OiATER by Tom Dobrowolski
(OIL AND WATER)
“. . . Chicago Winters and Oil and Water are the reason tourists don’t come back. However, the work within this manuscript is a step in what I believe is the right direction for the plot. The key word in that last sentence is ‘step’. Progression is the goal that those who have partaken in this project gazed affectionately towards.” – Jeremiah Zuo
Thus begins “Oiater” (pronounced oy-AHTER) a 47-page manuscript examining theatrical handlings of the classic Oil and Water plot. Within this manuscript you will find 2 complete routines; Tom Dobrowolski and Jeremiah Zuo’s ROW and Curtis Kam’s POW.
In addition you’ll find contributions from Eric Jones (who provides one of two additional endings), a new handling for “Out of This World” and additional sequences and ideas not included in the routines.
About “R.O.W.”:
- There are no counting procedures during the mixing of the cards.
- The cards instantly separate after each mix with no handling of the cards in between.
- Every card’s color is fairly seen during the mixing stages. The spectators never have to assume the color of a card. (with the exception of the first phase the entire routine is done face up)
- The routine is progressive, modularly moving forward and becoming more impressive with each phase.
- The deck ends completely separated (no culling!) in a clear and defined theatrical finish.
About “P.O.W.”:
- The routine builds from two cards to the separation of the entire deck.
- FASDIU
- Makes things seem less repetitious by adding cards at each phase.
- Makes things seem less pointless by doing separations only.
- All the separations are “instant”. In other words, once the cards are interlaced there is no further handling, counting, or separating of the cards.
