Why I Built It

I first saw a table like this in an old L&L magic tutorial, although I no longer remember which one. I immediately recognized how useful the design could be.

The raised frame gives the performance area a polished, theatrical appearance while also helping keep cards, coins, and other props from rolling off the table. From the performer’s side, the open edge still allows for lapping. The frame also creates a subtle boundary between the magician and the audience, making spectators less likely to reach into the working area uninvited.

Years later, I saw a beautiful version at Hocus-Pocus shortly before the shop closed. Unfortunately, it was prohibitively expensive. That was when I decided to build my own.

I was fortunate to find most of the materials without much trial and error. The finished table has several features the commercial version did not, while also being lighter and easier to move around.

Materials and Tools

The main materials I used were:

Other useful tools included a miter saw, sandpaper, hammer, clamps or heavy objects, and a scrap piece of wood for spacing.

Step 1: Choose the Table

I started with an adjustable table designed to function as either a sitting or standing desk.

I chose the wood-top version rather than the plastic model. At the time, I was not certain how extensively I would modify it, but the wooden top proved ideal for attaching the padding, fabric, and frame.

The table’s greatest advantage is its adjustable height. It can be raised or lowered with very little effort, allowing it to work comfortably for seated or standing performances. You could even change positions during the same set without clearing the tabletop.

Step 2: Create the Padded Performance Surface

I wanted the top to function like a large close-up mat suitable for cards, coins, cups and balls, and other props.

After researching different options, I found this video recommending automotive headliner foam. That’s the material commonly used to pad the ceilings and door panels inside cars. The foam is about ¼ inch thick. I initially worried that it would be too thin, but it provides a comfortable amount of padding without making the surface feel overly soft.

For the covering, I used burgundy stretch velvet. Stretch velvet is easy to pull tightly around the tabletop and creates a rich, professional appearance.

Burgundy works beautifully, although I might choose emerald green if I built another table. Green could provide stronger contrast for red sponge balls and many cups-and-balls loads.

Step 3: Attach the Foam and Velvet

I assembled the table and then turned it upside down on a plastic tarp. The tarp protected the table and helped prevent dust, splinters, or debris from becoming trapped beneath the velvet.

I stretched the automotive foam across the tabletop and stapled it to the underside on all four sides.

The wood was dense, so some staples did not drive completely into the surface. When that happened, I carefully hammered them sideways. This flattened the staples and gave them more surface area to grip the foam.

I then stretched the velvet over the foam and stapled it separately to the underside of the table. Pull the velvet evenly and firmly as you work so the finished surface remains smooth.

I added two rows of staples for extra security. I also applied a small amount of super glue between the fabric and the underside of the tabletop in several places. That may not be strictly necessary, but I prefer having some redundancy.

I tried using spray adhesive between the foam and velvet. It did not appear to make much difference, so I would consider it optional. The velvet moves slightly when pressed, but not enough to affect performance.

Step 4: Build the Wooden Frame

The decorative frame around the tabletop was made from wood moulding left over from another project.

Similar moulding can usually be found at most hardware stores.

This was the most challenging part of the build because the original tabletop had rounded corners. Rather than creating a single 90-degree corner, I used a short diagonal piece at each corner.

Each connection required a 22.5-degree cut. I initially tried 30 degrees, which was incorrect. Because four angled cuts combine to form each 90-degree corner section, 90 divided by four gives the correct 22.5-degree angle.

Determining the length of each piece also required some trial and error. I recommend cutting each section slightly longer than necessary and gradually trimming it until it fits. Thankfully, we now have the benefit of hindsight. Here are exact measurements I ended up with. I still recommend measuring yourself, as I don’t know how exact all the tables are made.

This is the measurement for the magician’s side. You will need two of these pieces.

Step 5: Assemble and Finish the Frame

After cutting the moulding, I sanded all the sharp edges and corners.

I glued the frame together a few pieces at a time. The unusual angles made normal clamping difficult, so I placed the pieces on a flat surface and surrounded them with heavy objects to hold them in position. Paint cans and bricks worked surprisingly well.

Once the frame was assembled into manageable sections, I stained the wood and sealed it with varnish. Allow the finish to dry completely before getting it anywhere near the velvet.

Step 6: Attach the Frame

Because the sides of the tabletop were now covered with foam and velvet, glue was not a practical option.

Instead, I attached the frame with a brad nailer. I drove several brads through each side of the moulding and into the wooden tabletop. The brads passed through the fabric and foam easily and held the frame securely.

The main challenge was keeping the frame at a consistent height around the entire table. To solve this, I cut a scrap piece of wood to the desired height and used it as a spacing guide while attaching each section.

Step 7: Add the Decorative Skirt

t this stage, the table was fully functional. However, I wanted it to have a more formal and theatrical appearance.

For the skirt, I used:

I stapled one side of the hook-and-loop tape to the underside of the tabletop. I attached the matching side to the velvet with a standard office stapler. Make sure you dry-fit the fabric before stapling so you can confirm the placement and length.

I added another strip of hook-and-loop tape near the bottom of the metal stand. Because the base is metal, the adhesive backing held well without the need for staples.

Once the velvet was attached at the top and bottom, I tied the curtain tassel around its center. This gathers the fabric into the hourglass shape and gives the table a classic parlor-magic appearance.

Step 8: Add a Removable Servante

The final feature was a servante, which allows me to secretly dispose of or retrieve objects even when the table is raised for standing performances.

I already owned a TCC servante, but I was not satisfied with the way it hung when attached directly beneath the table.

To improve its shape, I added 9-gauge wire around the main pocket and formed supporting arms behind it. I secured the wire with black duct tape. The wire allows me to adjust how far the servante extends beyond the rear edge of the tabletop.

The entire servante attaches beneath the table with hook-and-loop tape, so it can be removed whenever it is not needed.

The Finished Table

am extremely happy with how the project turned out. The finished table:

Adjusts for seated or standing performances
Provides a padded close-up surface
Allows lapping from the performer’s side
Helps keep props from falling
Includes a removable servante
Rolls easily on locking wheels
Is lightweight but stable
Can be lowered enough to fit inside my four-door coupe

Although it does not fold completely flat, its adjustable height makes it much easier to transport than I expected. The removable skirt and servante also make the design especially modular.

I hope this guide helps you build a table of your own. Should you try this project, or create your own variation, please share your experience in the comments. I would also be happy to answer questions about any part of the process.