What kind of act do you actually need?

Stand-up tailored to your room — a headliner who reads the crowd, keeps it clean if you need it clean, and gets the whole event talking. The most requested act on the network, and the easiest to get right if you brief them properly.

A speaker who leaves people genuinely fired up rather than politely applauding. Most blend a personal story with practical takeaways, and the good ones will research your organisation before they ever step on stage.

The person who holds your whole evening together — announcements, timings, the awkward gap while the next act sets up. A strong MC is invisible when things run smoothly and invaluable when they do not.

Close-up magic that works a room table by table, or a full stage show for a seated audience. Close-up is the safer choice for drinks receptions and mingling; stage magic wants a proper focal point.

A stage hypnosis show where your own guests become the entertainment — which is exactly why it lands so well with groups who already know each other. Needs a willing audience of roughly 50 or more to find enough volunteers.

Live music sized to the room, from a solo acoustic set during dinner to a full function band for dancing. Ask early about set lengths, breaks and how much space and power they need.

Keeps a dancefloor moving and handles the microphone between tracks. Usually the most flexible option for a long evening, and easier on space and budget than a full band.

Speciality performers who do not fit a neat box — aerialists, quick-change artists, novelty acts. Ideal when you want a short burst of spectacle rather than a full set.

Voices and characters your audience recognises instantly, usually woven into a comedy set. Works best with a crowd that shares the same cultural reference points.

A tribute performance as a specific well-known figure, in character throughout. Popular for themed evenings and as a surprise entrance.

Comedy through a character, which lets a performer be far cheekier than they could be as themselves. Genuinely broad appeal — one of the few acts that plays equally well to children and to a corporate audience.

Skill-based performance, from a walkabout set during arrivals to a full stage routine with fire or knives. Check ceiling height early; more acts are limited by it than you would expect.

Aerial silks, acrobatics, stilt walkers and the rest — visual, wordless, and equally effective for a crowd that does not share a first language. Rigging and ceiling height matter enormously here.

Choreographed performance or roaming entertainment, solo through to a full troupe. Ask about floor surface: many styles simply cannot be performed safely on carpet or grass.

Comedy built live from audience suggestions, so no two shows are the same. Brilliant for a crowd who want to feel part of it, and easy to keep on-topic for a corporate brief.

Family entertainment built around physical comedy, balloons and gentle audience participation. Best suited to younger children and relaxed outdoor events.

A full programme for a young audience — games, magic, music and enough structure to keep a room of excited children pointed in one direction. Usually priced by the hour.

Quick sketched portraits that guests take home, which makes them a keepsake as much as entertainment. Rough guide: one artist covers around fifteen guests an hour.

Popular at family days and outdoor events, and reliably the longest queue at any of them. Book by the hour and consider a second artist if you are expecting more than fifty children.

Mind-reading and prediction performed as entertainment — table to table through a reception, or as a stage show. Consistently the act guests talk about longest afterwards.

An interactive whodunnit played out across your evening, usually around dinner. Everyone has something to do between courses, which makes it a strong choice for guests who do not know each other yet.

Two players, two pianos, and a set driven entirely by audience requests. Loud, participatory and very hard to sit still through — not the act for a quiet dinner.

An author speaking on the subject of their book, often with signed copies available afterwards. A natural fit for conferences and association meetings built around a theme.