Stagebitz is an online project management software which first began beta-testing back in 2010. It’s designed to streamline all the tasks you handle when propping a show (or when working on scenery, costumes, etc.). They have recently secured a hefty investment that will allow the development of the software to really take off over the next few years; they will be at USITT this year where you can play around with the software and ask them any questions you wish.
But that’s not what this post is about. They have also brought on Mat Lawrence, who, up until now, was the head of props manufacturing at Opera Australia (whose home is the Sydney Opera House). The video below shows them working on the props and puppets for Julie Taymor’s 2012 Magic Flute. It looks like some pretty intense work there, and it is the kind of props shop many of us dream of working in.
To all of my American readers, I hope you have a Happy Thanksgiving this week! Brian Wolfe from Costume Armour sent me some photographs of a trick turkey they recently created, which seems apropos to the holiday.
For this trick, a waiter needed to walk in with a food cart. He lifts the lid off of a covered tray revealing a delicious roast turkey. He replaces the lid, and the next time the lid is removed, the turkey is gone. Instead, an actor’s head is on the tray, and the actor begins to speak.
This is the drawing he shared with me:
Drawing for a turkey trick
They needed a giant, oversized turkey with enough room inside to fit a head; it also needed to be light enough that it could be lifted along with the tray (you will see why in a minute). They had a rubber turkey in stock, but it was too small and heavy. So they decided to vacuum form a new one. They carved the turkey in foam, made a two-piece mold, and vacuum formed it in 0.04″ Kydex plastic.
Vacuum formed turkey halves
They cut out the pieces, glued them together, and painted them. Next, they cut a large hole in the bottom:
Hole in the bottom of the turkey
The tray was also vacuum formed, this time in a heavy 0.093″ Kydex plastic with a metallic finish. The bottom was formed over a wooden mold, while the lid used a plaster mold. They also added some artificial lettuce which was bought.
Vacuum formed turkey
A brass drawer pull completed the look to the lid. The small black rectangle next to it in the photograph below is a small toggle switch:
Tray Cover
When the waiter flips this switch, a small battery-powered electromagnet turns on (shown in the next photograph). The turkey had a small piece of flat steel hidden on top which is grabbed by this magnet. So when the magnet is on and the tray lid is lifted, the turkey travels along with it, hidden from the audience’s view.
Battery and magnet
The diagram below illustrates how the whole trick was set up. I’ve seen this same basic principle carried out in a number of different ways, but the combination of the hollow turkey and electromagnet makes this execution especially elegant; you can control whether the turkey or head is visible simply by the flick of a switch. The actor underneath does not have to do anything.
The Ring Cycle is perhaps the pinnacle of western opera, and The Metropolitan Opera is one of the preeminent opera companies in the US. I have become interested in one of the major props/machines/creatures in Siegfried, the third opera in the cycle. Our hero, Siegfried, heads to the forest where he meets Fafner, a terrifying dragon with whom he must battle.
It appears only three more Fafner dragons have been made for The Met, which is what we will look at next.
1967-1972
A new 1967 production for the Met was designed by Günther Schneider-Siemssen and directed by Wolfgang Weber. Portions of this Ring Cycle were originally presented at the Easter Festival in Salzburg. It was then invited to transfer to the Met, where the set was adapted (and partially recreated) to fit the stage. According to this site, no known audio or video recordings exist of this production. I have included the few renderings and photos that do exist of this scene below, though neither show Fafner himself.
The following image and text comes from this page.
And then he appears as a giant animal, very old and gruesome, his eyes everywhere – a spongy mass, belching fire and steam as he falls on Siegfried’s deadly sword.
(From G. Schneider-Siemssen in conversation with K. Pahlen: Die Bühne, mein Leben, Selke Verlag 1996; (The Stage, My Life – English translation by James Mulder), in press.)
Original sketch by Günther Schneider-Siemssen for the forest where Fafner appears.
The following photograph is taken from a 1975Â Opera News showing where Fafner is about to appear.
“Eager to learn fear, the hero awaits Fafner at his cave.” From “Opera News”, found at the Metropolitan Opera Archive.
We get one more brief description from a review by Byron Belt in the Newhouse Newspapers, found in the Metropolitan Opera Archive. “The stage business for the battle between Siegfried and Fafner made the dragon into more of a primordial ooze, but we found it most exciting.”
1987
The Met invited Günther Schneider-Siemssen to design the Ring Cycle again in 1986, this time directed by Otto Schenk. This became one of the most successful Ring Cycles produced by the Met in modern times.
This thing is growing into a pulsating, gelatinous blob, its four slimy tentacles flailing the air and its one green eye fixed on Siegfried. It’s the Creature From the Black Forest.
Now it’s opening its huge mouth, a great hairy orifice with long, sharp, crooked teeth tinged with red (blood?) and breathing smoke.
Joseph Clark, the Met’s technical director, tells The Times they went with a low-tech solution involving six prop men inside to operate the arms, mouth and eye. This allows the dragon to hear and respond to the music and to Siegfried’s movements.
The Time article continues:
The dragon they built is stretched across a 8-by-12-foot frame and billows out from the floor on a hydraulic piston. Once the dragon is inflated, the six prop men step inside the frame on the stage floor and operate the arms, mouth and eye, all of which are maneuvered by steel rods through universal joints. The rods are attached to a kiddy-car steering wheel and the prop men can guide the arms, extend them, open and close the mouth and eye as they would drive a car in a video game.
Up close, Fafner looks like something put together by a schoolchild for a crafts class. The dragon is covered with a pleated Chinese silk of forest browns and greens, bits of old plastic cups and some goop that resembles candle drippings. The eye is constructed of wire and fiberglass, the teeth are made of foam and the mouth has a fringe around it that, as Mr. Clark put it, ”looks like one of those lampshades one sees in old German hotels.” Old-fashioned dry ice in the mouth makes the smoke.
The article concludes by asking Joseph Clark if Schneider-Siemssen was inspired by anything when designing this version of Fafner. “I do know that between the time we did ‘Die Walkure’ for last season and started to work on ‘Siegfried,'” he said, “he had seen the movie ‘Aliens.'”
In a 1993 New York Times review, Edward Rothstein also notes the similarity to Giger’s Alien creature. He writes:
The arachnidan role, at any rate, seemed reserved for Fafner in the second act, in which the most problems with this traditional production by Otto Schenk also emerged. A ramp circles around a shallow crevice hiding the dragon (whose miked words were intoned by Matti Salminen); with a single eye like a woozy Cyclops, teeth like those of Sigourney Weaver’s “Alien” nemesis and giant limbs like rotting trees, he was difficult to take seriously. Gunther Schneider-Siemssen’s set created an ancient, slightly ruined forest without allowing it to give way to the youthful greenery heard in Wagner’s Forest Murmurs.
The Metropolitan Opera Archives has one of the original renderings for the scene where Fafner is about to appear:
Günther Schneider-Siemssen’s sketches for Fafner’s entrance. From the Metropolitan Opera Archives
This production was also part of an historic telecast of the entire Ring Cycle by the Met. The scene with Fafner is below.
2011
The Ring Cycle which is currently in repertory at the Opera is the much-talked about production by Robert Lepage. While there is plenty to read about the massive “machine” which was built, and the use of projections, very little is said about the dragon. I am not sure who built it; this production was built by both the Metropolitan Opera’s shop and Lepage’s Ex Machina company, and a whole slew of outside contractors worked on bits and pieces.
We have a photograph provided by the production:
Siegfried at the Met Opera. Photo by Sara Krulwich, New York Times
We also have some (fairly scathing) descriptions from reviews of this production. In a New York Times review, Anthony Tommasini says “In his guise as a dragon, the giant Fafner (the formidable bass Hans-Peter König) was a huge, puppetlike thing with scaly skin, spiky teeth and glassy eyes: a little too cute.” In a review for Financial Times, Martin Bernheimer calls it “a silly oversize puppethead”.
So there you have it: every Fafner dragon from every production of Siegfried done by the Metropolitan Opera! I hope you enjoyed it.
The following video shows some interesting puppet mechanisms, both mechanical and pneumatic. The people in the shop are constructing bird puppets for a 1999 Coca-Cola television commercial. Perhaps more interesting is that Jamie Hyneman is working in the shop as well, years before Mythbusters appeared on TV.
The National Theatre in England has a video going behind the scenes of their new production of Timon of Athens.
The video deals with all aspects of the backstage production, including costumes, stage management and set design, as well as props. Lizzie Frankl, the props supervisor, talks about tables, chairs and, um, poo.
Making and finding props for theatre, film, and hobbies
