Crazy for You Props

I have already shown off some of the props in the recent production of Crazy for You which I prop mastered, but I thought I would show a bit more of what I did on that show.

The saloon in "Crazy for You"
The saloon in “Crazy for You”

The saloon was one of the larger set pieces in this production. I dressed it out with photographs, plaques, signs and other items. Several of the objects were rigged for “tricks”, including the cuckoo clock on the second floor above the man in the apron, the antlers above the piano, and the jar on top of the piano (I highlighted the piano in a previous post). I also built the two tables you see above.

Turned table legs
Turned table legs

I turned the legs on a lathe to match a table the set designer and I both liked. Even though the scope and scale of this show was already pretty huge, taking the time to turn these legs really helped transform the scene.

Breaking the hotel sign
Breaking the hotel sign

The saloon also had a “hotel” sign hanging throughout the show. In the second act, the hotel’s proprietor finally grabs the sign and smashes it over his head. I made a new sign for every performance. It was a piece of lauan with grooves scored in the back with a Dremel to make it easy to break. The front was painted with a quick wash and then the letters were spray-painted on with a stencil I made.

Antlers
Antlers

I needed to find a set of antlers for one of the tricks, but had no such luck. I ended up buying some fake antlers; these are meant to simulate the sound of real antlers hitting each other and are used by hunters to draw out deer. I cut out a plaque with a routed edge, mounted the antlers, and painted everything.

Dancing benches
Dancing benches

Several other scenes used a number of benches which saw some heavy-duty use. These benches were carried around (sometimes with people on them), danced on, tapped on and walked on. We had three benches in stock that they liked (from a previous production of The Crucible), so I constructed three more to match.

Dead Rock Follies poster
Dead Rock Follies poster

I did some graphic design on this show as well. The set designer found a great research image for the signs, which were meant to invoke a community vaudeville show performed out West in the 1930s. I mimicked the colors and layout of the research, changing the words on the poster to match what was in the script. The poster above was printed out three feet tall. I also adapted the size and scale of the poster so a similar image could be used on the flyers and programs that were also props in this show.

Chez Lank
Chez Lank

The penultimate scene in the play takes place in the Main Street of the town. Though this set piece appears throughout the play, it has been transformed for this last scene into a more fancy French-inspired café. The waiters bring out trays with fancy napkins on them during a brief musical number. The set designer and I decided it would be a nice touch if the napkins would be folded rather than just draped over their arms, so we found instructions for folding a napkin into a fleur-de-lis shape. A prop master is always finding little touches like that to shape the details in the props.

Credits:

Crazy for You, Elon University.

Directed by Catherine McNeela.

Choreography by Linda Sabo.

Set Design by Natalie Taylor Hart.

Lighting Design by Bill Webb.

Costume Design by Jack Smith.

Sound Design by Michael Smith.

 

Friday Prop-pourri

It has been a busy week. I taught the second of my master classes at Elon University, and I am preparing for a big workshop I am teaching tomorrow. I have also finished going through the proofs for my book yesterday; with those submitted, the book is basically on its way to the printers. Just think, in a few short months, it will be in bookstores! Here are some sites from around the Internet for you to peruse and enjoy:

The LA Times has a profile of George Barris, who has been making custom cars for film and television for over 70 years. The Batmobile from the original television series and the Munsters’ car are both his.

This giant collection of vintage hotel luggage tags should help supply you for years to come.

I may have mentioned an upcoming book called The Furniture of Necessity before; it’s a look at the major archetypes of furniture used by regular people throughout the centuries, as opposed to the highly-designed stuff used by aristocrats. It promises to be a great reference for period prop design. Christopher Schwartz has an update on that book in his blog, but that’s not the interesting part. His latest post also features photographs of almost 50 variations of a 6-board chest. This style of chest was popular in working-class European households from the 9th century through at least the 17th century, and again in American households from the 1600s on up to the present. In other words, this page is great research for a prop that can appear in a vast range of period plays.

Scenic charge Lisa Lazar from Berkeley Rep shows off her “bikini-wax” method for removing old paint without dust or chemicals.

This is a fairly fantastic behind-the-scenes look at the original Robocop (1987) film. Watch Peter Weller as he talks about putting his costume on; he’s a very eloquent (and funny) guy:

http://www.youtube.com/watch?&v=4_1K2GvCyvY

 

Player Piano for Crazy for You

Another project I worked on for Crazy for You at Elon University was a player piano. The piano sits against the wall of the saloon for a number of scenes. It has a couple of gags; when we first see it, a cowboy is playing a song on it, then gets up and walks away as the piano continues to play. Later, another cowboy fires a gun which hits the piano and causes it to start playing on its own again until it is kicked.

We began by looking for a real piano which we could take apart and modify. After a few weeks of unsuccessful searching, I decided I would just build one. After all, it needed to be a custom size to fit into the set, so transporting and modifying a real piano might be just as labor-intensive. The exterior of a piano is not really that complicated; it’s mostly a giant box with various levels of molding and details. The tricky part was getting it to play on its own.

Detail of the piano keyboard
Detail of the piano keyboard

One of the perks of working at a university is that you have a lot of crew members backstage who can operate tricks by hand. I knew the player piano could be worked manually from behind, so I just needed to figure out how to make that work. I cut out a set of piano keys from 3/4″ MDF and drilled a hole through each one. I ran a piece of metal rod through all the holes; I added a washer between each piece of MDF as a spacer. You can just make out the washers in the photograph above, catching a glint of light. This method allowed the MDF “keys” to pivot around the rod. I set the “keyboard” in the piano and added  blocks underneath to limit their movement to that which a piano has. You will notice the holes were drilled offset from the center. The extra length in the back gave the back extra weight; when you let go of a key in the front, gravity would pull the back down, returning the key to its natural position. This simple mechanism would allow someone in front to play the keyboard normally, and someone in the back could make the piano appear to play on its own by pushing the keys up.

A view from the back
A view from the back

In the view from the back, you can hopefully get a better sense of what is going on. The keys can be accessed from behind; pushing them up causes the keys in front to move down, as if the piano is playing itself. When you let go of the keys in behind, they return to their normal position. The piano was pushed up against the wall, and a hole was cut in the flat, allowing a crew member to reach in and “play” the piano without being seen by the audience. The music itself was played live by the orchestra.

The finished, unpainted piano
The finished, unpainted piano

The photograph above shows the piano immediately before it is painted. I managed to build the entire thing with scrap material, amazingly enough. The scene shop at Elon has a CNC machine, and it produces some wacky off-cuts. The scene shop usually doesn’t have time to trim the edges to make them square and usable again, but I do, so it gives me some nice large pieces of quality plywood and lauan.

The saloon in Crazy for You
The saloon in Crazy for You

The piano was painted to match a lot of the other woodwork used in the saloon scene. I cut some black keys out of black foam core and hot glued them on top of the white keys; they basically moved along with the white keys as they were played, but were not playable on their own. With the keys painted white and the piano painted with dark wood tones, it gave enough contrast that even the balcony seats could witness that the piano was playing on its own. All in all, it was a pretty fun prop for having been built in little over a day.

Phoning it in

Yesterday was strike for Crazy For You, the first musical I prop mastered down here in North Carolina. I’ll be posting some of the projects I did for this production at Elon University over the next few days. One of my favorite builds on this show was a set of twelve matching pink candlestick phones. I’ve dealt with getting multiple period phones in the past, so I knew with this budget these would have to be a custom build. I have already posted about how I made a vacuum former to create the bases.

Assembling the base
Assembling the base

On the right in the photograph above is the model for the base of the phone. In the upper left are some vacuum-formed shells. Dead center is a shell on the base with a section of PVC pipe forming the “candlestick” portion. Behind the half-completed phone are three sections of PVC pipe with a flange in them. I made a video showing how to form these.

A completed but unpainted phone
A completed but unpainted phone

The neck piece which connects the mouthpiece to the candlestick is a solid piece of poplar I turned on the lathe. The receiver (mouthpiece) was also turned on the lathe. The only difference between the prototype above and the final phone is the hook which holds the receiver. I sliced a section of PVC pipe, made a slit down one side, than used a heat gun to open it up into a “U” shape. I bent the ends out so the receivers could be pushed in and the hook would snap back to hold them snugly.

Painting the telephones
Painting the telephones

The plastic parts were primed first with a plastic spray paint primer. I then hit the rest of the parts with a sandable primer. The sandable primer helped make all the surfaces appear to be unified and made of a single material, and I could smooth out minor imperfections.

Pink candlestick telephones
Pink candlestick telephones

All the phones were painted pink. Bright pink. The kind of pink that hurts your eyes. It was a gloss pink too, and because the phones were sufficiently primed, the gloss made them look like solid chunks of plastic. I intended to add more paint for highlights and to differentiate the parts (and maybe throw some glitter on for good measure), but this show really came down to the wire (I was working up until the house opened on Opening Night) and I ended up not having time.

Bring! Bring! "Hello, Bobby!"
Bring! Bring! “Hello, Bobby!”

Regardless, they looked great in the context of the scene. It’s a big dance meant to be a fantasy sequence, with lots of flash and movement. You can see in the photograph above how well the color worked in that number. The shapes of the phones were distinct enough to convey their essence. They were a pretty big hit, and some of the audience thought they were rented.

All Props Day

My latest magazine article is out. In “Printing a Set“, I talked with several set designers who are using 3D printing technology as part of their process.

3D Printed Furniture
3D Printed Furniture

Here’s an interesting story. Some soldiers in Afghanistan were having trouble carrying and reloading ammo for the new guns they were issued. To improvise a solution, they were inspired by a prop which Jesse Ventura used in the film Predator, and set out to recreate it. It worked.

The title of this article says it all: Dexter’s Prop Master Tells How He Made the Show’s Most Gruesome Set Pieces. It is fairly gruesome, so I caution clicking through if you do not want to read about severed body parts and other macabre details.

Here is a local news article on Karl Luthin, the owner of KEL Equine Productions, an Illinois-based company which has provided historically-accurate equine props, horse wranglers and set dressing to the film industry for years. His latest work will be seen in the upcoming Lincoln film by Steven Spielberg. You have probably seen his props in films such as “Glory,” “The Patriot” or “The Last of the Mohicans“. Check out his webpage too, for photographs of many of the items he has.

You can find pictures of early variations of the game Monopoly (known as “Landlord’s Game”) as well as rules and other historical facts here. There are over a dozen variations spanning from 1903 to 1939.

Finally, I like this set of behind-the-scenes photographs from the original Alien film. It’s just a guy chilling in a monster costume, whatever.

Making and finding props for theatre, film, and hobbies