5. 4 Prop Lists and Props Tracking

A props list for a stage manager need not be as complicated as a props list for a props master. Please remember that stage managers deal with three kinds of props; hand props, furniture props, and consumable props. Anything that is not touched nor handled by the actors in the show is generally considered dressing. While the props master is concerned about all of the props and dressing, the stage manager usually only has to deal with dressing when it breaks or falls off the set.

A props list is generated from three sources. First of all your production analysis should have included a running list of all props indicated in the script. The director usually creates a props list as well and there may be some props listed from the artistic interpretation of the story that aren't evident in your production analysis. You should ask your director for their props list early on so you can start combing the lists as they are generated. Finally the set designer, who is the primary creative eye for props in their production, will also have a list of props and scenic pieces for the show. Please plan on spending some time with the scenic designer once they are ready to sit down and discuss properties with you.

Combine all three props list in a spreadsheet. The heading should look something like this:

In this particular case I am keeping a running list of props. It does not matter which page numbers they appear on or in which order they appear. I often like to separate them out by type, in other words, put all the furniture props together, all the hand props, etc. In my rehearsal report I can refer to the prop by both name and number of prop. For example, I may have two trunks in a show but one may be red and the other blue. If I have each one labelled and numbered I can refer to the trunks individually and they will know which trunk I am talking about. I have done shows with as few as a dozen props to shows where the props list is in the hundreds. Being able to discern which prop you are talking about is important to the director, the designer, and most importantly to the props master.

The reason I have a column for rehearsal props and show props is that some of the show props enter the process while still in the rehearsal room. I want to account for the show prop and get rid of the rehearsal prop that it replaces. So I check them in and out. Stage Managers have a lot to do during rehearsals. Props and costumes generally show up right before rehearsals when you're trying to get the studio ready for rehearsal. It's never a convenient time so it's best to have a form on hand that you can use to easily check props in and out. It also helps you set aside the show props that have to travel to the theatre versus rehearsal props that can get left behind to get picked up later.

Props Tracking

Tracking props is an essential tool for preparing yourself and your team for the tech process about to take place. If you have assistants you might want to assign one of your assistants the tasks of tracking props. Tracking is different than blocking. Blocking tracks the movements of the props as they enter the stage and are moved by the actors. Tracking the props means props that are used over and over again in the show and in different scenes might have to track to from one location to another backstage.

Actors are expected to get hand props from the prop table and return them to a prop table on their exit. An actor may enter with the prop from stage left but may then exit with the prop stage right. If the prop needs to enter again from stage left someone must be assigned the task of tracking the prop from stage right back to stage left. This is the preparation of the routine sheet you will use in tech.

An actor with a personal prop such as a wallet or watch can be expected to keep those props on themselves during the run of the show but other props should be carefully tracked to make sure you know what happens to them when they leave the stage.

On a separate piece of paper insert a small floorplan of each scene in the show. The floorplan should be inserted in the top half of the page so that you have the bottom half of the page to list and track props. Prepare one of these sheets for each scene in your production and label them at the top for easy reference. I like to keep these in plastic protector sheets until I work on that particular scene. I keep them all together either in my clipboard or with a ring binder to keep them all in one place.

With your floorplan on the top half label the left side of the floorplan 'stage right preset' and the right side of your floorplan 'stage left preset'. As props enter from either side of stage you would add them to this preset. Therefore when you get back to the scene and start to work on it again your left and right presets will already been done.

Underneath the floorplan insert a box for your onstage preset. As your company begins to define what starts on the stage you can mark it on your floorplan and list it down below in the box.

Underneath this box divide the reset of your page into three columns; Stage Right, On Stage, and Stage Left. As a prop enters the stage write the prop in the appropriate column (left or right) with an arrow indicating it has moved on to the stage. Don't forget to add it to the presets on either side of your floorplan above. Along with the arrow be sure to include the page number and the character who handles it. This will be very useful in starting mid scene.

It should look something like this:

FIGURE 1

Work your way through the scene in the order the props enter the stage. Once the director and actors have worked all the way through the scene all props should have either tracked off stage or remain on. If the prop remains on then it begs the question, "is it necessary for the next scene?" If the answer is yes then you have already started your onstage preset for the next scene (which will actually be accounted for on that scene's props tracking sheet.) If the prop is not in the next scene then it needs to leave the stage. If it appears again from a different location three scenes away you will know that you have those scenes to track the prop to its correct location for that scene. At the bottom of the sheet make sure to include what props must track and by when. When you build your props routine sheet you will include that information for the properties crew.