Check your date.
Send the date, the venue and roughly how many people you expect. Nothing has to be settled yet. You will hear back to set up a short call, and the quote comes after that, built for your event rather than picked off a package list.
For the moment the audience is already pointed at you.
Most entertainment has to win attention before it can use it. A stage show starts with that attention already collected: the tables are seated, the lights are down, and everyone is facing the same direction because the programme put them there. That is the most valuable and the most fragile moment of the night, and it is the one people leave early from. Eric’s show is built for it, with mind reading and magic the audience takes part in rather than watches, so they spend the slot inside the show instead of in front of it.
Where a show earns its slot.
After dinner
The plates are cleared and the crowd is at its most dangerous: full, warm, and one long speech away from people checking their phones and leaving early. A show is the thing that holds them in their seats, and the volunteer who comes up is somebody everybody already knows.
Awards and kickoffs
An awards night is a list of names being read out. A kickoff is a number on a slide. Eric can build the reveal of either into the show, so the thing the company is celebrating arrives as the surprise rather than as the next item on the agenda.
Conference general sessions
By the afternoon of day two an audience has been talked at for eleven hours. A set that puts them inside it rather than in front of it wakes them up, and the speaker who follows inherits an audience that is actually present.
How the show runs.
A typical show runs 45 to 60 minutes and drops into the programme like any other item, so the schedule you built stays as you built it.
He asks for your run of show early and builds to fit it, so nothing lands anywhere you did not put it. How involved you are is entirely up to you: some clients want a call to shape every beat, others send the schedule and want it handled. Either way the only surprises on the night are the ones the audience gets.
There is walk-on music, and Eric runs it himself rather than handing your AV team another cue to catch. If a host is introducing him, he sends the wording ahead of time so the introduction sets the show up properly. If the programme is better without one, the music does the job on its own.
Everybody already knows them, so nobody spends the next five minutes wondering whether they were planted, and what happens to them happens to everyone watching.
The show is Eric’s and it is fully built, so nothing rests on the crowd being warm when he starts or on anyone being especially game. What changes is the people in it and the choices they make, and the version your audience gets is theirs alone.
If there is a number, a name or an announcement and it suits the show, this is where it lands: the thing nobody saw coming rather than the next line on the agenda. Whether it suits is something you and Eric settle in the planning, so nothing is forced in for its own sake.
Afterwards they are in the lobby acting it out for each other, hands going, all talking at once. That is what stays with them, and you are the one who put it there.
Nothing about it needs managing on the night, and the only thing the venue has to supply is a microphone and some light.
What clients say about the show.
“We had Eric Lerner at our flagship Spring Conference…a very smart decision on our part. Whoever you are, if you have the opportunity to hire this guy, I would definitely recommend it.”
“Everyone had an amazing time and really enjoyed the show!”
Questions people ask before booking a show.
A stage show in New York City runs $4,000 to $7,000, depending on the date, the audience size, the venue and how much of the show is built around your company. Adding strolling magic during the cocktail hour before it takes the whole evening to $6,000 to $12,000, which is what most clients book. Send through what you know and you will hear back to set up a short call.
Usually 45 to 60 minutes. It can be cut to 30 for a tight programme, and it can be split either side of an award presentation or a speaker if the run of show needs the crowd held twice.
Yes, and it is the part most worth doing. A product launch, a merger, a number the company just hit or the name of the person being honoured can be built into the material, so the moment people talk about afterwards is your moment rather than a generic one.
From about 40 people up to a full ballroom. The limit is sightlines rather than headcount: everyone needs to see Eric's hands. Past roughly 400, or in a room with pillars or a low stage, screens and an IMAG feed make the difference.
Less than most acts, and nothing unusual. A stage or riser with enough room to take a few steps, a wireless handheld microphone on the house system, and light on the performing area bright enough that hands read from the back of the room. Nothing else: no rigging, no fog and no projection. There is walk-on music, but Eric runs it himself, so there is no cue for your team to catch. Eric checks in with whoever is running AV during the normal sound check, so the show does not add a line to your schedule or a changeover to your run of show.
Strolling happens while the event is already going, for a few people at a time, and reaches guests who would never sit down for a formal set. A stage show is the opposite: one moment where everybody gets together, all facing the same direction. Plenty of events book both, and they do different jobs.
Yes. Eric is based in Brooklyn and works across the five boroughs and the surrounding area, and travels for the right event, anywhere in the country or internationally.
Send the date, the venue and roughly how many people you expect through the booking page. You will hear back to set up a short call, and the quote comes after that, built for your event rather than picked off a package list.
Seen enough?
Tell me the date, the venue and roughly how many people. Nothing needs to be locked in yet.
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