I just wanted to let everyone know that this blog will be going on hiatus until August. I am working on editing my book right now, as well as driving to Santa Fe to work for a few weeks, followed by a quick trip to Italy. I figured this blog could take a break for a few weeks so I can spend as much time on my book as possible; you’ll thank me when it comes out.
So enjoy the following links until then:
The New York Times has an interesting article on prop maker Doug Wright. Wright just finished working on Tom Cruise’s codpiece for Rock of Ages. He works on the weird and completely unique props that pop up in TV and film every now and then.
If you have ever wondered how to prep your wood joints for gluing, here is a pretty definitive answer on the subject. Short answer: the joints should be sanded smooth, but not polished.
This past weekend I made a trip up to Cornwall, NY, to visit Costume Armour. Brian Wolfe, the general manager, happily showed me around the shop, storage areas and all the pieces they have on display. Costume Armour was founded over 50 years ago by Peter and Katherine Feller, and later purchased by theatrical sculptor Nino Novellino in 1976, and has produced pieces for nearly every Broadway show since then.
Knight of the Mirrors from "Man of La Mancha"
The piece that kind of began Costume Armour is the armor from the original Broadway production of The Man of La Mancha. Before then, armor was either leather, felt or heavy metal. They solved many problems by vacuum forming a suit of armor from newly sculpted molds based off of historical research. Though the suit itself predates the company, Novellino made it while working with Peter Feller on the vacuum forming machines built by Feller to construct the Vatican pavilion at the 1964 World’s Fair. Costume Armour still has those machines, and they are part of what makes their company extraordinary. The vacuum tank is over 1000 gallons, and they can produce pieces from sheets of plastic as large as 52″ by 12′-0″.
Helmets
The shop was in the midst of a big order for the Disney Jedi Training Academy, Star Wars Weekends and Celebration, which they have been doing since 2004.
Celastic
I was interested to learn that the shop still uses Celastic quite a bit for many of their sculptures. The original brand-named Celastic has long ceased being manufactured, though they did have a few rolls stock-piled for those extra-special projects (pictured above). The modern equivalents are a bit thicker, but act the same; the cloth is saturated with acetone, than draped or molded over a form or sculpture, and when the acetone evaporates, you are left with a rigid and rock hard surface. Brian explained that it is unrivaled for making realistically-sculpted drapes and clothes on statues.
So I stand corrected on my earlier article on Celastic, in which I claimed that it is rarely used and that there are less toxic alternatives that can do the same thing. Of course, using it requires the proper safeguards for dealing with large buckets of acetone, but working with most materials in the props shop requires understanding and protecting yourself against any potential hazards and toxins.
Jesus and C-3PO
While I saw something cool around every corner, I thought I would point out the above picture. They cast a head based off of a scan and model of the Shroud of Turin, so what you have here is what many believe to be the real head of Jesus. He is, of course, on a shelf next to a C-3PO mask.
See you later!
The statue pictured above was produced was was sculpted in foam, molded in silicone and cast in fiberglass . Though larger than me, I could easily pick it up off the ground; most of the weight, in fact, came from the plywood base, and not the statue itself.
Novellino was featured in the American Theatre Wing’s In the Wings series; watch the video to learn more about the company and to see the vacuum forming machines in action.
In 2011, Jay Duckworth was the second props master to give the keynote address at a KCACTF conference; the first was Thurston James. Jay is the props master at the Public Theater/Shakespeare in the Park (my former boss). He has put up the video of that speech, so I thought I would share it with you here.
“Making the Props Pop” is a nice news article about Bonnie Durben, a props master out in San Diego.
Over on the Stage Manager’s Forum is an interesting game called “Hell in a Handbag“. You take a simple note from a rehearsal report (such as “Maria is holding a book in I, 3.”). The first person comes up with five questions that arise from that seemingly innocuous note (“What color should Maria’s book be? What size? Any particular title or author? Will the audience see the inside? Hardcover or softcover? Used or new? Should it have a pricetag on it? Does it need a bookmark? Ribbon? Tie closure? Does it get thrown? Dropped? Destroyed? Burned?”). After asking those questions, that person adds a new note for the next person to ask questions about. It’s a great look at how even ordinary props can have many considerations which need to be answered for every production.
In case you missed it, hear is a video of Adam Savage (from Mythbusters) talking about why we make at this year’s Makers Faire.
