At a Melbourne company function everyone is quietly watching everyone else, and the room stays in its little clumps until something breaks the pattern. That is the actual job of a corporate magician, and it is why the good ones get rebooked by the same event manager for years. They are being paid to make a careful room forget itself for ninety seconds at a time.
The work splits into three: roving close-up between courses, a stage set after dinner, and exhibition floor work at the convention centre. All three are priced on different clocks, so name the one you mean before you ask what it costs.
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Close-up work between courses, table by table, so the room warms up in sections instead of waiting for one big moment. The effect Melbourne event managers keep rebooking it for is levelling: the senior table and the graduate table end up laughing at the same thing within the same twenty minutes. Ask the performer to leave the top table until later in the evening, because opening there reads as deference and the rest of the room notices.
There is no single rate, because a set after dinner and three days on a stand at the exhibition centre are unrelated pieces of work. Evening bookings tend to be sold in hours or sets and stand work by the day, often cheaper per day across a run, so send the whole schedule in the first message rather than one date. The other lever is development time: anything custom, anything using your own products, is work done before the event and it belongs in the brief where it can be priced.
It can be done and at a product launch it often earns its keep, since people hold on to a surprise and whatever was attached to it comes along for the ride. The failure mode is loading the set with talking points until you have paid for a presentation with a card trick inside. A fair test: would somebody retell that routine at their desk the following morning, even if they forgot the campaign line? If not, the message was doing the driving.
Roving suits a standing function in a bar or laneway venue, where there is no stage, no sightline and no moment when everybody is willing to stop talking. A stage set needs a seated room, a microphone and a host who can hand over properly, which usually means a hotel ballroom or a conference room. If your venue is an old warehouse space with hard surfaces, ask about the sound before you commit to a stage format.
Melbourne's convention spaces and larger hotels usually want proof of public liability from every supplier before anyone gets through the loading dock. Request it from the performer in writing, weeks out. We hold no paperwork on anybody listed here and check none of it.
A room wants ten minutes to talk about what it just heard, and magic dropped into that window is competing with the conversation your event has only now created. Put the performer either side of it.
A performer can hold delegates around an exhibition stand all day, and none of it converts if your people are behind the counter on their phones. Settle how a routine ends and who steps in, then tell your team exactly where to be standing.