(Other types of design are inferior because) "Props actually serve a purpose."
~Victor Gutierrez, Ensemble props designer
Preparation
1) The first step of being Props Designer will be the first production meeting where the director will give their vision for the show. At this meeting you should ask the director if they have a props list for the show. They probably will not, but keep reminding them if you feel you really need one.
A) An optional addition to this would be to read the script yourself and take note of where you believe props will be needed. If you do this make sure to check with the director as their vision for the play may have more props than the script may seem to indicate.
2) As props designer, it is your responsibility to keep an up to date list of what props the director adds, removes, or changes as rehearsals progress.
A) Attend all the production meeting, usually they will be every week. Use this time to ask the director about any uncertainties you have over prop. It is better to ask early, than to get a prop that the director is unhappy with and you have to replace. Also use the production meeting, to check your list with whatever list the director has.
B) Check the rehearsal meeting notes. They are your best friend. If the director does not provide a props list, which is very likely, the props section will have the props that the director thinks of for whichever scenes they rehearsed that day. If you transfer these props to a master props list and make sure there are no repeats, you will have a comprehensive props list to use.
2) Collecting props will be an ongoing process. As you get props make a props cart that the Stage Manager can take to rehearsals. It is also a good idea to have stand in props for actors to use. An example would be index cards for any letters. See below for further details on getting props.
3) One to two weeks before put-in, there will be a Costume and Props Parade where you will show the director the props you have. This is mostly for costumes, but it is important for the director to see what the props will look like, so they can changer their mind and make you get different props. That was mostly a joke, but it can happen, so do your best to get as many props by then. Any props that you do not have by the Costume and Props parade, you should know where you will be getting them from.
4) During put-in, set up a table in the dressing room with labels indicating which props go where. Tape off a square for each prop and tell actors which props are theirs. At some point give the genitals speech:
Your props are like your genitals.
Only touch your props when appropiate
Do not touch other people's props without consent
Know where your props are at all time
Put your props away when you are done using
Any prop weapons should be treated like STD-ridden props. Definitely do not touch other people's prop weapons
5) During tech week, listen for notes and adjust props accordingly.
Getting Props
(1) Ensemble Stock
All the props we have are in the office on the shelves. Most of the shelves are labeled and sorted. Try to find as many props as possible here
(2) Borrowing from other theater groups
Rinaldi has a massive supply of props. The personal responsible for it keeps changing, so ask an upperclassman familiar with Rinaldi who to get in touch with. Set up a meeting and you will get access to their stock. We can also borrow things from MTG or GNS. If you are lucky there will be someone in the production staff who is a member of MTG or GNS and they will get you access to their props supply. If not email their officer lists and explain what you are looking for.
(3) Borrowing from actors and other Ensemble member
If the prop you need is something people have in real life (like a locket), another option is to email actors and ensemble@mit.edu asking for whatever you need. This does not often result in you getting your props so keep looking.
(4) Buying
If all else fails, buy materials to make the prop. We have a glue gun, white glue, paint brushes, and acrylic paint on the bottom shelf to make props. Artist Supply in Central Square also has a wide selection of materials to make props including more paint and fancy paper for making letters. If making props seems like a daunting task, try buying props. Amazon is a great place to find all sorts of things, but make sure they will arrive in time for the production. Amazon Prime is great for this, but always make sure to get good prices. Ensemble does not have many moneys.
Timing
Begin this and start gathering props as early as possible in the production. If there is a complicated prop you want it as early as possible in order to give the actor time to practice. This involved pulling rehearsal props, which are similar to the real props in structure and use, but not as detailed.
Being props designer will take at most several hours per week, depending on the complexity of the show. Be prepared to spend a lot of time doing this job.
When getting consumable supplies for the show (drinks, food), get a set of supplies during tech week so you can experiment, and then again right before the show (so you will have the best estimate of how much you will need for the run).
Notes on Props (alphabetical order)
Glasses (particularly champagne flutes) that are poured offstage may look surprisingly less full onstage; make sure you experiment beforehand with how much is needed to make the glass look full. Also make sure to clean any glasses that will be used, and if the director wants real liquid make sure whoever has the props runtime job, knows what kind of liquid to get.
Tele-Q (telephone ringer) button is easy to 'slip' on; tell run crew to hold it down firmly if you do use this.