I'm sorry if I didn't answer your question-- I thought I tried to at least by answering the types of events she is hired for and by saying one show is choreographed, and the other storytelling. Her use of the illusion in her stage show, and the rope, silk, body loads, and storytelling in the other.
Don't worry about it. I understand what you are/were saying. I got the client part. I was thinking more in terms of the nature/flow of the act(s).
For example, one of my birthday shows might start off like this:
Intro & Warm-up
Crystal Tube (aka Blow-Tie)
That's almost 15 minutes right there... a bit under, maybe... and, althought he kids have been laughing and having fun and experienced three distinct magical moments (most of which were interactive), I consider myself just getting started. I haven't provided any script here, but there is a narrative flow happening. If it's a half hour show, there might be 2-3 more pieces; if it's a 45 min. show, probably four -- depending, ultimately, on the audience.
But that's a birthday show... which I structure a specific way for specific reasons. A one-hour stage show, like my Christmas show this year, would be structured very differently -- in fact, there were about 14 magical moments in my one-hour Christmas-themed show, which is not quite as participatory as my typical birthday show. In either instance, though, 15 minutes is a small slice of the cake.
I suppose, though, if I sat down and said, " I am going to build a 15 minute show with a solid narrative arc," my thinking would end up being different than for either of those two shows, and I'd come up with something very different (e.g., there just isn't really room for a 3-5 minute comedy warm-up in a 15 minute show...well, maybe three...maybe...definitely not five
I'm not a big fan, I have to say, of silent "manipulation"-type shows that pack tons of effects into a small amount of time, especially if they are fast -- production, production, production, color change, vanish, production, vanish, change, bam, bam, bam. For example, a couple of years back, somebody pointed me to a Fred Kaps video on YouTube. Now, Kaps was a wonderful magician, but the performance just didn't do anything for me, and I couldn't quite see why everyone was raving about it -- production, production, production, color change, vanish, production, vanish, change, bam, bam, bam. Those kind of performance allow you to pack a lot of magic into a short amount of time, but I can't help but think that your audience is left wondering what the heck happened.