where they all have similar outfits. If you've seen their costume design, they're all ex wives of Henry viii. Okay. Wow. Yeah. And so the two of the ex wives, they wear chokers, and they were the ex wives who were beheaded. [00:18:23] Speaker A: Yeah. [00:18:23] Speaker B: So, like, little choices like that. Or like the one wife who died in childbirth, she's in all white because she's so pure, you know, so, like, all these different. And of course, they have nods to different pop stars, but there's really intentional costume choices there that I love. So I tried to, like, bring that to my costuming. And. And what do I want to tell my audience? Just with my costume? I'm very glamorous. I'm very much influenced by musical theater. So there's like a hello Dolly reference in my costume. [00:18:50] Speaker A: Hell, yeah. Okay. [00:18:52] Speaker B: All the way. There's a little hello Dolly ness in there. And then also, in the context of the magic duel we have, there's kind of political undertones to it. So there is this whole red Blue thing. Thing going on. So I come out in red. Mark comes out in a blue suit. So we are definitely red versus blue. And we don't always do it, but in spaces where we're. Where we have the space to do it. I will change into a blue dress for the second half of the show. So it's like we come together on the same team. So, like, intentional subtle costume things like that I freaking love. [00:19:28] Speaker A: I love that. Like, I love that there's intention. Like, it's almost like a secret too, when you know it. It's so good. [00:19:36] Speaker B: Absolutely. [00:19:36] Speaker A: Wow. Okay. That clip, all of those, that was fantastic. [00:19:40] Speaker B: Thank you. [00:19:42] Speaker A: Do you. Do you ever. Do you ever help other people with their scripts to make them not terrible? [00:19:48] Speaker B: So that is something that we are starting to do with Bubble U. I'm moving a lot of the material from the current website to a new platform, and we will have a second tier for people who want to go into script scripting stuff. [00:20:05] Speaker A: Tell me about. Tell me about Bubble U. [00:20:07] Speaker B: So Bubble U is the Bubble Performers masterclass. Carissa started it, and it's phenomenal. There's some really great tutorials on there. She had Lucy take over her life, so she had less time to do Bubble U. So she brought me on board, and then Lucy really took over her life, so she handed the reins over to me and she called me the Queen of Bubbles, which I kind of really love. [00:20:29] Speaker A: So. Great. [00:20:31] Speaker B: And so I did a bunch of tutorials, and there's even some scripts on there to get people started. And because it is hard to write a show and it is hard to get started, and you're like, gosh, I don't even know where to go. So, like, the best place to start oftentimes is by emulating someone else. That's what a lot of people do. That's how they start. [00:20:52] Speaker A: Yeah, absolutely. [00:20:54] Speaker B: When you get to a point in your. Your performer journey, you know, you have this material that you've kind of outgrown, and I think, you know, it's a really great thing to be able to kind of pay it forward a little bit. Um, and, you know, I'm not going to give it away for free because I don't want everyone to have it, but. [00:21:13] Speaker A: Well, I. I think that's where gatekeeping is acceptable. [00:21:16] Speaker B: Yeah. [00:21:16] Speaker A: In magic. Because it's. It's. I mean, and a weird tangent is it's kind of the way I look at 40k. I'm a big Warhammer 40k person. And if. If the plastic models were all really inexpensive, everybody would have all the models. And it's kind of cool that, like, I spent five years building this. It's the same with magic. I don't want to spend all of this time and effort making something and then somebody just gets it, you know, just sees it on and doesn't care anymore. So. Yeah, yeah, I think that's. I think it's. You've put a lot of effort into it. It's a lot of time. And it's just like, if you go to school to be a doctor, you're not going to be like, yeah, let me just, you know, this thing I spent a hundred thousand dollars in getting in debt for. [00:21:57] Speaker B: Right. [00:21:58] Speaker A: You know, so, yeah, that's not only is acceptable, it's, like, really good. It's good for. It's good for magic, honestly. [00:22:04] Speaker B: Yeah. And I think, you know, it's something that, you know, I have these routines and these scripts, and if I'm giving them to people to get started, you know, that might spark something that might. They can make it theirs, they can change it, and they can see how you can take a routine in magic and make it yours and make it really unique and. And then they have an avenue to. To keep going with it and keep running. Like, you know, we've just opened up the gates for you. Just keep running with it. Keep going. [00:22:36] Speaker A: Yeah, yeah. [00:22:38] Speaker B: And I think that's really important. So. [00:22:40] Speaker A: Yeah, it's huge. And I think that's also. Like, I see a lot of open mics when. I love open mics, because you get to see. It's like, I saw they literally, they're. They're doing a script that they saw online, and then you take that and you're like, okay, well, let me take that script. They can take that script and then they can like, okay, that didn't work. Let me add this. And it really is a good. There's nothing wrong with, you know, starting off using something right. [00:23:03] Speaker B: Well. And like, we see that in a lot of magic where. What was the name? Not World's greatest Magic. There's. There is like a magic thing in the 80s. And we see remnants. [00:23:13] Speaker A: I had them all on tape. [00:23:13] Speaker B: Yeah, we see remnants of that. Right. You see remnants of people using the same script where you're like, this rope routine sounds really familiar. Or this multiplying bottles sounds very familiar, almost verbatim. And, you know, I'm still newer in magic. You know, I've been in this for, like eight years, but I still hear things. And I go, I've heard so. And so also do that. It must have been one of those, like, classic magic DVDs. And, you know, they just have taken the same script and they've tweaked it a little bit, but I'm like, okay. And you start to see, like, these remnants of these old scripts that were passed on. [00:23:50] Speaker A: Yeah. It's almost like when you're listening to a song and they're like, they sampled another song that was from the 70s. You're like, yeah, okay. [00:23:57] Speaker B: Exactly. Exactly. [00:23:58] Speaker A: And it's. [00:23:59] Speaker B: But it's. It's wonderful. Exactly. It's like cover bands. Yeah. [00:24:03] Speaker A: I love karaoke now. I want to know when I'm listening to karaoke, though. [00:24:06] Speaker B: Yeah. [00:24:07] Speaker A: So I do want to, like when I'm just like, hey, if you're. If you're saying, hey, I have this course and it's just stuff that you've aggregate. You've gotten for free, then it's like, no, there's a. That's the limit. You know, if I. If I get something. When I look at a penguin magic lecture, I think anything that you. That I got off of there, I think is free use. That's why they gave it to you. But. [00:24:28] Speaker B: Right. [00:24:28] Speaker A: I also think that there's, like. If you just leave it the way it is, that's not putting any of yourself into it. It's kind of like. It's like watching a cover band that's not even like that. They're exactly like the previous band, but probably not as good. [00:24:42] Speaker B: Yeah. [00:24:42] Speaker A: Because they probably haven't been at it as long. [00:24:44] Speaker B: Well, so much of what we do with magic and theater in general, particularly in magic, because we break the fourth wall. Right. So there's this. This part where we have to really connect with our audience. So if you're using someone else's words, that's. That's harder to connect with your audience. So it's important to make it your own. [00:25:01] Speaker A: Yeah. How much. How much of your act do you leave up to that you re. You do from the script that you've written versus how much do you leave for yourself to. To improv? [00:25:13] Speaker B: So I do this thing that I call planned improv, and it's where I kind of have this thing planned. And me and David Casaro were talking about this earlier this week about a lot of people get script locked, where they've written a script and they have a script, and they must go buy the script. And they plan for the audience to participate with them, but they only plan it in one direction. And if the audience participant deviates from that, they're they're like, they freeze. They don't know what to do, and they fumble through and they're like, oh, God, this is horrible. So planned improv makes this. These moments seem really, really improvational. But you've planned for them. You've planned for someone to say yes, you've planned for them to say no, You've planned for them to say F off. You've planned for, like, you've made plan for all the different scenarios. You plan for them to get really quiet and not do anything. Basically run through all the scenarios of what could happen, and you make a plan for. How am I going to respond to each of these responses? So if you're asking an audience member a question, brainstorm all the different ways that they could possibly respond. And sometimes your audience will surprise you. Sometimes they'll come up with something you didn't even think of. And I love those moments because there's some weird adrenaline thing that lights me up inside that I love when those happen. And like, in the words of Penn Jillette, now we know that could happen. So I love those moments. And then you, like, add it to the list. But you. I think it's important to leave those moments open for the audience to. To play with you because they are another character. But they didn't get the script. So. Okay, you have to give them the same. You have to. [00:26:56] Speaker A: Yeah. That is so good. That's like, oh, masterclass. What. What do you think? What. What do you. What have you found? Are some unique issues with traveling with your supplies that you need? Because you need very specific, like, things you can't. I'm assuming you can't just get them. Like, a mentalist can show up in a city, buy a paste, buy a pad of paper, and be ready to go. I'm assuming that's not the same for you. [00:27:22] Speaker B: I would say the most difficult thing is the fear that it's going to get lost. It hasn't happened to me yet. I'm not gonna wit, it hasn't happened to me yet, but I am prepared for it to happen. So, like, I have an idea most places where I'm going to go. I have an idea of, like, if I am up the creek without a paddle, I have no safety net, my luggage is lost. I have a plan in place for, like, what I'm going to do if. If that happens. I do have in my carry on. I usually have a good amount of things that, like, could get me through a performance. Obviously, like, if I lose the bubble wall, there's no bubble happening. [00:27:59] Speaker A: You're gonna have to describe the bubble wall because the bubble wall is dope. Like, it is so cool. You. Yeah, you're. You're gonna have to. Where the links to your Instagram are on are in the show description, but that's where you can see. You do the bubble wall. The bubble wall is insane. So, tangent, tell me about the bubble wall, because that thing looks like it's a nightmare. [00:28:16] Speaker B: It is kind of a nightmare to travel with. But the bubble wall, or the bubble frame, as some people call it, was invented by Pep Boo from Barcelona. And I actually have the honor of meeting him next month and performing with him. I'm so excited. [00:28:28] Speaker A: Oh, my gosh. That's insane. [00:28:29] Speaker B: But he created this. And it's so funny because I tell people when people are like, oh, my God. How on earth did you come up with this? I'm like, well, I didn't come up with it. Pet Boo did. But it is based on a chemistry principle that you all did in high school. You just don't remember is like you did with the string and the straw, and you put a little thread in there with a toothpick and you popped it. And that's what it's based on. We just made it big and put it a different direction. [00:28:53] Speaker A: We love surface tension. [00:28:54] Speaker B: We love surface tension. [00:28:55] Speaker A: We love surface tension. [00:28:57] Speaker B: So the bubble wall is basically just a giant film of bubbles. And I do bubble tricks on looks. [00:29:04] Speaker A: So insane. [00:29:05] Speaker B: And when I first started doing it, it was it. So what it looks like is almost like a clothing rack with a. A trough, and you bring a string up. That's the best way I can describe it. [00:29:16] Speaker A: Perfect description. [00:29:17] Speaker B: But when. When I first started with it, I didn't have lights on it. I had a version with no lights and. And found a maker in Russia who put lights on it. And when I first got lights, it was white and rgb. And then the second one that I got was rainbows that rotate. And now I have a new one coming that will be lights choreographed to music that likes to sparkle and move and change with the beat. So I'm so excited. [00:29:44] Speaker A: It looks like cgi. Like, it really is one of those where you're like, that's not. It's like Stargate. Like, you've invented Stargate, where it's like. [00:29:52] Speaker B: It's like a portal. [00:29:53] Speaker A: It's like a portal. [00:29:54] Speaker B: Yeah. [00:29:56] Speaker A: What advice would you give to somebody who wants to get out and perform? [00:30:00] Speaker B: Just do it. Go. Just do it. You know, I used to get so, so much Anxiety. Being on stage. I used to turn beet red. I would get so. Even though I love performing, I love it. And I, like, went to school for musical theater. When I would get in front of people, my chest would turn red. I would turn all splotchy, and people would go, oh, my God, are you okay? And I'm like, yeah, I'm fine. I'm okay. And, you know, just doing it and failing on stage is what got me over that, like, flight or fight thing that happens on stage when your adrenaline's going and your blood pressure's going and you get, like, flush. The way I got over it was getting up on stage and failing. And then now it's like, well, this isn't the worst that could happen, you know? Cause I've been through the worst that could happen. I've been on stage when my bubbles didn't work at all. And I will tell you, I used to do the bubble wall to Sandman. To Sandman. Give me a dream. And it was like a really. It was a haunting version of it. It was beautiful. And I did it at my very first magic convention. It was east coast spirit sessions. And I was so excited. I was like, this is it. This is my big break. Oh, my gosh. I was doing it, and the bubbles weren't working at all. Nothing, like, popping immediately. And I was like, oh, God, what do I do? And I just kept trying and trying and trying, and then I finally, like, landed a trick, and the audience was full of magicians, so, you know, they. They were understanding, and. But as soon as I landed that trick, they applauded like they went crazy. [00:31:37] Speaker A: They went crazy. [00:31:38] Speaker B: Yeah, because here's the thing. When you're on stage, people see themselves in you, and they want to see you succeed. So if you're struggling on stage, it just builds this tension. And in the moment, I panicked and I ran off stage crying. Like, now when I look back at it, I'm like, oh, no. That was good for me, even though I hated it. But you need. So you need the space to fail somewhere. So find a space like that. For me, that was a big failure. But the Renaissance Fair. Performing at the Renaissance Fair was my big sandbox. That was where I tried stuff out. That was where I got to see if stuff worked or not. You know, I used to produce feather flowers and do, like, weird silk magic. And, you know, that's where you find out what works for you and what doesn't. So find. Find that place. Whether it's an open mic, whether it's The Ren Faire, whether it's community theater, just do it. [00:32:31] Speaker A: Nice. [00:32:32] Speaker B: Yeah. Ooh. [00:32:35] Speaker A: If you are. So you've. You went to school for. For musical theater, so you have a great background in. In, you know, you know how to be on stage, like three quarters, pose, like, you know, projection, all these things that they don't, you know, if you're on your own, you don't know. You don't know how to use a mic stand, you know, so where. What would be a good place for someone who wanted to get better at that part of it to learn more? [00:33:00] Speaker B: You know, in a lot of places, there's some type of acting class or improv class. I would say start there. There's tons of, like, tutorials and classes online as well. If, like, that's not a thing that's accessible to where you live, just look for the resources. They exist, basically. I can probably look up some stuff after this and, like, give you a list. [00:33:19] Speaker A: No, it's. [00:33:20] Speaker B: Or if anyone who's listening or is tuning in, reach out to me. I'm happy to, like, help you find those resources because I want other people to succeed too, because we need to bring more joy to the world and more. More magicians, More theater. More. [00:33:36] Speaker A: Yeah. [00:33:36] Speaker B: More entertainment. Let's do it. [00:33:38] Speaker A: Get those people out there and in person. I mean, we're still struggling after. After pandemic to get people out, right? I mean, you're still. There's so. I mean, and I will say nothing. Nothing is like a live magic show, because when you're watching it online, you can dissect it, you can go back and kind of see how it's done, but when you're there and something just gets by you and it is pure magic in your brain. Like, there's nothing like it. There is just. It is so good. Even. [00:34:07] Speaker B: Even when you know. Even when you know how a trick is done. Like, I can't tell you how many times I've seen rope magic or linking rings, and I know how the tricks are done, and when I see someone do it really smooth, like Chris Capehart, I'm like, yeah, like, I know how it's done. And, oh, my gosh. I like. It was so smooth. It was so good. [00:34:27] Speaker A: He's very smooth. [00:34:28] Speaker B: He's very smooth. [00:34:29] Speaker A: Yeah. [00:34:30] Speaker B: And he's got great shoes. [00:34:32] Speaker A: He does have great shoes. He's. [00:34:33] Speaker B: He. [00:34:34] Speaker A: Well, I love his beard. Like, I'm like that beautiful, quiet, like, facial hair that is not easy to do. All right, so, Meadow, we're going to do a rapid fire round Are you ready for the rapid fire? All right, don't think too much about. But favorite pre snack [00:34:51] Speaker B: gummies. [00:34:52] Speaker A: What type of gummies? [00:34:54] Speaker B: The nerd gummies. [00:34:56] Speaker A: They're so good. [00:34:57] Speaker B: The clusters. The nerd gummy clusters. [00:34:58] Speaker A: Clusters are so good. That's crack like that. They have. They. They made that to make me stumble. [00:35:04] Speaker B: Oh, my God. I love those. [00:35:05] Speaker A: They're so good. Okay, that's goat. That's the goated candy. All right. A trick that you wish you invented. [00:35:14] Speaker B: A trick that I wish I invented. Well, that's a hard one. [00:35:18] Speaker A: I know. It's such a. It's such an insane question. [00:35:21] Speaker B: I've. Because I've never really thought about inventing magic either. Like, I've given it a second thought and that's it. I would say, I don't know, stuff with threads I think is really interesting. So, yeah, there's some. I don't want to give things away, but there's like, low standard stuff that I wish I invented. [00:35:45] Speaker A: Yeah, he's the table, like, just making a table float. I'm like, come on, that's. That's pretty good. That's part of our brains now. A famous. If you could perform magic for any famous person, alive or dead, who would it be? [00:35:58] Speaker B: Judy Garland. [00:36:00] Speaker A: Yeah. [00:36:02] Speaker B: Yeah. [00:36:02] Speaker A: What trick would you do? [00:36:04] Speaker B: I would do the bubble wall with [00:36:06] Speaker A: a bubble wall shoe. [00:36:07] Speaker B: Somewhere with a rainbow. [00:36:08] Speaker A: Yeah, I could see it. I could see it. I got a ukulele. We could make that happen. Love it. And last one. If you weren't. If you weren't performing magic, what would you be doing? [00:36:20] Speaker B: I would be singing on Broadway that there's still time. [00:36:24] Speaker A: There's always Broadway. [00:36:25] Speaker B: You know, A friend of mine recently said I was like, yeah, but I'm like, so far away from, like, audition. The audition life and the. And he's like, start now. Who cares? [00:36:36] Speaker A: I think of Ken Jeong who's like, you started like, you know, a medical doctor who started, like, auditioning in his face. I mean, now look at him. I mean, so I. I think the. I think that is. Is no excuse anymore. [00:36:48] Speaker B: I mean, that's true. [00:36:49] Speaker A: That's literally why I'm trying to do magic. Because it's just like, yeah, why not? I've always wanted to perform. [00:36:53] Speaker B: When I first thought of, like, before magic entered my life and I did auditions, you know, I was still, like, shy and not confident, and magic has given me this, like, in bubbles. I'm fearless on stage now because things have gone wrong and I'm just like, what could go wrong? I'm on stage, who cares? We can handle anything that comes our way. So I think I have a confidence now that would translate really well in auditions for musical theater. [00:37:18] Speaker A: 100%. You walk in, you already own it. You're like, yeah, exactly. Give it to me. Don't. I don't care. I'm going to sing this song. [00:37:24] Speaker B: Yeah. [00:37:26] Speaker A: All right, Meadow, thank you so much for coming on with us. [00:37:30] Speaker B: Thank you so much for having me. This has been a blast. Todd, I've loved it. [00:37:34] Speaker A: I know. You are so cool, and your. Your advice is insane. So again, thank you so much. Again, Bubble, you. You have the magic duel, which is all of. All of these links will be in the show notes. And also, when are we going to see you in a solo show? [00:37:50] Speaker B: I don't have any on the books right now, but I keep developing new things for the show, so I have a couple theaters in mind. So just stay tuned to my events page. [00:38:02] Speaker A: Yeah, I'll. I'll drive. Yeah, yeah, I'll. [00:38:05] Speaker B: We'll. [00:38:05] Speaker A: We'll do. I'll. I'll make the journey. I'll watch you. [00:38:08] Speaker B: Okay. [00:38:08] Speaker A: So again, Meadow, thank you so much. And to you watching, make sure, like, comment. Subscribe for more amazing magicians. And as you do deep dives and all this cool magic stuff. I mean, look at how much we've learned. We've journeyed so much together. I just. I feel like a different person now than when I started this. So thank you. [00:38:28] Speaker B: Changed for good. [00:38:30] Speaker A: Yeah. I think I'll let you do the singing. But I said, somebody once said, oh, hey, do you. Do you. You know, are you professional? Like, no, I'm like, I can see why. [00:38:41] Speaker B: Who sings that song? Let's leave it that way. [00:38:43] Speaker A: Yeah. I was like, oh, do you sing solo? Solo? I can't hear you. You sound like you're a tenor. Like, you should be 10 or 12 miles away from here. Thank you. [00:38:52] Speaker B: Hilarious. [00:38:52] Speaker A: All right, thank you, everybody, and we'll see you next time.