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	<h2>PROGRAM NOTES #10</h2>
	<h4 class='accent'>Props List</h4>
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		<h2><a href="/programnote/ProgramNote10.pdf" target="_blank">Download printable file</h2></a>
		<h3>The Props List for the New York City Production</h3>
			<img class="headshot" src="/programnote/p10.jpg" title="" />
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				<p><br><em><strong>For audience members interested in behind- the-scenes stagecraft.
				<p>Production photos showing the actors and stage are by Carol Rosegg. Props-only photos by the production.</em></strong></p>
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				<p>FELICE: Clare, you say "yes," not "no." And then I pick up the property of the play which she's always hated and dreaded, so much that she refuses to remember that it exists in the play.
				<p>CLARE: I've said it's-unnecessary! [FELICE has picked up a revolver from under the sheet music on the piano top.]	Has it always been there?
				<p>FELICE: The revolver and the box of cartridges that you found last night have never been anywhere else, not in any performance of the play. Now I remove the blank cartridges and insert the real ones as calmly as if I were removing dead flowers from a vase and putting in fresh ones. Yes, as calmly as- [But his fingers are shaking so that the revolver falls to the floor. CLARE gasps, then laughs breathlessly.]
				<p><em>This is the theatrical properties (i.e. props) list</em> that the director, Gene David Kirk, provided to the production team. Most props are specified by the playwright in the play script, however there is latitude for specific choices that fulfill the creative vision of the director and his designers.
				<em><br>Pad and pen
				<br>Tape player
				<br>Ring with an opal stone
				<br>Piano
				<br>Soft pillow
				<br>Old fashioned telephone (Candlestick)
				<br>Revolver Soapy water and spool
				<br>Sheet music
				<br>Cigarettes and book of matches
				<br>Cigarette case
				<br>Gothic wood figure of a Madonna
				<br>“Granny” glasses
				<br>Torn, discoloured white silk scarf
				<br>Tiara
				<br>Parasol
				<br>Gloves
				<br>Staff
				<br>Cablegram
				<br>Bit of cotton
				<br>Props box
				<br>Scarf for Clare
				<br>Grandmother's wedding photo
				<br>List of props
				<br>Ladder
				<br>Coffee cups
				<br>Paint pots
				<br>Tool box and tools
				<br>Dust sheets</p></em>
				
				<p><h5><img src="/programnote/p10-2.jpg" title="" />
					<p>In the rehearsal space at Theater Row on 42nd Street, temporary rehearsal props mix with ones that will be used in front of audiences, and are positioned within marked areas of the floor as the actors and director rehearse and block scenes.
				<p><img src="/programnote/p10-3.jpg" title="" />
					<p>Props are sourced from anywhere they may be found: One of the producers loads up a piano given by a donor - a famous photographer - in Provincetown, where Tennessee Williams spent four summers in the 1940s.
				<p><img src="/programnote/p10-4.jpg" title="" />
					<p>Later the same day, the Production Technical Director positions the piano in the rehearsal hall in Theater Row on 42nd Street in NYC.
				<p><img src="/programnote/p10-5.jpg" title="" />
					<p>Antique candlestick telephones can be found in online auctions, but must be modified for use. Our phones have been made lighter, cords replaced with period wire, and strengthened to withstand rough handling in the action of the play. The working reel-to-reel tape player was lent by the husband of a production team member.
				<p><img src="/programnote/p10-6.jpg" title="" />
					<p>The Production Stage Manager, Technical Director, and Assistant Stage Manager discuss strengthening a cut-down wood ladder to improve its durability.
				<p><img src="/programnote/p10-7.jpg" title="" />
					<p>A Tiara is an evocative, fragile prop the playwright gives to CLARE. Because the actor throws the tiara, replacements are ready. An "Opal Ring" does not contain a precious stone, but must appear to. Matchbox covers will be modified so that they will not appear modern. The blue jean jacket and red coat are not costumes; an actor left them on a props table.
				<p><img class="headshot" src="/programnote/p10-8.jpg" title="" />
				<p><img class="headshot" src="/programnote/p10-9.jpg" title="" />
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				<p>Not every prop is a tangible object:
				<p><em>CLARE: Here I am, and here is your jacket and here is your tie. [She holds out empty hands.]
				<br>FELICE: The articles are invisible.
				<br>CLARE [with a mocking smile]: Put on your invisible jacket and your invisible tie.
				<br>FELICE: -I go through the motions of-
				<br>CLARE: Ah, now, what a difference! Run a comb through your hair!
				<br>FELICE: -Where is-?
				<br>CLARE: The inside jacket pocket. I put it there.
				<br>FELICE: --Oh?-Yes.-Thanks ... [He makes the gesture of removing a comb from his invisible jacket.]
				<br>CLARE: Oh, let me do it! [She arranges his hair with her fingers.]</p></em>
				<p>Tennessee Williams said, "I don't want realism, I want magic!" Real or invisible, the stage properties help create magic.
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Creat By MiNi SheLL
Email: devilkiller@gmail.com