Tag Archives: Philadelphia

Reprints

Macready Invents the Spike Mark, 1916

The following first appeared in a 1916 book titled “Recollections of a Scene Painter”,  written by an E.T. Harvey. In this section, Harvey talks about the famous English actor William Macready, who dominated the stage from 1818 to 1851. We hear what the carpenters in Philadelphia did after the Astor Place Riots, and we witness what may be the birth of the spike mark.

Macready was before my time, but he had made extensive tours in the United States, and many stories were still in vogue about him. Edwin Forrest, when in England, met with some severe criticism, which he and his friends attributed to Macready’s jealousy. This is generally believed to be without foundation, but it caused a bitter feeling here and when Macready played in New York, the Astor House riots occurred [in 1849], and seventeen people were killed. The same thing was threatened in Philadelphia, when he played in the Arch Street Theatre. The second night the mob was expected to reach the stage, and the old stage carpenter, Charley Long, told me many years afterward, that it was arranged to turn out the lights and open up the sectional stage, which would have thrown the mob in the cellar. The men stood all ready to do this. The crisis, however, was averted by the coolness and courage of Macready himself. But it was said the big chandelier in front of the theatre was filled with missiles thrown at him.

Many stories were in vogue to show his exactness of method. A message delivered to him on the stage had to be given on a certain spot, and when the actor playing the messenger had failed several times at rehearsal, Macready had a mark put upon the stage where he should drop on his knees to deliver it. At night, it was said, the actor went groping all over the stage to find the mark.

An interesting thing that I believe to be true was pointed out to me at the St. Charles Theatre, New Orleans. (The St. Charles was the historic theatre of New Orleans). Near the prompter’s stand were a lot of jagged holes in the brick wall; these were said to have been made by Macready, with a dagger in each hand, to get himself in the nervous tremor as “Macbeth,” after he has killed “King Duncan.”

Original Publication: Harvey, E. T. Recollections of a Scene Painter. Cincinnati: W.A. Sorin, 1916. 29. Google Books, 15 Feb. 2008. Web. 5 Sept. 2012.

Interviews

Interview with Christopher Haig

The following is one of several interviews conducted by students of Ron DeMarco’s properties class at Emerson College.

Christopher Haig, Prop Master, Arden Theatre Company

by Rachel Gallagher

Photograph by Tom Stanley
Photograph by Tom Stanley

“One of the key jobs on any film set is that of the property master, and his range of activity is perhaps the largest of all. If it ‘moves, it’s mine,’ the prop man can say, on most occasions.” People who Make Movies, by Theodore Taylor, 1967.

Being a prop master is a job where a person is in charge of getting and handling all props for a show. Properties, or “props” for short, are all the items used on a stage or set from hand held items to furniture. The job is very important because props really help tell the story and tell the audience more about what is happening in the play. There could be any number of props a prop master would have to be in charge of, from one to hundreds. These prop masters are some of the most important people on set and without them, propping would be chaotic. These people are invaluable when working in the theater. I had the opportunity to interview Chris Haig, an experienced prop master in Pennsylvania, about his work in the prop field. Continue reading Interview with Christopher Haig →

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The DIY movement and small, creative businesses are becoming more and more important to the economy as a whole. Many props people either freelance as their own “business”, or run side businesses making things (such as selling things on Etsy). Save Us. Be Creative! takes a look at this growing trend.

On the other side of the coin, traditional theatre work is still worth fighting over. This past week saw the end of a particularly intense strike by IATSE stagehands at the Philadelphia Theatre Company. This article delves into the reasons behind it and why young theatre technicians spent two weeks outside in the cold and snow to protest their concerns. Coincidentally, the play the theatre was putting on was The Mountaintop, which imagines Martin Luther King, Jr.’s last day as he prepares to address a crowd of striking workers. The company could not find any workers to break the strike, so they tried to run it without any technical elements; this included having an actress sit in a folding chair and read the lighting and sound cues (“Thunder and lightning! Crack!”).

In sadder news, this week legendary makeup artist Stuart Freeborn passed away. Though he has worked on films since before World War II, he is most famously known as the man who created Yoda and Chewbacca. The BBC has a good roundup of his life and career, as well as a very in-depth radio interview they did a few months back. The NY Times has a nice slideshow of his Star Wars work, while The Week has a collection of five stories about Stuart that are not made up. If you have the time, here is a video of Stuart himself talking about his work: