Chapter 6:

The Objects We Enchant: Props Design and Management

Introduction

Everyday objects define how we function, interact, and express ourselves. Our personal environments are filled with carefully chosen—or sometimes accidental—items that reflect our tastes, backgrounds, habits, and needs. In theatre, these objects become even more significant. Props (short for properties) are the tangible tools characters use to navigate the world of the play, and they hold immense symbolic and narrative power. A cup of coffee isn’t just a beverage—it can signal morning routine, addiction, tension, or comfort. A tattered coat isn’t just clothing—it can express economic struggle or historical context.

In our real lives, we often take objects for granted, but on stage, nothing is accidental. Every item an audience sees must be deliberate and meaningful. This is what makes prop design a unique art form: it bridges psychology, aesthetics, and function. For example, think of the difference between a soldier holding a polished ceremonial sword versus one holding a rusty, blood-stained blade. Both are swords, but they communicate wildly different emotional and historical narratives.

The use of props as carriers of meaning is not exclusive to theatre. Across cultures and histories, objects play crucial roles in religious, spiritual, and Indigenous ritual practices. In many Native and First Nations traditions, items like feather fans, medicine bundles, or carved masks are not just decorative—they embody spiritual presence, ancestral connection, or cosmic power. Similarly, in global religious traditions, objects such as candles, chalices, incense, or rosaries are used to focus intention, facilitate transformation, or signify divine truth. These ritual props may be symbolic in appearance, like the ornate coverings on a Torah scroll or the intricate beadwork on a Maasai necklace, or practical in function, such as the ringing of a bell to call spirits or signal transitions in a ceremony.

Theatrical props, in many ways, inherit this tradition of embodied symbolism. When an actor lifts a goblet onstage, the gesture echoes ancient rituals of offering, celebration, or covenant. When a mask is donned in a performance, it often carries echoes of its historical use in ceremonies to invoke gods, spirits, or archetypes. Theatre itself evolved from ritual practice—such as the Greek dithyrambs to Dionysus or the Indigenous storytelling circles where symbolic objects were used to pass on lineage and knowledge. Understanding this heritage allows theatre artists to approach props not just as functional objects, but as carriers of meaning, identity, and connection—between the actor and the character, the story and the audience, and the material and the mystical.

Additionally, the design and construction of props must account for scale (to ensure readability from a distance), durability (to survive dozens or hundreds of performances), and safety (to prevent injury). The properties team also considers how to make a prop appear period-accurate while still functional for modern use. For example, a vintage typewriter might need to be hollowed out to reduce weight or modified to include a hidden microphone for sound effects.

Props are more than visual elements—they are tools for action. They can reinforce blocking, reveal relationships, cue emotional responses, or even drive plot. Some plays are even built around a single prop’s symbolism, like the titular Glass Menagerie or the gun in Chekhov’s infamous principle. In every case, props help transform a performance from abstract into believable, lived-in storytelling.

Notable Prop Designers and Builders from Broadway and Film

While prop design is often a behind-the-scenes craft, many designers have left a distinctive mark on stage and screen through their innovation, attention to detail, and ability to blend artistry with storytelling. Their work elevates objects from simple accessories to powerful symbols that support a narrative’s emotional, cultural, and aesthetic impact.

One of the most visible contemporary figures in Broadway prop design is Buist Bickley. Known for his work on SpongeBob SquarePants: The Broadway Musical, Beetlejuice, and Frozen, Bickley has earned a reputation for blending whimsical creativity with functional durability. His creations often push the boundaries of traditional prop fabrication, combining digital fabrication techniques such as 3D printing with hand-crafted elements. In Beetlejuice, for instance, props had to be surreal, cartoonish, and yet structurally sound enough to endure constant handling and choreography. Bickley is also widely known for sharing his fabrication process openly, making his Instagram and conference presentations valuable learning tools for students and early-career designers.

Another influential Broadway figure is Kathy Fabian, a prop coordinator and designer who has contributed to dozens of productions, including The Humans, A View from the Bridge, and The Real Thing. Fabian’s work is defined by realism and psychological depth. She often sources or fabricates hyper-specific items—like a family’s personal keepsakes or a period-accurate magazine—to ground the emotional lives of characters in visual detail. Her success lies in her ability to create props that seem almost invisible to the audience because they feel so deeply authentic and integrated into the world of the play.

A towering presence in the field of theatrical props education and innovation is Jay Duckworth, who served as the Props Manager (Master) at The Public Theater in New York for over a decade. Duckworth worked on over 80 shows, including iconic productions such as Hamilton, Fun Home, and Bloody Bloody Andrew Jackson. What distinguishes Duckworth’s work is his commitment to storytelling through objects and his advocacy for inclusive, historically informed, and accessible design. Known for his collaborative spirit and witty approach to the craft, he often describes prop design as “archaeology of the future”—finding or creating objects that belong to a world that hasn’t existed yet but must feel entirely real. Duckworth is also a passionate educator and speaker, regularly presenting workshops on props fabrication, sustainability, and social justice in design. His website and book, The Prop Master’s Handbook, serve as indispensable resources for students and professionals alike.

In the world of film and television, perhaps no figure has had a greater impact on the public imagination than Jim Henson. While best known as a puppeteer, Henson’s legacy is also deeply rooted in the world of prop and puppet fabrication. Through The Muppet Show, The Dark Crystal, and Labyrinth, Henson’s team at the Jim Henson Creature Shop redefined what props could be—infusing them with character, flexibility, and performative nuance. His puppets were not just static objects but dynamic storytelling tools with emotional resonance and physical expression. The legacy of Henson’s approach to design—one rooted in experimentation, collaboration, and material play—continues to influence theatre and film prop work today.

Another standout in television is Macie Vener, who led the prop efforts for The Marvelous Mrs. Maisel. Vener earned acclaim for her meticulous period detail and research, helping to transport audiences to the late 1950s with authenticity and charm. Her work demonstrates how prop design can evoke entire eras, shaping the tone and believability of a production through material culture.

Despite their diverse portfolios, these professionals share a few key traits: curiosity, versatility, and an ability to work collaboratively across disciplines. Prop design demands a wide skill set—ranging from historical research and sculpture to electronics, upholstery, and chemistry. The most successful designers approach each new project as a fresh puzzle to solve, merging visual imagination with practical engineering. Through their work, they demonstrate that props are more than objects—they’re essential collaborators in the art of live and filmed storytelling.

Roles in Stage Properties

The world of prop design and management is highly collaborative, relying on a team of specialized professionals who each contribute their expertise to bring the story to life. While the size and structure of a props team can vary widely depending on the production’s scale and budget, the core roles remain consistent across professional, educational, and regional theatre settings.

The Props Designer is the creative lead responsible for conceptualizing and executing all hand props, furniture, and set dressing elements in collaboration with the scenic designer, director, and often the costume and lighting departments. They interpret the script to determine what objects are necessary to tell the story and support the action. The props designer also ensures that each item aligns with the production’s aesthetic world—whether historically accurate, stylized, or fantastical.

The Props Manager (also known historically as the Props Master) oversees the entire properties department. While “Props Master” remains common in many professional settings, some theatres and educational institutions are shifting toward more inclusive and non-hierarchical language such as “manager” to move away from terminology rooted in domination and ownership. The props manager’s role is both administrative and technical: they manage the budget, create schedules, oversee builds and purchases, coordinate rehearsal props, maintain inventory, and ensure safety standards are met. They act as a liaison between the design team and technical staff, solving problems that arise during the rehearsal and performance process. In educational settings, the props manager often serves as a mentor, training student artisans and technicians.

Props Artisans are the makers—the skilled craftspeople who fabricate or alter props under the direction of the designer or manager. Their work may involve sculpting, upholstery, welding, sewing, painting, mold-making, electronics, or woodworking. A props artisan might create a breakaway mirror, build a functional chandelier, distress a suitcase to look well-traveled, or mold a fake turkey that never rots under hot stage lights. Flexibility and versatility are key: one day’s project might involve delicate calligraphy; the next might require power tools and foam carving.

In large-scale or commercial productions, a Props Buyer or Shopper may be employed to source materials or objects. These professionals are adept at navigating secondhand stores, antique shops, online platforms, and prop rental houses to locate affordable or hard-to-find items. They must understand the production’s style and time period and often need to adapt or modify purchased items to match the design vision.

During the run of a production, Props Runners or Props Technicians take over, ensuring every item is correctly preset, maintained, and reset between scenes or performances. They keep backstage organized and act as the go-to contact for actors who need prop replacements or adjustments. Props runners may also conduct simple repairs or touch-ups and ensure consumable props are prepared before curtain.

In many cases, these roles overlap—especially in educational or small-budget environments where one person may handle several responsibilities. Whether it’s a single artisan managing the entire show or a full department of specialists, the props team is responsible for grounding the visual world of the production in lived, tactile reality. A successful props team is characterized by flexibility, communication, and a deep understanding of how design supports storytelling.

Set Dressing vs. Practical Props

One of the most fundamental distinctions in prop design and management is the difference between set dressing and practical props. Understanding this distinction is crucial not only for design coherence but also for efficient collaboration between the props and scenic departments.

Set dressing refers to the decorative elements of a stage environment—items that create the world of the play but are not interacted with by the performers. This can include rugs, curtains, wallpaper, lighting fixtures, empty picture frames, shelves, books, plants, knick-knacks, and furniture. Set dressing helps define the time period, location, socioeconomic status, and emotional tone of a scene. These objects are generally installed before a performance and remain in place, unless they are swapped between scenes by the crew. In essence, set dressing establishes atmosphere—it creates a visual language for the space in which the action occurs.

In contrast, practical props (also sometimes called hand props) are items that are physically handled, moved, or used by the performers during a performance. These include things like newspapers, cellphones, briefcases, drinking glasses, weapons, or food. Any object that a character picks up, manipulates, uses for an action, or that plays a direct role in the plot is considered a practical prop. These items must be durable, consistent in appearance from show to show, and—where relevant—safe to use onstage.

It is important to note that an object can transition from set dressing to practical prop (or vice versa), depending on how it is used. For example, a vase may begin as a decorative element on a table but become a practical prop if an actor later throws it in anger. This is why close collaboration between the scenic designer, props manager, and stage manager is necessary during the design and rehearsal processes. Items need to be correctly categorized and maintained depending on their function.

There is also a subcategory known as “practical set pieces”—these are scenic elements that serve a technical function, such as a working lamp, a sink with running water, or a door that must be opened and closed during a scene. These may be the responsibility of the scenic department, electrics team, or props team, depending on the theater’s division of labor. Clear communication around who is responsible for these hybrid items ensures safety and efficiency.

A good props team takes a proactive approach during rehearsals, observing how actors engage with the space and adapting their tracking documents accordingly. For example, if an actor spontaneously begins to gesture with a book or moves a chair every night, the prop may shift categories and require additional attention, repair, or backup.

Sample Prop Categorization: August: Osage County

Paper Props

Paper props are some of the most deceptively simple and yet critically important elements in a production. These include any printed, drawn, or handwritten materials used onstage—such as letters, photographs, books, posters, newspapers, invitations, ID cards, handwritten notes, signs, maps, or even fictional currency. As paper props are often seen up close by actors and sometimes by the audience, they demand careful attention to detail, authenticity, and period accuracy.

Paper props serve several functions in a production. Some provide essential plot information—like a suicide note, a will, or a newspaper headline that advances the story. Others help build the world more subtly: a stack of receipts in a wallet, postcards pinned to a bulletin board, or a school report card in a character’s hand. Whether they’re plot-driving or atmospheric, paper props help define a character’s personality, occupation, education level, cultural background, or socioeconomic status.

Creating paper props often requires historical research, especially in period productions. Fonts, spelling conventions, language usage, and even the texture and color of paper must be considered to remain historically and regionally appropriate. A World War II-era telegram will look, feel, and read differently from a 1970s concert flyer or a 2020s hospital wristband. Designers may even go so far as to source vintage paper stock or artificially “age” paper using tea staining, burning, or distressing to make it look used.

The process of fabricating paper props usually involves graphic design software such as Adobe Illustrator, Photoshop, or Canva. Designers may create entirely fictional layouts—like a newspaper from a made-up town—or carefully mimic real-life documents. However, use of copyrighted logos or real names (such as government IDs or corporate branding) must be done with caution. Many companies offer public domain templates or stock graphics specifically for theatrical use.

Since many paper props are consumed or altered during a performance—such as letters being torn up, newspapers folded, or contracts signed—productions typically require multiple duplicates. These are referred to as show copies or backups. For example, a will read and destroyed by a character in Act Two must look the same for every performance. Props managers often maintain a binder of “master copies” to quickly reproduce items when needed.

In some productions, interactive or specialty paper props are required. These might include books with hidden compartments, envelopes that release a powder or smoke effect, or pop-up pages that move mechanically. These items demand careful engineering to ensure both repeatability and safety.

Finally, paper props sometimes blur the line between the props and scenic or costume departments. Posters displayed on walls, signs carried during protest scenes, or labels on costume accessories (like name tags or military badges) may be assigned to one department or another depending on your institution’s workflow. Clear communication between teams is key to avoiding duplication or gaps in production.

Special Effects Props

Creating special effect props requires a high degree of technical knowledge, safety awareness, and often cross-departmental collaboration. Because these props introduce additional risk and complexity, they must be engineered for repeatability, reliability, and actor safety. In many cases, a special effect prop may also involve support from the electrics, costume, makeup, or stage management teams.

Common Types of Special Effect Props

Breakaway Props: These include bottles, furniture, and objects made to shatter or collapse safely. For example, sugar glass is often used to create a bottle that looks real but breaks harmlessly on impact. Balsa wood or scored materials can create furniture that splinters convincingly without injuring the performer.

Blood Effects: These might involve hidden blood packs, squibs (small pouches that burst), or absorbent fabric soaked in stage blood. They are often used in horror, combat, or tragic moments. Fake blood must be non-toxic, washable, and tested on costume and skin ahead of time.

Retractable Weapons: Common in stage combat, these props include knives and swords with telescoping blades that appear to stab without actual contact. These must be thoroughly rehearsed and typically used alongside fight choreography to ensure actor safety.

Smoking or Steaming Props: Cigarettes, cigars, pipes, and tea kettles may be modified to emit vapor using e-cigarette components, dry ice, or theatrical fog machines. These often fall under fire safety regulations and must be cleared with a venue’s technical director or fire marshal.

Fire And Pyrotechnics: Real flames—such as a candle being lit or a match striking—are considered high-risk effects. Only certified personnel should handle any flame effects, and these are subject to strict fire codes. Many theatres now opt for electronic candles or simulated effects using lighting and sound.

Mechanical or Motorized Props: This category includes umbrellas that open on cue, boxes that slam shut, or objects that move via servo motors, pneumatics, or springs. These are often rigged to be triggered by actors or crew backstage and must be tested regularly for consistent operation.

Magnetic or Quick-Change Props: Used in “magic” or sleight-of-hand effects, these may involve Velcro, hidden magnets, snap buttons, or concealed pockets to create quick transitions or reveals.

Fabrication and Testing

Because trick props are often subject to physical force, mechanical stress, or chemical reaction, they must be prototyped and tested extensively before tech rehearsals. Most designers use iterative prototyping, trying out different materials and triggering methods until they find a balance between visual effect and practical functionality.

Designers should also create safety documentation and instruction guides for actors and run crew who will interact with these props. These may include handling instructions, reset procedures, maintenance checklists, and emergency protocols. Props that involve any type of hazard (e.g., sharp edges, heat, smoke) should be clearly marked and monitored at all times.

In rehearsal, a non-functioning version (sometimes called a “rehearsal trick prop”) may be used until final effects are introduced in tech. This protects the functional prop from damage and gives actors the chance to build muscle memory for interactions.

Food Props

Food on stage is more than sustenance—it's often an emotional tool, a cultural signifier, and a physical centerpiece of dramatic action. Whether it’s a family dinner unraveling in August: Osage County, a comically endless feast in The Merry Wives of Windsor, or a single cup of tea passed between characters in Top Girls, food can express relationships, tension, ritual, and identity. For the props team, however, food is one of the most technically challenging areas of design, requiring coordination, creativity, and rigorous planning.

Food props fall into two primary categories: consumable and non-consumable.

Consumable Food Props

These are foods that actors eat or drink during a performance. While seemingly straightforward, consumable props introduce a host of logistical considerations. The food must be safe, easy to digest repeatedly, not cause vocal strain (especially for singers), and hold up under heat, lights, and multiple performances.

Considerations for Consumable Props:

• Actor Safety and Allergies: Props managers must be aware of cast dietary restrictions, allergies, religious observances, and vocal health needs. Always check with stage management and actors before finalizing consumables.
• Cost and Preparation: If the food is freshly prepared, it needs to be budgeted for and replenished at every performance. Some productions require cooking or pre-portioning food before the show. Refrigeration, sanitation, and cross-contamination are critical factors.
• Consistency: To preserve continuity, the food needs to look and behave the same each night. This often means using simplified recipes (e.g., apple juice instead of whiskey, mashed potatoes instead of ice cream) that mimic the real thing while remaining easy to manage.
• Storage and Clean-Up: Consumables require a dedicated space backstage for prep, storage, and washing reusable items. Props crews are responsible for cleaning, restocking, and managing leftovers or waste after each show.

One particularly creative example of consumable food innovation comes from Jay Duckworth, longtime Props Manager for The Public Theater. During the Shakespeare in the Park production of King Lear starring John Lithgow, Duckworth needed to find a way for Lithgow to consume a steak onstage several nights a week without negatively impacting his health or vocal performance. Instead of using real red meat—which would have been heavy, greasy, and difficult to digest repeatedly—Duckworth crafted a stage steak out of watermelon. The watermelon was cut and seared in a way that made it resemble a perfectly cooked steak, giving it a similar texture and visual impact under stage lights. This solution allowed Lithgow to perform the scene realistically while keeping the food light, hydrating, and non-disruptive to his physical performance. It’s a perfect example of how thoughtful, actor-centered prop design supports both aesthetic realism and wellness in performance.

Non-Consumable (Faux) Food Props

These are inedible items designed to look like real food but remain unchanged throughout a run. Faux food props are often used for background dressing, long-running shows, or when the food is handled but not eaten. They can be incredibly realistic and durable, created from materials like resin, silicone, urethane foam, latex, hot glue, or sculpted clay.

Fabrication Techniques for Faux Food:

• Sculpting and Casting: Artists often sculpt a food item from clay and then make silicone molds to cast multiples in flexible or hard materials. For example, a loaf of bread might be cast in lightweight foam and hand-painted to look freshly baked.
• Texture and Paintwork: Realism is key. Food is painted in layers to mimic natural imperfections—browned crusts, melting glazes, grill marks, or moisture beading.
• Mixed Media: Sometimes a food prop combines real elements and faux materials. For example, a real lettuce leaf might be wrapped around sculpted foam meat for a photo-perfect burger. However, these hybrids must be stored carefully to avoid mold or decay.
• Fake Liquids: Faux wine or beer might be made from colored resin or shampoo to avoid spilling. For background drinks, using opaque mugs or cups helps conceal that they’re empty or filled with something inedible.

Food as Symbol and Action

Food props also have symbolic weight. Think of the poisoned chalice in Hamlet, the hunger-driven desperation in Les Misérables, or the abundance of an extravagant wedding buffet in a farce. Food often embodies themes of abundance, scarcity, hospitality, or betrayal.

In some productions, the ritual of eating becomes part of the choreography. Every bite, pour, or clink of a glass must be timed and rehearsed. This is particularly important in ensemble meals or chaotic dinner scenes, where props crews may work with the director and choreographer to ensure smooth and safe blocking.

Alternatives and Replacements

To simplify management, productions often substitute edible items with mimics:

• Mashed potatoes for ice cream (holds shape under hot lights)
• Gelatin squares for raw meat (safe and easy to mold)
• Apple juice for whiskey or beer (same color, better taste)
• Whipped shortening for whipped cream (holds shape longer)

These swaps keep the visual integrity of the show while improving safety and logistics.

Props as Characters: Puppetry

Puppetry occupies a unique space in the world of theatrical properties. It blurs the boundaries between prop, costume, scenic element, and performer—because when we build a puppet, we are building a character. Through careful design and manipulation, props designers breathe life into otherwise inanimate forms, making them integral to the story and emotional world of the play.

Whether whimsical, grotesque, lifelike, or abstract, puppets serve as powerful tools for storytelling. Their roots stretch across global traditions—from Javanese shadow puppetry to Japanese bunraku, from European glove puppets to modern spectacle theatre. In contemporary performance, puppets may appear as central figures (as in Avenue Q or War Horse), supporting characters (like background animals or mythical creatures), or metaphorical extensions of a performer’s internal life.

As properties that live and move, puppets demand more than aesthetic attention—they require breath. Certain gestures—an elephant’s flapping ears, a lion’s mane shaking, a bird’s head tilting or blinking—instantly signal life to an audience. These subtle, expressive movements create believability far more quickly than large or complex tricks. Conversely, even the most impressive construction can fall flat if it lacks that spark of motion that sells the illusion. Puppets must be both structurally sound and emotionally expressive from every angle.

Types of Puppets Used in Theatre

Hand Puppets – Worn over the hand like a glove, these simple puppets allow for direct control of the head, mouth, or arms via the performer’s fingers. Often used for comedic or quick-moving characters, they are a staple of traditional and children’s theatre (e.g., Punch and Judy).

Rod Puppets – These are operated using rods attached to parts of the puppet's body, usually the hands or head. Rod puppets may combine with hand puppets for increased flexibility and expression. The characters in Avenue Q use rod puppetry alongside visible performers to great effect.

Bunraku-Style Puppets – Originating in Japan, this form involves large puppets operated by multiple visible performers, each responsible for a different limb or the head. Western adaptations like War Horse have made bunraku-inspired puppetry a hallmark of contemporary epic theatre.

Shadow Puppets – Flat, cut-out figures held between a light source and a screen. Common in Southeast Asian and Middle Eastern storytelling traditions, shadow puppets rely on movement and silhouette rather than detail to convey character and emotion.

Full-Body or Costume Puppets – These are worn by the performer, encompassing the entire body like a costume. They allow for animal or fantasy characters with large physical presence, such as the elephants and Timon in The Lion King.

Hybrid Puppets – Many modern productions use a combination of techniques—such as rod puppetry with animatronics, or wearable puppets with scenic integration—to enhance scale, fluidity, and expressive range.

How to Build a Puppet: The Basics

While puppets can incorporate complex technology, the heart of puppet design lies in storytelling. Whether built from foam, fabric, wood, or plastic, a puppet’s success depends on three core principles: lightness, durability, and expressive movement.

Step 1: Determine the Puppet’s Function

• Is the puppet realistic, stylized, or abstract?
• What actions must it perform (walk, fly, talk, transform)?
• Will it be operated by one person or a team?
• Will it be viewed up close or from a distance?

Answering these questions informs material choices, movement mechanisms, and aesthetic design. Designers must anticipate how the puppet’s structure will support expressive motion—because in the end, it's that first subtle flick of a tail, blink of an eye, or breath-like rise of the chest that convinces the audience: this is not a prop, it’s a character.

Step 2: Choose a Structure

Foam and fabric are the most common materials for lightweight, flexible puppets. EVA foam, upholstery foam, or L200 foam can be carved or heat-shaped into bodies and heads. PVC pipe or wooden dowels are used for rod arms or internal structures.

For facial features, felt, fleece, or latex can be used to cover foam bases. Cardboard or thermoplastic sheets may be used for more rigid elements. Movement joints (mouths, elbows, knees) are often built with grommets, elastic, fishing line, or velcro.

Step 3: Create a Mechanism

Simple hand or rod puppets may only require internal grips or handles. For more advanced puppets, the following may be needed:

• Hinges for jaw movement
• Cables or trigger mechanisms for blinking eyes or tail flicks
• Counterweights for large-scale balance (especially on wearable puppets)
• Springs or elastic for bounce and fluidity

Puppet makers often “prototype” movement systems using cardboard or wire before committing to durable materials.

Step 4: Add Detail and Personality

Paint, fur, wigs, buttons, or costuming transform a puppet from object to character. Some designers use ping pong balls or taxidermy eyes for realism. Eyebrows, beards, or even wrinkles can be sewn or glued to add age or emotion.

Puppets should be expressive from a distance, so features are often exaggerated—larger eyes, broader mouths, high-contrast colors. Designers frequently work with the director and actor-operators to refine these choices in rehearsal.

Puppet Design in Practice

In Avenue Q, puppets are simultaneously characters and extensions of the actors who voice and operate them. Performers are visible, but the emotional attention remains on the puppet. The show’s design blends hand and rod puppets built from foam and fleece, with expressive eyes and mobile mouths, allowing for a surprising range of nuanced emotion. The puppets’ exaggerated features and human-like gestures enable audiences to engage with them as fully formed characters, despite their obvious artifice.

In War Horse, the titular horse is made of cane, mesh, and aluminum operated by three actors—one at the head, one at the heart, and one at the hind. Through synchronized breath, weight shifts, and sound, the puppet becomes eerily lifelike. The design, developed by the South African company Handspring Puppet Company, emphasizes biomechanical motion and empathy. This level of sophistication required months of testing and rehearsal, emphasizing that puppetry is not just a design craft, but a performance discipline. The result is a puppet that doesn’t just move realistically—it feels alive.

A more recent and breathtaking example is the 2021 stage adaptation of Life of Pi, based on the novel by Yann Martel. This production features a full-scale puppet tiger named Richard Parker, among other intricate animal puppets. Created by Nick Barnes and Finn Caldwell, the puppets blend Japanese bunraku-style operation with Western scenic design traditions. Richard Parker requires three puppeteers to coordinate—one controlling the head and torso, another the hind legs, and a third managing breath, tail, and emotional rhythm. What makes this puppet particularly striking is its psychological depth: it expresses fear, hunger, pain, and dominance without speaking a word. The show’s visual storytelling relies on the puppet’s lifelike presence and the actors’ emotional connection to it. Life of Pi pushes the boundary of what puppet design can achieve, using movement, breath, and gaze to tell a deeply emotional story that bridges reality and illusion.

Maintaining and Storing Puppets

Puppets must be maintained like any costume or mechanical prop. They require:

• Dry storage in sealed bins or covered shelves
• Avoidance of UV light, which can break down foam and adhesives
• Spot cleaning with non-alcoholic wipes or light detergent
• Routine repair checks (especially at joints and grips)

Larger puppets may need stands or mounts to retain their shape between shows.

Props Storage and Maintenance

Behind every smooth performance is a carefully organized and maintained props system. As props accumulate during a production—from rehearsal substitutes to final show pieces—keeping them safe, accessible, and functional becomes a logistical puzzle. Proper storage and maintenance practices ensure that props are preserved between performances, reduce wear and tear, and help prevent accidents onstage.

Whether working in a small school theater or a large professional company, every production benefits from a thoughtful approach to props organization. Misplaced or damaged props can cause missed cues, safety issues, or costly replacements. Therefore, props management continues well beyond fabrication—it extends into daily care, documentation, and storage strategies.

The Props Table: Organization in Action

The props table is the backstage headquarters for all hand props used during a performance. It is where every practical item is preset before the show and returned after use, ensuring that no prop goes missing or ends up in the wrong place. A well-organized prop table supports actor confidence, run crew efficiency, and overall production safety.

What Is a Props Table?

A props table is a flat, usually waist-high surface—often a folding table or rolling cart—used to lay out props in a visible, accessible, and organized fashion. It is typically located in the wings or backstage area closest to the action. Each item has a designated space, outlined or labeled, to keep things consistent and prevent confusion.

Key Features of a Prop Table

• Taped outlines: Each prop’s “home” is outlined in spike tape, so performers and crew know exactly where it belongs.
• Labels or photos: Names, characters, or scene numbers are used to identify items; photos can be especially useful for complex shows or new crew members.
• Divided sections: Tables may be divided by act, scene, or character for easier flow and faster preset.
• Soft padding or anti-slip liners: Prevent items from sliding or breaking when the table is bumped or moved.
• Secure setup: Tables should be level and out of high-traffic paths to prevent tripping or collisions.
• Lighting: Clip-on battery-operated lights or glow tape may be added for visibility during blackouts.

Best Practices

• Set it up the same way every night: Consistency supports muscle memory and reduces errors during fast changes.
• Check it before every performance: Crew members do a sweep to confirm all props are present and reset.
• Return items immediately after use: Props should be placed back in their spot or handed to a designated runner.
• Keep consumables separate: Food, liquids, or messy props should have their own area or tray.
• Use a cover: When not in use, tables are often covered with a cloth or towel to keep dust off and deter unauthorized handling.

Daily and Show-Run Maintenance

During the run of a show, certain props are reset or re-prepped each night, especially consumables or interactive pieces. Others may require inspection for damage or battery replacement. These tasks are typically the responsibility of the props crew or props manager.

Essential Daily Tasks Include:

• Cleaning food service items (plates, silverware, drinkware)
• Replacing consumables (cigarettes, food, torn paper)
• Charging or replacing batteries in props with lighting or sound functions
• Checking for wear on frequently handled items like weapons, luggage, or wearable props
• Refinishing or touching up paint if props become scuffed or scratched
• Restocking duplicates of items that get destroyed, used up, or worn down nightly

Props teams often create daily run sheets or checklists to ensure nothing is overlooked between performances.

Storage During the Run

Backstage storage is all about accessibility and safety. Props must be stored in a way that allows for quick transitions and minimizes the risk of damage. Common backstage storage solutions include:

• Shelved or cubby storage, labeled with tape and photos for fast identification
• Preset tables, arranged in performance order and taped out on the floor for tracking
• Padded bins or foam-lined drawers for fragile items
• Hanging racks for items like bags, wearable props, or breakaways that need air-drying
• Locked or secure boxes for weapons, valuables, or fire effects

Props runners may also keep duplicate props close at hand in case of last-minute emergencies (e.g., a torn letter or broken plate).

Post-Show Storage and Archiving

After closing, many theatres choose to archive, return, or repurpose their props. Proper post-show storage involves documentation and care to ensure that items can be used again without damage or loss. Standard practices include:

• Inventorying each item noting its show, designer, material, and condition
• Cleaning and repairing items before storing
• Labeling bins clearly with both contents and show titles
• Storing in climate-controlled environments, especially for organic or delicate materials like fabric, paper, foam, or painted finishes
• Disassembling oversized props: when possible, to save space and reduce damage during handling
• Photographing props and storing images in a digital archive for future reference

Some theatres maintain props libraries or stockrooms, allowing designers to pull from past productions. These require detailed organization systems—often sorted by type (weapons, dishes, books) or time period (Victorian, 1960s, futuristic).

Maintenance Materials and Tools

Props shops and crews often keep a toolbox or repair kit stocked with:

• Hot glue gun and refills
• Fabric tape and spike tape
• Zip ties and Velcro
• Paint touch-up kits (in original prop colors)
• Scissors, utility knives, pliers
• Battery testers and spare batteries
• Soft cloths and surface-safe cleaners
• Safety pins, snaps, and thread for wearable props

Routine checks and quick fixes ensure that even fragile or high-use props survive a long run intact.

A well-maintained and organized props system not only protects the production’s investment but also contributes to actor trust, technical safety, and design longevity. Good storage is a quiet design—it works best when no one notices it’s there.

Props Paperwork

In any well-run production, the success of the props department depends not just on artistry, but also on documentation and organization. Props paperwork is how teams track, communicate, and execute the complex lifecycle of every item—what it is, where it goes, who uses it, when it appears, and how it’s maintained. These documents are essential for both professional workflows and educational settings, and they serve as the connective tissue between the props team, stage management, and the design/technical departments.

Key Types of Props Paperwork

• Props List: The foundational document, listing every item needed by scene and character. This may include descriptions, sourcing notes, build status, and whether it’s a rehearsal or performance prop.
• Props Tracking Sheet: Details where each prop lives during the show, when it is used, who uses it, and whether it changes location. This is critical for backstage transitions and preset planning.
• Props Pull Sheet: Used when sourcing props from an existing stock collection. It lists items by type, dimensions, condition, and show history.
• Build List: A working list of props that must be fabricated in the shop. It may include deadlines, assigned team members, materials needed, and budget estimates.
• Run Sheets / Preset Checklists: Used by crew during performance, these list every prop’s location at the top of each scene or act. They’re often paired with floor tape outlines or labeled shelves backstage.
• Props Maintenance Log: Used to record damage, repairs, cleaning, and resets. Especially important in long runs or touring productions.
• Archival Record: After a production closes, photos and notes may be saved in a digital archive for future reference, rentals, or remounts.

Sample Props Maintenance Log

Props managers or crew leads should update this log daily during the run. Keeping detailed records helps ensure consistent quality, identify recurring issues, and train crew on best practices.

Props Storage Checklist

Use this checklist during both show prep and strike to ensure props are safely stored and ready for future use:

Before the Run:

• Label all props clearly with scene and character
• Create tape outlines or photos for preset locations
• Assign a secure area for fragile/breakable items
• Create duplicates of frequently used or consumable items
• Inventory all items by type (furniture, food, weapons, etc.)
• Prepare daily cleaning and reset station

During the Run:

• Complete preset checklist before each performance
• Log damage or repair needs in maintenance log
• Sanitize and/or clean all food service items
• Check batteries and electronic props before curtain
• Store all props securely between scenes

At Strike:

• Photograph each prop for archive or future reference
• Clean and repair before placing in storage
• Label and box props by type and show title
• Note fragile or special-handling items
• Return borrowed/rented items with condition report

Props paperwork ensures the department runs smoothly and that every performer, technician, and designer can rely on the objects at the center of their craft. It also lays the foundation for education and future reuse—turning every show into a resource for the next generation.

Conclusion

Props may not always take center stage, but they are integral to the storytelling power of theatre. A well-designed prop supports a character’s motivation, enhances a scene’s realism, and deepens the audience’s immersion into the world of the play. Whether it’s a battered suitcase, a letter read aloud, or a full-sized puppet tiger, every item onstage holds the potential to convey emotion, culture, history, and meaning.

Working in props demands an impressive range of skills: crafting, engineering, budgeting, collaboration, and problem-solving. It requires the adaptability to pivot from sculpting a fake steak one day to building a breakaway mirror the next. More than anything, it requires an eye for detail and a love of storytelling through objects.

As you step into the world of props—whether as a designer, artisan, stage manager, or student—remember that props are more than things. They are tools of transformation. In your hands, a cup of tea becomes an offering, a book becomes a weapon, a puppet becomes a soul. The magic is in the making.

Showcase Your Learning

Assignment Objective:

Students will demonstrate their understanding of stage properties by designing, constructing, or documenting props for a play or musical of their choice.

Assignment Rationale:

Props are essential to storytelling in theatre. Whether symbolic or functional, props shape characters, enhance realism, and guide the audience through the narrative. As theatre designers and technicians, it’s important to practice how we choose, create, and care for the objects on stage.

Choose your Assignment:

Choose one of the options below to showcase your learning.

1. Paper Prop Designer: Design and fabricate a set of three paper props that would be used in a specific scene from a play or musical. Think: letters, tickets, ID cards, menus, or a newspaper. Your props should match the time period, location, and tone of the play. Turn in high-quality digital or hand-drawn versions and a short explanation of each item’s purpose and historical accuracy.
2. Puppet Designer: Design a theatrical puppet for a character in a play or musical (realistic or symbolic). Include:

• A full-color rendering or 3D model
• A labeled diagram showing how it would be operated
• A brief design statement on how the puppet supports the character’s journey

3. Fake Food Challenge: Build one non-consumable food prop from a scene in a play or musical. This could be a pie from Waitress, a turkey dinner from August: Osage County, or a slice of cake from Matilda. Use household materials (e.g., foam, hot glue, paint) to create a durable and realistic-looking prop. Include a short video or slideshow of your build process.
4. Breakaway Magic: Design and document the steps to create a breakaway prop for a dramatic or comedic moment in a play (e.g., a vase thrown in A Streetcar Named Desire, or a plate broken in God of Carnage). Include:

• A materials list
• Step-by-step construction instructions
• Safety plan
• A photo of a prototype or sketch

5. Props Paperwork Professional: Create a complete props list, tracking sheet, and preset map for one scene from a play or musical. Use online scripts or your own annotated copy to determine what props are needed. Include:

• Scene number and character usage
• Which props are practical vs. set dressing
• A labeled drawing or table showing where each item is stored backstage

6. Props Design Portfolio: Select a key moment from a play or musical and create a design board for 5 props used in the scene. Your board should include:

• Research images
• Sketches or renderings of each prop
• Material suggestions
• A written explanation of how your props support character and story

7. Roll the Dice! Let the fates decide.

All designs must include the following:

• A reflection: Why did you make the decisions you made? How did your choices support the world of the play?
• A reference to the text: Include at least one quote or stage direction that informed your design.
• A materials list or resource log for anything you built, created, or sourced.

Video Resources

• Go Behind the Scenes with BACK TO THE FUTURE's Head of Props – Interview with a Broadway props master discussing prop creation.
• Tricks for Consumable Food Props – A quick look at how to make a consumable steak onstage that’s safe for an actor to eat.

• Tricks for Non-Consumable Food Props – A quick look at how to make fake food for the stage.

Practical Pedagogy

References

Bickley, B. (2020). Broadway prop builder: Behind the scenes of Beetlejuice and more [Interview]. Playbill. https://www.playbill.com

Duckworth, J. (2021). The prop master’s handbook: Creating believable props for stage and screen. Routledge.

Fabian, K. (2017). The real thing and the real props: A designer’s perspective. Theatre Communications Group.

Henson, J., & Finch, C. (1993). Jim Henson: The works—The art, the magic, the imagination. Random House.

Martel, Y. (2001). Life of Pi. Knopf Canada.

Riley, S. (2009). The backstage handbook: An illustrated almanac of technical information. Broadway Press.

Waldrep, L. (2015). Props for stage and screen: Art and craft in contemporary production design. Focal Press.

Young, J. (2013). The prop builder’s molding and casting handbook. Chicago Review Press.