I had two shows close this weekend, and one that starts tech on Tuesday. I am a little fried.
Stage managing Drakul, which was a lovely show, but was kind of draining to run. The show itself clocked in just over 3 hours, and with a 20 minute fight call, a desire to open house early, food to prepare, and a large stage to mop, I was at the theater for about 6 hours every performance. True, I didn't need to show up so much earlier then call, maybe, but wanting to mop the floor and give it time to dry before fight call, plus have a little bit of time in the space before others arrive. I hate when actors are trying to get in the door at the same time I am - none of the lights are on yet, and I'd like to be able to go through my routine in my own order/pace, so...I arrive even earlier then I tell them I will be there.
So a good show, but I'm glad to see it done. The other two shows are props gigs, which are usually fun to do, but as tired as I've been lately, it's been a little less fun. But Shakespeare Youth Theatre's production of King Lear ended on Sunday, and it was a quick and painless strike. I have a few items to return, but most of it goes right into my new props storage area (a post, with pictures, about my new props storage area is forthcoming).
The show that starts tech this week is Theatre Pro Rata's production of Dido, Queen of Carthage. I spent most of the weekend building props for it. Three spears, a bow, two quivers (and one more to go) and a set of oars. I still have some detail work to do, but the bulk of the work is done, which is exciting. I'm loading everything in this evening, and then heading over on Tuesday after work to their 10 out of 12 to finish things up. Hopefully everything I've made and found will work. I'm liking most of the things I've made so far. The spears look fantastic, the oars are on their way to being awesome, and Venus' quiver turned out well. Cupid's quiver is not great, and Cupid's bow could either be a big hit, or a big miss. It's small, because we need Cupid's arrows to be small, and I'm worried the bow will look too small. But I think it has potential. We'll see.
At any rate, Dido opens on Saturday, which means I'll have one show up and running, and no other shows going on. And I can hardly wait. No rehearsals, no production meetings, no theater work. And Dido doesn't have any food props, so I don't even have to make food runs.
That means I have a whole month, until After the Quake rehearsals start up, with no theater projects. A whole month of just a regular 40 hour a week day job, with evenings and weekends free to do what I want. There are projects around the house I want to accomplish, sure, but I also plan to just veg a lot, too. Hang out and play board games. Go to the movies. Maybe spend a night or two walking around the Art Institute. I've been sort of bouncing off the walls, being excited for this break. It felt particularly bouncy this time, but Justin assures me I am always like this when approaching time off from theater.
Monday, February 28, 2011
Friday, February 25, 2011
Props Thoughts - #3
The first thing I do when I take on a design job is read the script. Seems like a "duh" kind of moment, but I have to read it in a very careful way. I'm looking for the props, implicit and explicit, and generally not caring much for the content of the show beyond that. I save that sort of stuff for later.
No, at first it's strictly looking for the objects used. Many modern plays are easy to figure out. There's lots of stage directions that mention items by name. It's easy to determine what the script itself actually calls for.
Do not, repeat, do not be fooled by the props plot at the back of some printed scripts. Those are lists of items that the original production used. Trust me, not everything on that list will be required in the show you're working on, nor will it prevent your actors/director from coming up with new items for you to find. The list is merely a record of what one show used.
What does the script tell you it needs? It's a different way of reading a script. The real practice you get at this is doing historic plays. Shakespeare, of course, is a big one. Look at any Shakespeare script, or any from that era and before, and you'll notice that there are fewer or no stage directions at all. So you have to learn to look for the items they imply. Currently I'm working on a production of Dido, Queen of Carthage, by Christopher Marlowe. There are very few stage directions, and so my usual skimming of the page doesn't work as well. But when Aeneas says "Gentle Achates, reach the tinder box, that we may make a fire to warm us with" it becomes clear that a tinder box is needed. They're obvious, if you're paying attention, but it's surprising how often people aren't paying attention to those things. Recently I had to point out to a director that there is dialogue in a play that states that certain items from a location had been stolen, so no, we would not be needing those items. That's why we break these jobs down, so that someone looking at the big picture doesn't miss the details. Props? All about the details.
No, at first it's strictly looking for the objects used. Many modern plays are easy to figure out. There's lots of stage directions that mention items by name. It's easy to determine what the script itself actually calls for.
Do not, repeat, do not be fooled by the props plot at the back of some printed scripts. Those are lists of items that the original production used. Trust me, not everything on that list will be required in the show you're working on, nor will it prevent your actors/director from coming up with new items for you to find. The list is merely a record of what one show used.
What does the script tell you it needs? It's a different way of reading a script. The real practice you get at this is doing historic plays. Shakespeare, of course, is a big one. Look at any Shakespeare script, or any from that era and before, and you'll notice that there are fewer or no stage directions at all. So you have to learn to look for the items they imply. Currently I'm working on a production of Dido, Queen of Carthage, by Christopher Marlowe. There are very few stage directions, and so my usual skimming of the page doesn't work as well. But when Aeneas says "Gentle Achates, reach the tinder box, that we may make a fire to warm us with" it becomes clear that a tinder box is needed. They're obvious, if you're paying attention, but it's surprising how often people aren't paying attention to those things. Recently I had to point out to a director that there is dialogue in a play that states that certain items from a location had been stolen, so no, we would not be needing those items. That's why we break these jobs down, so that someone looking at the big picture doesn't miss the details. Props? All about the details.
Thursday, February 24, 2011
Props Thoughts - #2
So how do props get designed? Do they even need a designer or can't you just go and find the stuff and like...buy it?
These aren't questions I've actually heard, but I've certainly thought the second one before. Some theaters don't have props designers. They have prop masters, people who build/find other people's designs (set designer/scenic designer). Do props need to be designed?
I say yes, and it's not just because I am pretty sure that a props "designer" gets paid more then a props "master". Think about the things you use every day. The coffee cup you love, the one you'll dig through the cabinet or open the dishwasher to find. Your wallet, and how you've organized everything in it. Your keys, the weight of them, how they feel in your hand. The items we surround ourselves with have meaning. Sure, we all have too much stuff, we all own crap we don't need or even like. Yes, it's a problem and we should deal with it. But, again, the items we surround ourselves with have meaning. Sometimes it's negative, sometimes it's positive. It can make us feel good about ourselves, or guilty, or lazy. It says so much about us and who we are and what our priorities are.
I have a lot of stuff. I'm a collector (pack rat) at heart, and while I've tried to curb that tendency, I still have too much stuff. But I know that I could cull away most of my stuff to a few key items that I would hold onto if needed. My plaid umbrella. My handknit Dr. Who scarf. My favorite wooden hairstick. The green ceramic mug I made. I like to think that these items say some key things about me and what I value. And that anyone else looking at those items would also be able to get a basic understanding of who I am by looking at them.
That's where I start from when designing props. Let's find items that tell us about the people in the play, not just items that will do. Not all plays work this way, of course. Lots of productions have an overall theme or mood that they are aiming for, and the props need to support the production, of course. But my favorite designs, the ones I'm most proud of, are the ones where I get to create deeply personal items for specific characters. Or where I get to use props/set dressing to tell you about what kind of place we're in, and what kind of people live here.
These aren't questions I've actually heard, but I've certainly thought the second one before. Some theaters don't have props designers. They have prop masters, people who build/find other people's designs (set designer/scenic designer). Do props need to be designed?
I say yes, and it's not just because I am pretty sure that a props "designer" gets paid more then a props "master". Think about the things you use every day. The coffee cup you love, the one you'll dig through the cabinet or open the dishwasher to find. Your wallet, and how you've organized everything in it. Your keys, the weight of them, how they feel in your hand. The items we surround ourselves with have meaning. Sure, we all have too much stuff, we all own crap we don't need or even like. Yes, it's a problem and we should deal with it. But, again, the items we surround ourselves with have meaning. Sometimes it's negative, sometimes it's positive. It can make us feel good about ourselves, or guilty, or lazy. It says so much about us and who we are and what our priorities are.
I have a lot of stuff. I'm a collector (pack rat) at heart, and while I've tried to curb that tendency, I still have too much stuff. But I know that I could cull away most of my stuff to a few key items that I would hold onto if needed. My plaid umbrella. My handknit Dr. Who scarf. My favorite wooden hairstick. The green ceramic mug I made. I like to think that these items say some key things about me and what I value. And that anyone else looking at those items would also be able to get a basic understanding of who I am by looking at them.
That's where I start from when designing props. Let's find items that tell us about the people in the play, not just items that will do. Not all plays work this way, of course. Lots of productions have an overall theme or mood that they are aiming for, and the props need to support the production, of course. But my favorite designs, the ones I'm most proud of, are the ones where I get to create deeply personal items for specific characters. Or where I get to use props/set dressing to tell you about what kind of place we're in, and what kind of people live here.
Friday, February 18, 2011
Props Thoughts - #1
I'm going to start talking props and design here, try to not only document my thoughts on it, but look for patterns in my process and ways to improve. Blah blah blah.
Designing props - it's a rough gig, because props seems to be the dumping ground for anything set or costumes doesn't want to do, in addition to having all the stuff that clearly falls under "properties". It's also the one scenic element that gets no (and I mean absolutely zero) recognition outside of other theater folk - and even they aren't always sure what is props and what isn't. I had a recent show where the set designer got much praised for the quality of the set, and while I don't want to disparage what they did, a lot of what was being praised was the set dressing/props, which was all my domain. But how is a reviewer to know that? How is anyone to know that?
And it's okay. It is. If I'm doing my job well, much like with stage managing, no one notices it. The production looks great, and everyone is happy, and I'm not in it for the recognition anyway (I'm in it for the money, so let that sink in before you take me too seriously). It can be frustrating, sometimes more than others, but generally it's not a problem. But if you ever decide to become a props designer, be warned - you want people not knowing your name. It means you didn't fuck up.
And be prepared - you'll have a list of things you think are the things you need to find, and show up at the first production meeting only to find that you're also responsible for the furniture and a bunch of things that could be costumes, but because the costume designer doesn't want to find them, or pay for them out of their budget, they're now your problem. Oh, and they added a bunch of stuff. And will continue to add stuff right up through tech week. And they broke the stuff you brought in. And can there be a real banana every night?
Who's ready to design?
Designing props - it's a rough gig, because props seems to be the dumping ground for anything set or costumes doesn't want to do, in addition to having all the stuff that clearly falls under "properties". It's also the one scenic element that gets no (and I mean absolutely zero) recognition outside of other theater folk - and even they aren't always sure what is props and what isn't. I had a recent show where the set designer got much praised for the quality of the set, and while I don't want to disparage what they did, a lot of what was being praised was the set dressing/props, which was all my domain. But how is a reviewer to know that? How is anyone to know that?
And it's okay. It is. If I'm doing my job well, much like with stage managing, no one notices it. The production looks great, and everyone is happy, and I'm not in it for the recognition anyway (I'm in it for the money, so let that sink in before you take me too seriously). It can be frustrating, sometimes more than others, but generally it's not a problem. But if you ever decide to become a props designer, be warned - you want people not knowing your name. It means you didn't fuck up.
And be prepared - you'll have a list of things you think are the things you need to find, and show up at the first production meeting only to find that you're also responsible for the furniture and a bunch of things that could be costumes, but because the costume designer doesn't want to find them, or pay for them out of their budget, they're now your problem. Oh, and they added a bunch of stuff. And will continue to add stuff right up through tech week. And they broke the stuff you brought in. And can there be a real banana every night?
Who's ready to design?
Thursday, February 17, 2011
Bwah?
What happened to the past two years?
Oh right, site was blocked at work, and I've been busy.
It's back up and working at the moment, so I thought I'd check in. Got married. Still working on the house. Still insanely busy with theater work. Life is pretty good in general.
I'm close to having the major housework done. Last room to tackle? My office. It's my March project. Once I get that done, I'll be setting up my props storage. I own enough stuff and have enough potential gigs going forward, that it makes sense to organize my collection. Which means organizing the garage and the basement. Major undertaking, but necessary.
I'm hoping that the summer will have lots of time available for this. Not having three weddings going on will help. I am working on a fringe show (more about that later) but it shouldn't take as much time as typical shows.
Spring is starting to arrive, which fills me with glee and the need to set goals. It was a long, hard winter, and I have been lacking motivation. But now as the temperatures warm up, and the sun is up longer, and I'm not going to be in rehearsals for over a month, it's time to figure out a plan and get working on it.
Look for more frequent updates going forward.
Oh right, site was blocked at work, and I've been busy.
It's back up and working at the moment, so I thought I'd check in. Got married. Still working on the house. Still insanely busy with theater work. Life is pretty good in general.
I'm close to having the major housework done. Last room to tackle? My office. It's my March project. Once I get that done, I'll be setting up my props storage. I own enough stuff and have enough potential gigs going forward, that it makes sense to organize my collection. Which means organizing the garage and the basement. Major undertaking, but necessary.
I'm hoping that the summer will have lots of time available for this. Not having three weddings going on will help. I am working on a fringe show (more about that later) but it shouldn't take as much time as typical shows.
Spring is starting to arrive, which fills me with glee and the need to set goals. It was a long, hard winter, and I have been lacking motivation. But now as the temperatures warm up, and the sun is up longer, and I'm not going to be in rehearsals for over a month, it's time to figure out a plan and get working on it.
Look for more frequent updates going forward.
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