Tag Archives: backstage

Actors in IATSE?

Happy Labor Day, everyone! For those who work in the theatre, happy Monday. In honor of the holiday, I have a news article below of interest to the history of theatrical unions. IATSE, the union of backstage employees, was founded in 1893 as the National Association of Theatrical Stage Employes [sic]. Actors were not represented until 1913, when Actors’ Equity was founded. However, there was a time when the possibility was considered to allow actors and actresses into IATSE. The article below is from the Kansas City Journal and appeared in 1898. Enjoy!

Union Heroines Next

A Plan Under Way to Unionize the Men and Women of the Stage.

George Carman and Charles Balling have been selected as the Kansas City delegates to attend the national convention of the Theatrical Alliance of Stage Employes, which will be held in Omaha next week. The most important matter to come before the convention is the question of admitting actors to membership. For some time the actors have been anxious to have a well organized union and representatives of the stage will attend the convention to present their suit.

The National Alliance of Stage Employes is a strong organization and extends all over the country. Were actors to be admitted it would make a vast difference to the traveling managers. The players would belong to a union which would be protected by the Stage Employes and could dictate terms in a great many things in which the manager is now absolute. The admission of the player would unionize all of the people working behind the footlights of a theater, as scenic artists and electricians are members of the Stage Employes’ union. 1

Notes:

  1. Kansas City Journal, 15 July 1898, pg 10. Accessed from http://chroniclingamerica.loc.gov/lccn/sn86063615/1898-07-15/ed-1/seq-10/, 3 September 2012.

Friday Link-o-Rama

Tool collector or serious hobbyist? Either way, Jacques Jodoin’s incredible basement woodworking shop has to be seen to be believed. There’s three pages of photos of his shop with every tool imaginable; it almost looks like a store. I love all the tiny bins.

This Japanese “museum” of fantastic specimens (actually gaffs of imaginary creatures) shows what you can accomplish with papier-mâché. The museum itself is in Japanese, but the link is to a page which attempts to guide you through it in English (h/t to Propnomicon for pointing me to the site).

La Bricoleuse has been doing some interesting documentation of the armor that was rented for PlayMaker Rep’s upcoming repertory productions of Henry IV and Henry V (the same shows I just worked on). This post, for example, looks at photos of various pieces and annotates the choices made in their construction, describing what she likes (and what she doesn’t).

Die Hausbücher der Nürnberger Zwölfbrüderstiftungen has a collection of over 1300 color illustrations detailing many of the manufacturing processes and crafts from 1388 to the 19th century. The pages are in German, so you may want to run it through a translator.

Young People Today Wouldn’t Recognize New York Of The 1980s. These color photographs of New York City from the 1980s will help you the next time you are working on a period version of Fame.

This is an unfortunately brief article about working backstage in China, including a quote from a prop master. It sounds like they have to go through the same kinds of things we do over here though.

Odds and Ends

For all of you hip people, I am on Twitter, @ericbhart. I share links about props and theatre, and sometimes say funny things.

In case you missed it, About.com had an article about the lack of recognition for theatrical props people, featuring some quotes from me, Eric. In a similar vein, BroadwayGirlNYC wrote this heartfelt appreciation for those who work behind the scenes of theatre after a stagehand died backstage of How to Succeed in Business Without Really Trying.

Here is an (unfortunately, very brief) look at how the California Shakespeare Theater releases all the blood in Titus Andronicus.

Speaking of bloody, here’s a newspaper article on Autonomous F/X, a California company that makes realistic body parts and corpses for medical dramas and police procedural on television.

This site is pretty self-explanatory: Table Saw Accidents. It takes a comprehensive look at the statistics of all reported saw injuries and explains why table saws can be dangerous. Not surprisingly, most table saw injuries occur making common cuts rather than attempting things out of the ordinary.

Backstage Handbook

Review: Backstage Handbook

Backstage Handbook
Backstage Handbook

I feel almost silly reviewing the Backstage Handbook: An Illustrated Almanac of Technical Information by Paul Carter and George Chiang; it is already so well-known and ubiquitous in the theatre world, I don’t know that I have anything to add. Nonetheless, every time I pick it up, it’s like I’m rediscovering how much useful information it has in it for the props professional. If you haven’t gotten this book because you think it’s aimed solely at the carpenter, electrician, stagehand or stage manager, think again.

Inside, you can find illustrations differentiating the type of moulding we use, parts of a window and wood joints. You can find lists and illustrations of the common hand and power tools you would find in a prop shop, as well as all the hardware and fasteners you will come across. It also includes definitions and descriptions of the various fabrics at our disposal, the multitude of adhesives we use (along with their ingredients) and the different types of rope and cord you can choose from. Along the way, you can also learn how to tie the most common types of theatre knots, how to draw a variety of geometric shapes (like pentagons and hexagons) and how to build a flat. Of course, you can also find all sorts of general theatre knowledge, such as the parts of a stage and the types of curtains we use.

So really, this isn’t much of a review; it’s more of a reminder that if you work in technical theatre (or film for that matter), you should own this book. Case closed.

Behind the Scenes of an Opera House, 1888: Dangerous Effects

The following is an excerpt from “Behind the Scenes of an Opera-House”, written in 1888. The author, Gustav Kobbé, tours the backstage of the Metropolitan Opera in New York City. Be sure to check out the previous excerpts on building a singing dragontechnical rehearsalsconstructing a giant “Talepulka” idol and introducting the series when you are finished here!

Behind the Scenes of an Opera-House, by Gustav Kobbé.

Two light-properties in “Faust”—the fire-cup and the spark-emitting sword of Mephistopheles—are worth describing. The fire-cup is a goblet in the bottom of which are chlorate of potash, red fire, and sugar. Above these is suspended a thimble three-quarters filled with sulphuric acid and so delicately balanced that a slight movement causes the acid to drip on the powders and to ignite them, the fumes of the sugar leaving an agreeable taste upon the lips of the singer.

The method of causing the sparks to fly from the sword is as follows: Two wire-gauze plates connected with electric wires are placed upon the stage at the points where Mephistopheles and Valentine are to stand. A metal socket is sunk into the heel of the right buskin of each of the singers, and a wire of the same color as their costumes is attached to each socket, wound around the leg and passed through the belt. Standing upon the gauze plates they, as they draw their swords, slip the ends of the wires into the hilts and, when the swords touch electrical connection is made.

The flash of Wotan’s spear when Siegfried cuts it through with one stroke of his sword is produced by an explosion of gun-cotton in the spear and ignited by electricity, the electric wire passing through the weapon.

First printed in “Behind the Scenes of an Opera-House”, by Gustav Kobbé. Scribner’s Magazine, Vol. IV, No. 4, October 1888.