We learn what a “gold room” is in television parlance, how they stab somebody, and many other nifty little tidbits. One surprise is that they use retractable knives for the stabbings; these have almost universally fallen out of favor with theatrical prop masters. Perhaps the repetition of performance in theatre makes it more likely for an accident to happen, as opposed to television, where it is used only once under the eye of the experienced prop master.
During the 2010 S*P*A*M Conference, we visited the Berkeley Rep prop shop. Even if you’re not familiar with the Berkeley Rep, you’ve probably heard of some of the shows that came from there: American Idiot and In the Next Room (or The Vibrator Play) are two of the more recent shows which have come to New York City. Ashley Dawn, the prop master at Berkeley Rep and one of the hosts of the Conference, graciously gave us a tour of their prop shop.
The prop shop is located within the same building as the theatre. Notice all the dust collection hoses. Also, the shop is very clean, and every nook and cranny has some form of boxes, bins, drawers or shelves for storage. Though hectic at first glance, it was actually very clean and well-organized, and once you knew your way around, it seemed it would be easy to quickly locate whatever you needed.
Berkeley Rep is fairly similar to the Public Theatre in terms of the size and number of shows produced in a season. In fact, many shows we do are co-productions. It was inspiring to see how they’ve organized their limited space to handle the demands of their shows, particularly because our own shop is larger. It would appear one can always squeeze more use out of a space, no matter how small.
They have a separate area for welding and working with metal, which is also shared by the scene shop when they are at the theatre loading in a show. During the rest of the time, the scenery is built and painted at a much larger building a few miles away. In the near future, they are getting a new facility where scenery, props and costumes are all housed together; the prop shop I just showed you will soon be no more.
Today I wish to present you with a number of interviews with prop masters and makers in theatre, television in film. It’s good to get perspective on the job from other people. For most of the interviews, I’ve pulled out some select quotes which especially struck me. Enjoy!
An interview with Sarah Bird, prop master on On the Levee. Sarah is a New York City-based prop master, and this is a nice little video about the work she did at Lincoln Center Theatre.
What he taught me is the attitude that someone has spent a huge amount of money, sometimes hundreds of thousands maybe millions of dollars, to design an object that you can now buy for a few dollars. Why not take that object and use it; build it into a prop because the design is great already. You’re incorporating it into something that has to function and the ergonomics are already built into it, so it makes a lot of sense to do things that way. It’s very economical.
Usually it’s reading/breaking down scripts and jumping right into the next day of work, but I do try to find out what are the latest interesting pieces and what I can bring to the table so if I’m asked or I can provide a solution to something from doing my own research through the Internet or talking to people or seeing something on YouTube. You hear about things, I get feedback from other people saying, “Hey, have you seen this, have you heard about this?†I book-log that and it’s like, “Let’s try to do that.â€
It’s getting smaller and harder to make a living at this due to so much emphasis on computer generated imagery. What once was to provide a ton of weapons for an army now is just a handful who are copied and pasted onto a battlefield. There will still be a call for Hero props but the mass amounts are gone. Shows keep looking for cheaper ways of making shots happen. They tend to look mostly where they can get the best tax break and shoot there. The trickle down of budgets affect every department and so it does with mine as well. The days of the skilled worker is changing to the skilled computer artist.
Barrington Stage has this short little video talking about where they found some of the props for Freud’s Last Session and what goes into the transfer of a show from one theatre to another.
First of all, tomorrow is Propmaster Day, so mark your calendar. At last year’s S*P*A*M conference, the office of the Mayor of Louisville presented the attendees with a plaque proclaiming July 24th to be Propmaster Day. I say we celebrate it every year. More importantly, that we keep Propmaster Day in our hearts all year ’round.
As part of this year’s conference, we were given a tour of the San Francisco Opera by Lori Harrison, their master of properties. First of all, the stage is huge.
You have to hand it to the San Francisco Opera; they have a lot of work to do and not a lot of room to do it in. Props are stored throughout the catwalks and on shelves tucked in every little nook and cranny. There is also a small hand props room for common and reusable items on another floor; in addition, they have a warehouse off-site to store larger furniture pieces.
In one of these hidden corners, we came across one of the Opera’s original wind machines dating back to 1932. The fan was about six feet (1.8m) in diameter, and in place of blades were lengths of rubber tubing. They also stored an old-fashioned thunder machine, but it was inside a box and hanging from the ceiling.
Perhaps most striking was the props shop itself; it was much smaller than the props shop at the Public Theatre, and they probably build a lot more large props from scratch, and employ a lot more artisans than us. It just goes to show that there’s always a more efficient way to use the space you’re given.
I found a great article on the making of an opera from 1999 in the San Francisco Weekly. If you read through to the second page, it starts talking about props, and Lori Harrison has a lot of great insights into the process. She says one thing in particular though that I really want to point out:
As the first woman to run the San Francisco Opera prop shop, Harrison, who’s now in her second season in that position, says that it took awhile for some people to get used to the idea of having her in charge. “And some are still getting used to it,” she admits. But while she was prepared for a certain amount of prejudice, there was one particular issue when she first started that caught her off guard. “The question asked was would I rather be called a ‘prop master’ or a ‘prop mistress,'” she says.
“I think ‘master’ works a little better. It expresses mastery over something.”
Hear, hear. To all the prop masters of the world, male or female, have a Happy Propmasters Day tomorrow.
Making and finding props for theatre, film, and hobbies