Hypnotist hire in Australia: the complete guide

A stage hypnotist arrives with no set, no props worth mentioning and no show. The show is your guests. Volunteers come up, take part, and the entertainment is watching people everybody in the room already knows do something they would not normally do in front of colleagues.

That makes this the most audience-dependent booking on the site, and it is the reason the same performer can be brilliant at one event and flat at the next. Live prices from the hypnotists listed here are below. Read the part about your crowd before you read the numbers, because it matters more.

The live city range sits in the table underneath, and only some performers in this category publish a figure, so plan to enquire rather than shop from the table alone. A show is generally sold as a set length, usually somewhere around an hour, rather than as a whole evening.

Travel is the thing that moves a quote most outside the capitals, since the field is small. Some performers also carry their own sound and lighting, which can be worth paying for at a venue with a thin house system, so ask what is included before comparing two numbers.

Hypnosis on stage relies on people volunteering and staying willing. Everyone who takes part chooses to, and anyone can stop and sit down at any point. That is not a caveat hidden in the fine print, it is how the act functions, and a performer who suggests otherwise is selling you something that does not exist.

So the crowd is the product. A room of thirty polite guests at a formal dinner produces very few volunteers. A hall of two hundred at an end of year party, a sporting club night or a university event produces plenty. Tell the performer honestly what your room is like, and listen carefully if they say it is not the right fit. That is the most useful thing they can tell you.

This act needs a seated audience facing one direction, a raised area or at least a clear space where everyone can see, and enough chairs on stage for the volunteers. Banquet rounds where a third of your guests have their backs to the performer will quietly sink the whole thing, and the cure is rearranging furniture before anybody walks in.

You also need the volunteers to be able to get up easily. If the stage is behind a dance floor crowded with people standing, nobody will come forward. Clear a path. And make sure the microphone works properly, because the performer is talking quietly for long stretches and a bad sound system ruins it faster than a bad crowd.

Settle the limits before the night. Nothing that costs a volunteer their dignity, nothing that wanders into a colleague's private life, and nobody on the list of people you have ruled out. The experienced performers operate that way already and will set out their own boundaries before you raise yours.

Think about the aftermath too, especially at a work event. Your staff have to sit next to each other on Monday, and a routine that was funny at eleven at night can look different in the office. Ask how the performer handles people who volunteer while drunk, and ask whether they will decline a volunteer who is too far gone. The answer tells you a lot.

Once the plates are cleared and before anybody thinks about dancing is the slot that works, because your guests are sitting down, well fed and done with the serious business of the evening. Go earlier and nobody has loosened up enough to put their hand up. Go later and a good share of the room is at the bar.

Protect the start time in the run sheet as well. This is a show with a build, and a performer who loses twenty minutes to overrunning speeches has to cut the part where it gets good. Tell your MC the hypnotist starts at a fixed time and hold them to it.

How many minutes are you on stage, and how many volunteers does it take? What kind of crowd works best for you, and does ours sound right? What do you need from us for stage, seating and sound? How do you choose and look after volunteers? And what will you not do on stage, whatever we ask for?

Ask for video shot from the audience at a function like yours. Promotional edits show the three biggest reactions of a whole year. One long clip from a real room tells you how the performer handles the slow part in the middle, which is where you find out how good they are.