Why the format suits this city
Orlando's event infrastructure is built for scale: large ballrooms, fast room turns, tight AV schedules and a production team already at capacity. Anything that requires a stage build, a soundcheck or a changeover is competing for the scarcest resource in the building.
Close-up magic requires none of them. Ordinary room lighting, no power, no sound, nothing to load in and nothing to take out. It can be added to a programme after the AV schedule is locked, which in this city is a genuine operational advantage rather than a selling point.
It also does something a stage act cannot in a large room: it reaches a portion of the audience at very high intensity rather than the whole audience at low intensity. In a ballroom of four hundred, ninety guests will have had something happen in their own hands, and they describe it to the rest.
The distinction from a booked set matters here more than elsewhere, because Orlando delegates have seen a great many booked sets.