From Austrian pastries to bespoke cucumber sandwiches, from surfboards to skulls, christian louboutin online shop,cheap ralph lauren t shirts,cheap louis vuitton bags uk,cheap michael kors handbags uk,cheap party dresses online for the last two seasons our “props-master”, Jesse Gaffney, has provided them all and more. For each production there is a unique list of props which must be bought, borrowed, or created.
Gaffney started working in props after working as a carpenter and Technical Designer for several years. Her first few props gigs were a necessity when something was needed at last minute. “I fell in love with it and haven’t gone back since. I think if 12 year old me knew I made my living doing arts and crafts and shopping for antiques she would be so excited.”
When asked what skills are needed to become a good props-master she replied:”The variety of skills needed is my favorite part of the job. Every show is different and every day I can work on something else. Some of the skills I acquired growing up (I was always a very crafty kid), others I have learned as they come up in shows. This show needs a big knitting project – guess I am going to learn to knit. I read books, look at on-line tutorials and videos and then just jump in to try my hand at whatever the show calls for. Sometimes it’s a bit ‘fake it till you make it’, but then next time I get even better, and until then I’ve gotten very good at hiding my mistakes.”
Reasearch is Gaffney’s priority on any project. “My first steps depend on the show a bit, sometimes after I get a props list, I need to do a lot of research. On more modern shows it can be more about having lots of discussions with the director and designer about the space and the characters. For a show with a modern setting I need to ask questions like ‘What stores do these people shop in?’ or ‘When was the last time they redecorated?”
“The most fun and challenging shows are the period shows and those with lots of special effects. I especially love period furniture. I get a great amount of satisfaction from taking a more modern piece and altering the shape or the hardware or the upholstery to make it look like something made 100 years ago.”
This summer the Festival Theatre productions were set in two time periods only a little more than 20 yearsapart, but so very different in style. One was a single setting (The Hotel Denmark in Hamlet) and the other, three separate venues. Gaffney enjoyed researching Prohibition Era Art Deco decor for Hamlet.
“In Earnest, one of the challenges was to make sure that we were making the three spaces distinctive. With the set changing very little, I needed to make sure that the furniture and decor helped communicate to the audience where we were. “Our outdoor productions present different demands for a designer. “For may indoor shows, I end up putting a lot of focus into small details. The outdoor light and the bigness of the park ends up making many of those details disappear outdoors. Instead, when working outdoors I put much more focus on making props very clear. Pieces need to have strong lines and good color so that they still look good from a further distance. I also have to put much more thought into how things will hold up. Something that is going to be destroyed as soon as the rain starts to sprinkle is not a good option in the park.”
“During the rehearsal process I try to keep a constant conversation going with the director and stage manager and set designer. I was lucky this summer to be working with the Penrods as scenic designers. We have worked together several times before and are great at communicating their vision and their priorities, they are also wonderful at keeping an open mind and staying flexible.”
When asked if there was any prop she longs to create, Gaffney replied, “There is an exploding cat in The Lieutenant of Inishmore I’d love to try my hand at. I’d love to work more with puppets in general, and I’d love to have the time and budget at some point to reupholster a real Victorian Settee.”