Broadway Design On Display At McNay Museum – If you are in San Antonio, TX, before June 30th, check out this exhibition of theatrical and film designs. The show features models and renderings from some of the 20th and 21st centurys’ most prolific designers.
How Gary Does the Dicks – Taylor Mac’s highly irreverent Gary: A Sequel to Titus Andronicus, now running on Broadway, needed dicks. A lot of them. The show features dozens of mannequins playing the part of dead Romans, and at various points, they come to life and dance with their members. Learn how specialty prop designer Craig Grigg brought them to life with animatronics.
Avengers: Endgame Film Décor – Check out these photos and descriptions of the miriad sets from this decade’s biggest film. Set Decorator Leslie Pope discusses what went into creating some of the major locations in this film, many of which had to match or reference previous locations in this sprawling 22 film franchise.
Richard Brome was an English playwright during the Caroline era, making him about a generation removed from Shakespeare. One of his plays, The Antipodes, first performed in 1638, features a sort of play-within-a-play that gives us a glimpse into a properties storeroom of the time. The character of Peregrine is fooled into believing he has traveled to the Antipodes, a mythical “anti-London” on the opposite side of the world. The inhabitants are simply theatrical actors, though, hired by a doctor in an attempt to treat Peregrine. Peregrine eventually finds his way “backstage” into the props storage area, known in this time as the “tiring house”, and begins destroying the props, believing they are real items in the Antipodes. Another character, Byplay, recounts this event. It gives us a glimpse into what manner of props and scenery may have been stored at an English theater during this time period:
Byplay: He has got into our tiring house amongst us,
And ta’en a strict survey of all our properties,
Our statues and our images of gods, our planets and our constellations,
Our giants, monsters, furies, beasts, and bugbears,
Our helmets, shields and vizors, hairs and beards,
Our pasteboard marchpanes and our wooden pies.
When on the sudden, with thrice knightly force,
And thrice, thrice puissant arm he snatcheth down
The sword and shield that I played Bevis with,
Rusheth amongst the foresaid properties,
Kills monster after monster, takes the puppets
Prisoners, knocks down the Cyclops, tumbles all
Our jiggumbobs and trinkets to the wall.
Spying at last the crown and royal robes
I’th’ upper wardrobe, next to which by chance
The devil’s vizors hung and their flame-painted
Skin coats, those he removed with greater fury,
And (having cut the infernal ugly faces,
All into mammocks) with a reverend hand,
He takes the imperial diadem and crowns
Himself King of the Antipodes, and believes
He has justly gained the kingdom by his conquest.
Just a reminder that you have until May 15th to apply for one of the $1000 grants being offered by S*P*A*M. If you have a props internship or apprenticeship either now or in the near future, you are eligible, and it is super easy to apply for!
Slammin’ Ham! – FFFriday Guest Post from Victoria Ross – For one of our shows at Triad, my apprentice cast and painted this very hefty ham out of silicone rubber. The final scene in Two Trains Running is punctuated by a character slamming the ham on the diner counter, and this ham made that slam very dramatic.
Someone Has To Clean Up After Broadway’s Creative Destruction – True West features the near-total destruction of everything on stage by the end of the performance, and the current Broadway production delivers that. Find out how the show’s prop team accomplished not only that, but the clean-up and reset before every show as well.
Earlier this year, I was the props master on August Wilson’s Two Trains Running at Triad Stage. The set, designed by Moriah and Isabel Curley-Clay, was a Pittsburgh diner in 1969. Among the various components were thirteen matching diner stools, the kind that spin and are bolted to the floor. It proved impossible to source that many stools within our budget, so I decided to build them.
I designed the main support in two parts: an inner post made of steel that would hold the seat and be bolted to the floor, and an outer post that would sleeve over and appear to be chrome. I welded the inner post out of box tube and quarter-inch plate. I added a small length of pipe to the top so the seat could spin freely.
I cut the outer posts out of PVC pipe and wrapped them with silver Mylar.
The flange at the base was a plastic bowl I found. I drilled a hole through it and wrapped it in Mylar as well. The bowl and PVC both slipped right over the steel posts, and I cut some wood spacers to hold them in place.
I built the seat in two parts which could be screwed together after upholstering it. The top part had a block underneath that slipped onto the pipe base and allowed it to spin freely. The side part masked this block and provided a place to attach the vinyl fabric to.
Once upholstered, the seat could slip right onto the steel post. The underside of the seat had a piece of UHMW that the steel rested on, so it could spin with as little friction as possible.
A good portion of the upholstery was accomplished by Keri Dumka, one of my artisans on the show. My apprentice, Victoria Ross, also did some upholstery and aging on these stools.
Here is one of the stools; twelve to go!
Though it was very time-consuming constructing all thirteen of these stools from scratch, the end result was pretty stunning. It looked like we plucked a diner straight from the Hill District and plopped it down in the middle of our theater.
Making and finding props for theatre, film, and hobbies