Category Archives: directing experiences

The Hidden Meaning Behind “There are No Small Parts only Small Actors”

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The Hidden Meaning Behind “There are No Small Parts only Small Actors”

Broadway

The Tony Awards show is Sunday, June 11!  I’ve been listening to the Sirius Broadway station all week (honestly, I do most days anyway) and it’s wonderful to hear the performers’ interviews and all the nominated show music.

The Tony Awards are the Oscar Awards for Broadway–except they are more classy, in my humble opinion.

Theatre is different.

It is special, because it is live.

What’s the hidden meaning behind, “There are no small parts, only small actors.”?

I got to thinking about the performers who are playing smaller parts in the nominated productions.  If you ever see them on television in a short quip on a syndicated news or talk show, you’ll observe those supporting characters and chorus members are just as invested in the production as the leading actors.

That’s impressive.  I bet the nominated actors and actresses began as chorus members and under studies many years ago.  They put in their time and earned their stripes to receive the spotlight.

Just because you are cast in a small part does not mean you are not important to the show. If you think so, you have missed the point entirely.

You are still important to the show.  Believe me.

However, if you can’t get past the fact that you are certain you could portray the role you didn’t receive just as well or better than the person cast, it might be best for you to focus on something else in your life.

 Get over yourself, you know?

Brighton Beach (2)

I was Blanche in “Brighton Beach Memoirs” 1989

If you aren’t cast in the role you wanted, it is not a big enough reason not to be involved in a production.  Maybe you are to learn or gain something else from the experience? Life is a journey, you know.

For several days after I cast a production, some times I deal with hurt egos of cast members or those who auditioned for me and didn’t receive the role they desired.

I know I’ve previously mentioned this–casting a production has a lot to do with who a director envisions in a role.

Sometimes I have no idea who I want to play a part.  Other times, the right person walks in and is perfect. They are the essence of the character all ready.

 Some people can mold themselves into what I am looking for.  Those people are special because they are versatile.

There are other factors in the decision to cast someone, however.

Do I know their work?  Are they responsible?  Are they known to be difficult to direct and/or not a team member?

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I was Dot in “Cricket in the Hearth” 2000

There are people who can only portray straight roles.  Straight roles are those parts most closely related to your personality.  Have you ever seen someone in a movie who plays the same sort of roles in each movie?  The roles the actor portrays is much like her off screen. Aha. Personally, I think Meg Ryan is a good example of someone who can only portray a straight role.

Then there are character roles.  Characters roles are those parts which are unlike you–because of your age, stature or personality. Paul Giamatti can portray character roles with such genius.

Character roles:

ugly step sister

Wicked Witch

Cowardly Lion

Shrek

Straight roles:

Cinderella

Rapunzel

Dorothy

Fiona

Luckily, I can play both straight and character roles. That makes me more valuable to a director.   To be honest, I enjoy performing character roles the most, because usually they are interesting and unique.

It isn’t about playing the lead.  It is about who you are best suited to portray.

Guess what?  I have not been cast in a production before.  No joke!  (I’m scoffing here a bit.  I hope you understand.)

So, chin up! If you don’t receive the role you craved for, your time will come in the future.

Watch the Tony Awards this Sunday, June 11 and pick out the chorus members or those supporting characters you notice.

I know several actors who will perform that evening.  I am very excited for them.

 Shout a Bravo to your television and I will, too.

I think they will magically hear us…..

Importance of Beaing Earnest (2)

I was Miss Prism in “Importance of Being Earnest” 1976

Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

I’d love to hear from you!

 

I Had a Premonition About the Musical Auditions–A True Story

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I Had a Premonition About the Musical Auditions–A True Story

 

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I wasn’t going to audition.  I wanted to observe.

You see, I had a premonition about the musical auditions. I shouldn’t have listened to my brain and just gone with my gut. 

No, really. I only wanted to observe.  We’ve lived in this community for six months. We have volunteered  at this community theatre several times, but I didn’t think I knew the inner workings of the company quite yet.  Why would that matter, you ask?  Oh, but it does….

The technical staff is great–professional, welcoming and very hard working.

The front of house staff does a nice job with the public. The ushers are eager to help you find your seats,  gently pushing their intermission refreshments on you and extending appreciation for your support of the production.

Everyone has their heads in the right place.

So far, so good….

Because every other aspect was receiving a good rating from me, I was at ease when I entered the room for auditions for Church Basement Ladies. I was so relaxed I was easily talked into auditioning for the show.

I wasn’t prepared.  I hadn’t even read the script!  (Usually, I skim a script before I audition at the very least.)

I didn’t have a song to sing.  I mean, I hadn’t auditioned for a musical in over thirteen years!

On this particular Monday night, there weren’t many people auditioning which is not uncommon the first night.  I offered to read to “help out”, but not sincerely committed to the whole audition thing. The welcoming, smiling director asked me to return the second night and sing, etc.

Okay, I guess I will…..

Tuesday night I returned. I was a little more prepared.  I found a song from Pippin that would work, but I still hadn’t seen the script. Shoot, I didn’t even have the song memorized.  I had to use notecards.  Tacky, I know but–

I WASN’T GOING TO AUDITION.  I JUST WANTED TO OBSERVE.

Lately, I’ve been on the opposite side of the auditioning table.  I direct.  I have directed more shows in thirteen years of not auditioning than most people direct in their entire career.  I think I’ve directed over forty productions in that span of time.

Wednesday night were call backs.

They went about like any set of callbacks–first we sang from the show. However we sang in six part harmony nearly off the bat! Yikes. Then we danced a little with a sweet choreographer who understands adult women that need to be able to dance or at least look like we know what we are doing. Then we read from the show.

Now, you would think I could just breeze in and read it cold, right? I’m a trained actress. I mean, I work in theatre for a living and have done so for over thirty-eight years.

What’s my take away?

Some of the gals were REALLY prepared for their singing and reading auditions.  It was obvious they had:

  1.  Either auditioned for this director before or had been cast by him in previous shows (a little gossip was that some people only audition for him and no one else’s shows and he always casts them and no one new or different–but that’s a common piece of gossip one hears in many community theaters.) The gals were very calm and confident.
  2. Read the script multiple times
  3. Portrayed the roles before because their readings were so spot on
  4. Listened to the music 24/7 and that’s why they were able to sing cold several different parts with very little effort
  5. Originated the roles and whisked into town just to have a little fun being in the show again
  6. Done all the above

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Not me.  Remember: I. wasn’t. going. to. audition.

It’s not my kind of show–it’s light faire.  If I’m going to perform, I want to give up my  valuable retirement time to something that will help me grow and enrich my life. It might be someone else’s “perfect show in which to re-enter the stage”.

For me, this wasn’t the show for me.  I instinctively knew it as I read and sang.

I sang poorly. It was probably the worst audition I’ve done in years.  Maybe in my life.  I’m a much better singer than what I shared that evening.

I read poorly.  Usually, I can produce a cold reading equal to some people’s best work after numerous rehearsals.  Not this one.

I don’t know what my problem was. I read too quickly and sputtered around.

I wasn’t cast.

I wasn’t surprised by the casting.  It looked to be the reasons 1,2,3,4 and 6 which I mentioned above. And that’s okay, you know?  But I’m merely guessing here–not fake news, (ahem) but an educated, experienced assessment on my part.

It will be a great show!  These gals were all ready demonstrating the characters at their auditions.  That makes it so easy for a director.  I’ve enjoyed that kind of casting myself.

I’m okay with that.  I’m going to help the property mistress make lafse and lutefisk.  At this point in my life, that will be more fun.

The next show is Noises Off.  I’ll keep you posted if I audition.  I’ll prepare for them, that’s for sure.

At present, I’m adapting  Bumbling Bea into a play. It’s coming together quite well.

It’s like butter.  It’s fun and challenging.

That’s where my head is at right now and I knew it. My own Bumbling Bea took over during all the audition frolic.

  I’m in charge again.

church-basement-ladies

 

 

Author Interview and Free Books on Facebook

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Come see ME on Facebook this afternoon at 4:00 CST at:https://www.facebook.com/events/1650685205224159/

Critical Steps in Producing a Play or Musical: Costumes

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Spring Version of The Secret Garden May 2016 St. Vrain Valley Schools

Jill Shepherd, Costume Coordinator

When I was a little girl, Halloween at our house was not a big production.  Actually, I don’t know if it was ever as big a deal as it is now.  This was in the 1960’s and early 70’s (or ‘mid century’ as interior design people label it now…), so keep that in mind. I mean, we used to carve a pumpkin, buy some cheap candy and hand it out to the neighborhood kids.

When I was five years old, I was coerced into dressing as a pilgrim (really?) because my sister had brought home a pilgrim-looking hat from an overseas trip with the Girl Scouts–her present to me.  It was a terrible costume and that’s all I remember probably because I stuffed away the memory.

When I was nine years old, my mother put together a Queen Isabella costume for our class play about Christopher Columbus.  That was about as close as I came to a costume that you would expect, and I LOVED it!  The shoes were too small and crimped my chubby foot and the crown was made of aluminum foil and these blue bauble-looking things flailed themselves around my head.

My only line was, “Rise, Christopher!” because he was kneeling before me.  That was my first play and I’ll never forget it, mostly because of the costume my mother created for me. I also got to be the center of attention…

She didn’t create another for me ever again. Well, she did sew a celery stalk costume for me in high school for some sort of club initiation but I don’t think that counts as  a Halloween costume. Ironically, the celery stalk idea was mine and I thought it was a hysterical.  Don’t know that anyone else understood my vision, but there you go…

Costumes are one of the most creative and exciting components of theatre.  Honestly, they are a critical step in your selection of a play or musical.  Two facts come to mind when I think of a particular production–costumes and set.  Can this company afford the costumes and built them?  Can we rent or borrow?

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Mulan, Jr.  Presser Performing Arts Center July 2015

Evelyn Zidick , Costume Designer

Actors and Their Costumes

I find that novice actors are all about their costumes. I try to assuage their fears and trepidations right from the beginning.  Depending upon the company, during our first read thru, I show my cast some examples of what all of the costumes will look like. This includes the color palette for the show.

As a teacher, I know that most human beings are visual learners.  By showing costume examples to the cast, I help them to be more confident (if they weren’t so) and of course give them a rough idea of my director’s concept and a beginning step toward my thoughts about their character.

Do you have a costumer designer?  Or is it you?

Again, if you have a costume designer you’ll need to communicate your concept to them.  I ask for the budget for the show.  Let’s say you are directing Oklahoma! and you are expected to costume the show yourself.  Oh my.  That’s a big one, although somewhat simple to create.

Years ago, I’d trudge to the public library and find photos or pictures of painting that depicted the time period of a particular play.  Now it’s soooo easy!  Hello internet!Look on line and find some examples that you can print for your costumer (if they are inexperienced) and/or the cast. Don’t forget your public library, though.  Sometimes it’s easier to peruse their book shelves than search around on the web.

And….I nearly forgot!  Walk yourself into a fabric store such as  Joanns Fabrics or Hobby Lobby and study the various pattern books. They have a plethora of costumes.  Years ago, we had maybe three patterns to choose from, but since then these companies have done an excellent job of re-creating clothing from several times periods.

In particular, check out the Simplicity costume patterns.  If you are expected to build the costumes yourself, I’d begin my designing at a fabric store.


   Mulan, Jr. April 2016 Apex Home School Enrichment program

Renting Costumes

You can easily find a costume company in your city  or near to you from which you can rent. Generally, costume companies rent costumes for a set amount of time such as two or three weeks, depending upon the length of your production.

Sometimes they will ask for a deposit (per costume, thank you very much).  There will be a contract with the company’s rental policy, etc. Someone will need to be responsible for these rentals. Also, check with other community theatres, college theatre departments and area high schools to see if anyone rents to outside groups.  Perhaps instead of renting, you could do a trade of advertising space in the program?

Thrift Stores

Then there’s the good old thrift store.

I could write an entire blog about the value of thrift stores.  They are that useful to a theatre company. Everyone who works in theatre visits thrift stores at some point in their season. Obviously, it is cheaper than a box store and you’d be surprised at the gold mine you’ll find.

One tricky costume piece is children’s boots.  Recently, I directed Fiddler on the Roof, Jr. (for the fourth time in my career) and my entire cast of forty students, ages ten to eighteen, needed ankle length boots.  I warned the parents about six months ahead of time  (because this was a musical theatre class that lasted the entire school year).  Finding a pair of child’s boots can be difficult in the spring when our show was going to be performed.

Certain costume pieces such as children’s boots, are a hot commodity.

As usual, the diligent, enthusiastic parents went right out and found boots at thrift stores. Ta-da.  Those folks who waited until March were bereft for lack of inexpensive shoe wear. (That’s a funny phrase, I must say.) It was too late. So, start with your neighborhood thrift store in your quest for costumes.  It will save you time and money, I promise.

My One Concern

One thing I want to stress to you, friend.  I dislike present day plays or musicals merely because I find that those involved in the production can think a play set in 2016 will be easier to produce.  Oh contraire…

Recently, I directed On Golden Pond and boy, I grew weary saying, “No, you can’t wear your favorite skirt (or sweater or shoes or hat) on stage because you feel most comfortable in it.

You need a costume that depicts your character, not you.”  Even if you are directing for 2016, the costumes must be treated with the same respect and care as if the show was of the 1860’s.

Remember, theatre is a visual art although I don’t think that audiences often refer to it in this manner.  When the curtain rises and the lights warm the stage, an authentic looking costume which demonstrates time period, mood and character means EVERYTHING to the audience. It is the difference between a good show or an excellent one.

I don’t have the room here to go into great detail about the potential fun of costuming can be for you. But if you write to me privately, I’d be happy to help you.

I’ve costumed shows for nearly thirty-nine years.  Trust me or as my daughter says, “I got it covered.”

Next, I’ll give you some advice concerning stage lights.

Contact me at dhcbaldwin@gmail.com or Bumblingbea.com

I’d love to hear from you!

Purchase my book, Bumbling Bea on Amazon.com at https://www.amazon.com/Bumbling-Bea-Deborah-Baldwin/dp/1500390356/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=

 

Eighteen Ways to Make Your Directing Experience Less Stressful, Part Two

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This is a continuation of my second post about my experiences in directing. Click here for my first post:

Eighteen Ways To Make Your Directing Experience Less Stressful, Part One

If I have learned anything over these thirty-eight years of directing it is that directing is stressful.  Hopefully, my lessons learned can help you!

9.  I begin and end rehearsal on the prearranged time. There is nothing worse than being told, “rehearsals will be from 7:00 to 9:00 pm” and then the rehearsal times change to three hours each night. Ugh.

10. Glib lines between weeks of the show. Glibbing lines is a way to rehearse the lines of the show in a quick and focused manner. Generally, I have my actors sit in a circle and run the lines, but other directors ask their casts to practice the blocking as well.
11. I announce a deadline for the off book date and stick to it. This is a biggie with me. Deadlines are deadlines. If I think a cast needs more time with their scripts in hand, I’ll adjust the schedule. But one can’t really “act” until her hands are free. The first rehearsal off book is usually laborious, if not excruciating. I bode up when I know it’s off book night, but the deadline is a necessary evil.
12.. Use rehearsal props and tape the floor to the set’s measurements. There are people who are tactile learners and all of us are visual learners. Using a rehearsal prop benefits the actor in several ways. Showing the set’s measurements, parameters, steps. window, etc. is hugely helpful.
13. I suggest to a cast, but don’t require, that they rehearse in the shoes they plan to wear for the show. It’s amazing how much an actor’s posture and gait will change once they don their shoes. Long skirts are necessary on ladies as well. We have become a very relaxed dress society. Some women have trouble carrying off the poise that they need once they put on heeled shoes and a long skirt.

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14. I always have two dress rehearsals.
15. I make time for a read thru of the script before my first blocking rehearsal. This gives me an opportunity to answer questions right from the beginning of the project. Everyone has a better idea of where I stand on everything.
16. I discourage an actor’s personal drama in rehearsals, encouraging them to leave it at the stage door. Enough said…
17. I  substitute swear words only  if I think the audience’s demographics can not tolerate them or the particular actor requests it of me.  If I think an audience is going to spend their whole evening shocked by a swear word, like the dirty four letter F word, then I’ll cut it. If I have an actor who is very religious and is uncomfortable when using the Lord’s name in vain, I’ll adjust the verbiage to something that will give the same feeling, but won’t upset him.

18. I teach novice and student actors the correct way to rehearse accepting that some will have their own method to rehearse.
19. I close my rehearsals to anyone outside the production staff or cast. There is nothing worse than having a surprise guest to rehearsals. It distracts me and my cast members.

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( When I was six years old, I had  the opportunity to see Marcel Marceau in person in Paris, France. 

 I will NEVER forget it.)

20. I expect moments of frustration and euphoria in every rehearsal process. A little frustration isn’t going to hurt anyone, so long as it isn’t prolonged stress. And there is nothing more rewarding than a moment of “Oh my gosh, we did it!”

  I love to direct, I honestly do.  My resume is proof of that.

Next time, I’ll talk about my protagonist in Bumbling Bea, Beatrice Brace.

To purchase my book, Bumbling Bea, go to Amazon at: https://www.amazon.com/Bumbling-Bea-Deborah-Baldwin/dp/1500390356

Contact me at Dhcbaldwin@gmail.com or BumblingBea.com

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You can find my award winning book at:  https://www.amazon.com/Bumbling-Bea-Deborah-Baldwin/dp/1500390356/ref=sr_1_1?ie=UTF8&qid=1476890703&sr=8-1&keywords=bumbling+bea

Eighteen Ways To Make Your Directing Experience Less Stressful, Part One

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Eighteen Ways To Make Your Directing Experience Less Stressful, Part One

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As I am sure you are aware, I have directed countless plays and musicals. Honestly, I quit counting when I was around two hundred. No matter how many times I direct, however, there are certain occuramces that I experience each time.

Now listen folks, I can save you TIME if you’ll apply my lessons to your directing experience. (I probably sound your mom, don’t I? Sorry.)
1. The play or musical will always be challenging in ways I didn’t expect.
2. I require the actors to remain quiet and respectful of me and others when rehearsal is in process. I can’t creatively problem solve if there is unnecessary noise around me. It distracts me.
3. Some props, costume or set piece will cost more than was budgeted. The miscellaneous money I set aside is for this purpose. Use the miscellaneous money, if you don’t, there may not be any the next time.
4. Someone in the show won’t jibe with everyone else in the cast, even if it is a one person show.  No, really. Working with people and their many personalities is tiring and challenging. The bigger the cast, the more issues arise. Some actors only think of themselves. They aren’t team players. I can’t fix a person’s personality in the time I have to rehearse and produce a show.  I just smile and keep my opinion to myself until I’m at home with a glass of wine in my hand. 😊
5. Usually, I  can direct a particular actor in a creative and inspire manner. But, sometimes NOTHiNG will work until the opening night curtain closes. Just as there can be a nonteam player in my cast, it’s not unusual to have someone who resists my direction. Some people lack confidence and novices are some of the most reluctant to trust me. However, once a show opens I find that a person’s resistance to my direction eases. I wait for them to come to me, then I try to direct them again.

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Diary of Anne Frank   March 2012

6. Actors can be challenged to attempt far more than is asked of them and I require a lot. “People don’t care how much you know, until they know much you care” is a motto I live by. Socializing with my cast, asking them about their day, job, school life or family helps me.  Creating a safe environment in which to take risks is essential. Just think about it–some people are never challenged at their jobs, complimented or acknowledged. I can do that for them. What a heady experience that must be for someone.

7.   If I rehearse the cast in a methodical and steady manner, we will make opening night in good shape. I don’t like to over rehearse or if I am acting, to be over rehearsed myself.  Usually play can be rehearsed in three or four weeks with an additional week for tech. A musical will take about six weeks to ready. That’s enough!

8. I always warm up my actors or ask that they warm up prior to the curtain each night. It is tough to focus at the beginning of a rehearsal. I ask my actor to socialize prior to rehearsal time, so we can begin on time and end on time.

I love to direct, I honestly do.  My resume is proof of that.

Go to the next post and find the rest of my lessons I learned to make directing less stressful.

Contact me at Dhcbaldwin@gmail.com or Deborahbaldwin.net

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You can find my award winning book at:  https://www.amazon.com/Bumbling-Bea-Deborah-Baldwin/dp/1500390356/ref=sr_1_1?ie=UTF8&qid=1476890703&sr=8-1&keywords=bumbling+bea

Critical Steps in Choosing a Play or Musical: Stage Properties

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Stephens College Theatre Department

I have something to admit.  I knew very little about the workings of a play production until I attended college,  Stephens College to be exact.  I was aware of this about myself, but you know, I had NO IDEA how much I didn’t know, you know?  Enter technical theatre hours.

I very gleefully signed up for technical theatre crew positions as I was expected to do.  In the theatre department, at least at the time, we were not allowed to audition for productions until our second year of school there.  It was part of the process of this solid program that continues to be excellent.

 

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 A Christmas Story  Performing Arts in Children’s Education  December 2004

I’m an over achiever.  It’s terrible how much of an over achiever I can be at times.  Anyway, we were required to have 100 hours.  I finished with 200.  See?  Truthfully, I found I loved crewing backstage.  My first experience was when I worked on the stage properties crew and I’ll never forget it.  I enjoyed it so much that one summer I served as prop mistress at the Okoboji Summer Theatre, Stephens’ summer theatre venue.

I’m virtually an expert  (because I’ve been around since dirt was invented) on stage properties.  A combination of art and theatre, using one’s imagination and ingenuity, stage properties are important to the overall effect of the production. Think about it.  What is an important prop used in Into the Woods?  The milk cow. How about in Seussical?  The clover!

In my very long career in theatre, I have:

  • found two identical Afghan dogs
  • discovered and was loaned Venetian glass in the middle of Iowa
  • borrowed a baby grand piano
  • needlepointed an alphabet sampler (I didn’t know how to needle point when I began)
  • made a fake cheese ball complete with Mickey Mouse ears plopped on top for a chip bowl (I know you are impressed!)

and a gazillion more  cool things…

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The Giver  Fine Arts Guild of the Rockies 2013

Properties Master

If it’s your job to fill out your staff, then look for a volunteer who is very crafty  and clever and draft them to be in charge of your props.  Or, if you are working for a theatre, they should provide you with someone.  I would advise you to stay out of their way and merely accept what they bring in if at all possible.  Volunteers do become very possessive of their things, especially when they “searched all weekend to find a pair of wooden knitting needles”. I rarely decline props, because I had a very specific discussion at my prop meeting and preplanned for my needs (including a LIST).  Yet, even with the preparation, I need props that I hadn’t thought of or my actors require personally as they develop their characters  or we discover spontaneously as we rehearse.

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Into the Woods  Performing Arts in Children’s Education 2004

(The cow was created by a volunteer–wow!)

Back to Budget

Again, you will want to check and see what was allotted in your budget for props.  Props can be created –Gandalf’s staff for The Hobbit, a smoking cauldron for Macbeth, fake meat pies for Sweeney Todd or…a really inexpensive smoke machine you can create with dry ice and a plastic garbage can.  No joke!

You can purchase props on line from theatre supply companies such as RubiesCostumes.com.   They have an excellent inventory, broad and detailed, so if you are looking something historically accurate, I’d start there.  Of course, there are other suppliers, but I usually go to them first.  I have been a customer of theirs for over thirty years.

Many props can be borrowed–a Victorian love seat  for Arsenic and Old Lace, a hand water pump for The Miracle Worker, a Tesla coil for a mad scientist or even the smoke machine I mentioned previously.   I’ve asked many people if I could borrow a particular prop for them.  Usually, people are happy to loan something to you. You should sweeten the request by offering a pair of complimentary tickets and a listing in the program in exchange for their loan.  It’s standard protocol. Or place a sign in the lobby that acknowledges the business or person who helped you out.  That’s nice, too!

Balance of Production Value

I do have one gripe, however. I just  really annoys me when the props are uneven, for lack of a better phrase.  I mean, some are authentic looking, but others in the show are not.  I like for my entire “production package” to be equal from the set design to the lights, the costumes to the program.  If one piece is lacking (for instance, the sound equipment is inadequate and unable to amplify the actor’s voices over the orchestra who is full and loud), then the whole thing feels odd.

Perhaps it’s the director in me, but that’s what I notice when I attending a production–whether the show is comprehensive, balanced components.  I like to be a good role model and representative of the arts.  Anything I can do to attract a person to attend or participate in another production is my primary goal.  To me, it is lifeblood of the art. People laugh when I say, “When I direct in any theatre, I think of myself as a cruise director.  I want the people to have such a wonderful, meaningful evening that they will be overcome with emotion and tell everyone they know about the experience. Then I smile and nod.” (An old teaching technique to persuade people to agree with you…)

Next, I’ll give you some great tips on costumes.  Look for them soon!

Got a question? Ask me.

Contact me at dhcbaldwin@gmail.com  or Bumblingbea.com