Working documents

Props Sheet

Below is the props sheet we were given from our deputy stage manager. As the show is very technical it is paramount that all of the actors know exactly what they are bringing on and when. I found this a very useful document to have on my person while we were doing the dry tech run for the first time because it clearly states where each prop can be found and what each one is. Personally, I only have 1 prop to bring on (the 1950s dustpan and brush in Part 2 Scene 1) but as it is an ensemble play, we should all be aware of who brings on the props in our scenes to ensure they get brought on.

Personal journey through the play

As a follow up from the above props list, we were asked to create a document that detailed our journey throughout the play as actors, including any props we take on or off. I found this very helpful, as I did not realise all the entrances and exits that I do, which other actors depend on to take their cues from. Therefore, I will use this document in future rehearsals until I am completely confident that I know exactly what I am doing.

OPENING SEQUENCE BLOCKING –

• Enter upstage left with nuns.
• Circle around the table anti clockwise.
• Mirror Hannah (an older, more dishevelled version of Sarah) walk upstage and sit on the top step.
• When the Michelle’s join us next to the stairs, stand up and look up at the flickering lights, then eyes go down to the table.
• Leave, keeping eyes transfixed on the table and exit downstage right.

PART 1 SCENE 6 –

• Enter upstage right just after Albert runs on with the gas mask.
• Exit upstage right after singing ‘Lay Me Low’, before Finley and the prostitute enter.

PART 1 SCENE 7 –

• Enter upstage right.
• Set places at the table using the chairs from upstage and take out the cutlery in the drawers of the table.
• Whilst singing ‘There is a balm in Gilead’, clear everything off the table and give it to Margaret, Albert or Finley, who exit.
• Remove the chairs and set them upstage again.
• Assist the nuns in wrapping up the table with the green and grey blankets and ropes.

PART 2 SCENE 1 –

• Continuation straight from Part 1 Scene 7. 
• After my line “Well I think it’s British, just leave my spider alone”, exit upstage right.
• Get the 1950s dustpan and brush from the props table.
• Enter upstage right after the line ‘Lord protect us’.
• Exit upstage right with the dustpan and brush and put it back on the props table.

PART 2 SCENE 2 –

•  Enter upstage right and trace the scars of the table, remembering how each one got there.
• Go to follow Albert off, after the line “Look, it’s Sarah” and go over to look at Finley. When he tries to touch, retreat and stand downstage left.

PART 2 SCENE 3 –

• Continuation straight from Part 2 Scene 2.
• Keep Jack Holman’s jacket around shoulders.
• Stand up from chair to speak to Mother Superior.
• Take brush and bucket of water from Hope and begin to clean upstage right where the leopard was.

PART 2 SCENE 4 –

• Keep cleaning with the brush and bucket of water while the scene is in London 2013.

PART 2 SCENE 5 –

• Continuation of Part 2 Scene 3
• Give Jack Holman his jacket back and undress, leaving clothes on the floor. 
• Take the clothes on the floor off in the blackout.

PART 3 SCENE 9 –

• Enter upstage right and bring on a chair leg.
• Attach chair leg and take off any props that are left on the stage and put them on the props table.