Props Master for King John, Advice?

[JustinTech]

I am going to be props master for Shakespeare's "King John". This will be my first time being a props person on an actual level and I was wondering if anyone had any general advice for me, Props in General or King John props specific...

I have time before even auditions right now, and the director hasn't decided how he is doing things yet...so it may be too early to ask for advice...but I jump the ball early.

Thanks,
Justin

 

[derekleffew]

You're right; I think it's a little premature. Shakespeare is tough, as there are no stage directions as clues ("John, picking up a book, says..."). Also much will depend on the director's and designer's concept of the show.

Props in general:
Become very good friends with the Stage Manager/Ass't. Director, as often in the course of rehearsal, a director will say something like "John, you'll pick up a book here," yet it's not in the script and if someone doesn't inform the Propmaster, he'll never know a book is needed. The fun part is determining/deciding exactly what kind of book John might be reading. This is one reason student technicians should study acting and directing, as well as prop-making. Perhaps John is the type who would never read a book, so it should actually be People magazine, or the Elizabethan equivalent.

 

[dvsDave]

One thing I love about Shakespeare is that its so flexible. Because there aren't rigid stage directions, there is a near infinite latitude for interpreting the location, and even time period for the play.

For instance, my old high school set Kiss Me Kate (a play about a play, in this case Taming of the Shrew) in space. Think colorful, 70s era depiction of a space fantasy. I also was LD way back in 2002 for a production of Twelfth Night, and that was set in a modern club scene.

Shakespeare can be done in any number of ways, it's all up to the directors vision, and your job to find props to match that vision. No matter how your director envisions the play, do your due diligence and research props, get creative, and certainly feel free to ask questions on CB

 

[Grog12]

One thing I love about Shakespeare is that its so flexible. Because there aren't rigid stage directions, there is a near infinite latitude for interpreting the location, and even time period for the play.

For instance, my old high school set Kiss Me Kate (a play about a play, in this case Taming of the Shrew) in space. Think colorful, 70s era depiction of a space fantasy. I also was LD way back in 2002 for a production of Twelfth Night, and that was set in a modern club scene.

Shakespeare can be done in any number of ways, it's all up to the directors vision, and your job to find props to match that vision. No matter how your director envisions the play, do your due diligence and research props, get creative, and certainly feel free to ask questions on CB

Funny this is one of my biggest pet peeves about Shakespeare. There's nothing worse than an "interpration" that doesn't work...Like the Capulets being hippies and the Montagues being Vietnam War-Mongerers. Or setting the same show in New Orleans because aint it clever to have its most famous scene happen on Bourbon Street.

That being said when its done well I absolutley love it, but I've just had some bad expierences over the years.

 

[derekleffew]

At one college, everyone thought the director was so clever and innovative for setting A Midsummer Night's Dream in a circus (using props left over from a production of Barnum). Only much later did we find out about the (truly) revolutionary production by Peter Brook, from 15 years earlier.

 

[Tex]

That being said when its done well I absolutley love it, but I've just had some bad expierences over the years.

Thanks. I had almost rid my memory of that production of Loves Labour's Lost set in a health club/gym.

 

[TEarlywine]

or my Klingon Macbeth for my costume design final.

 

[dmxinblacks]

My schools summer Shakespeare play, much ado was set at high school prom, which was interesting. There was a DJ on stage the entire time.

 

[Drmafreek]

Ahh, being a props master for Shakespeare. Now this is really where my heart lies, having done it for 5 seasons at Illinois Shakespeare Festival. Before you can do anything, you have to find out what the director's concept will be. It may be traditional, or it could be completely non traditional, such as As You Like It set in gangster era Chicago or Merchant of Venice set in WWII Italy. The concept will direct you on most of what your props will look like.

Next, it will be very hard to come up with an initial props list. Read through the script the minimum of three times, and try and pick out anything they speak about. They'll often tell you if they are drawing a sword, or writing a letter. This takes a bit of practice, especially if you haven't worked with Shakespeare before, but in time you'll start to pick up on the language and notice props that are spoken of in the script.

Finally, the biggest thing for a props master is organization and research. Props can get out of control very quickly, so stay extremely organized. Keep lists of what you're working on, what is done, what you have to buy, etc. And do your research. Understand the time period that the play is being set in. And don't be afraid to ask the director questions. They may have something in mind on certain props.

I could go into a lot more detail, but for now I won't. If you have further questions, feel free to ask me. Along with the 5 seasons at ISF, I also was props master at Heritage Theatre Festival for two seasons and Notre Dame Shakespeare Festival for 2 seasons. Props are one of my guilty pleasures.

 

[erichart]

This thread already has good advice for the first time props master. Shakespeare is indeed difficult to come up with initial props lists solely from the script. I would add that you should ask the stage manager to get you a props list as soon one is available (usually the stage manager will work with the director to come up with this). This props list will not be complete, but it will show you what they are expecting when they begin rehearsals. You do not have to have the final props for rehearsal, especially at the beginning; in some cases, you don't want to give them the final props even when you get them, in case the actors break them or damage them. You will also want to get as many of the drawings from the scene designer as you can as they become available. The ground plans and elevations will give you indications of what furniture pieces they expect to see in the show. Elevations and renderings may also indicate some of the set dressing which the designer wants. The costume designs can also help give you a sense of the style and colors which the design team is going for. Finally, have a meeting with the technical director to figure out which of the larger furniture pieces will be the responsibility of the scenery department, and which ones you will be responsible for building or finding.
There is certainly more to it then that, but for the first-timer, the most important thing is to make sure everyone on the team knows to keep feeding you the information you need during the whole process.

 

[JustinTech]

Thank you all very much for your advice...and if there is more, I will still continue to heed it.

I sent a pre-lim list to him, the SM says that they should be getting me one by this Friday. (I also auditioned and will most likely be cast on the lack of males...)

Evidently, he wants all rehearsal props by the 3rd of October...and everyone here thinks that is too short of time, is it?

I made note in my pre-lim that a lot is based on his concept and the set dressings, and costume extras. And I will be talking with the set designer today, to see if he has a set design as of yet (college so he's working mostly on the current show, but I know he has some stuff decided, just not sure what.) And I will talk with the costume designer too.