Some props haul their own metaphors on stage with them. When King (Aaron Pierre), recently released from prison, sprinkles flower seeds over an unpromising scrub of soil outside his Pittsburgh home – well, you don’t need dramaturgical skills to wonder if the severely challenged little seeds will mirror King’s own struggle to nurture a new, post-prison life. King Hedley II, August Wilson’s 2001 … [Read more...]
Propwatch: the stuffed duck in Rutherford & Son
There’s barely a scrap of frivolity in the Rutherford home. The home of a Tyneside manufacturing family in the 1910s, it’s imposing, substantial, stuffed to the gunwhales with heavy furniture – yet you struggle to spot anything that isn’t grimly functional or solid enough to break your toe should you drop it. Whatever else it is, the house of Rutherford is not a house of fun. Githa Sowerby … [Read more...]
Propwatch: the suitcases in Death of a Salesman
What does Willy Loman sell? It’s one of the great unanswered mysteries of American theatre. 38 years the man trudges around New England, hawking the Wagner Company’s whatevers to stores without number, but what does he have in his valises? Who knows – it’s the sale, not the sold, that counts. Whatever they contain, the cases are real enough. We see them early on in the heavy-hearted revival of … [Read more...]
Property details
Rosmersholm, a desirable 19th century mansion has unexpectedly come on the market, following recent… events. Impeccably designed, it would suit a miserable man of the cloth or a radical thinker struggling with doubt and desire. Full disclosure: there is a slight problem with damp. Dimensions It’s big. Very big. We like to describe it as ‘size of a West End stage’-type big. Buyers will find … [Read more...]
Change the dance, change the world
Bob Fosse and Jerome Robbins: two geniuses who sound as horrible to work with as they were inspiring to watch. Two artists whose choreography is tightly locked into the DNA of the silver-plated shows they helped create. Unpicking their movement from those landmark Manhattan musicals is tough – Robbins’ West Side Story gangboys who stake a leaping, finger-clicking claim on the streets; Fosse’s … [Read more...]
Propwatch: the poppet in The Crucible
Last night, as a cat nestled in the crook of my arm and its paws rasped happily over my fingers, I thought: I’m just a step away from a 17th-century witch trial. None of my neighbours in this part of London has an ailing pig or a crop prone to blight, praise be. But we all have our sorrows, and all need a way to explain them too ourselves. A cat and a pact with the devil are as good as … [Read more...]
Propwatch: the glasses in A German Life
Maggie Smith clutches a pair of glasses throughout her 100-minute monologue in A German Life. She holds them in her right hand mostly, but never puts them on: they’re more decoy than accessory. As Brunhilde Pomsel – who worked as a secretary to Goebbels during the war, and whose reminiscences are the basis of this play by Christopher Hampton – Smith feints and dithers, quavers around remorse and … [Read more...]
Propwatch: the mirror in Richard II
Richard II hands over the crown to a usurper, and the now-deposed monarch asks for a mirror. ‘That it may show me what a face I have.’ In the new production at the Sam Wanamaker Playhouse at the Globe, the glass is a rectangle, size of an i-pad. Richard takes it in both hands and looks, long and hard. What face does Richard see? Not, as in virtually any previous production, the face of a white … [Read more...]
Propwatch: the tooth in Dinomania
It’s not a real iguanodon tooth, I don’t think. Though in a story about how to interpret the material world and humanity’s place within it, identification is an unusually fraught subject. Dinomania by Kandinsky at New Diorama is a brilliantly theatrical tour of the fossil frenzy and dino debates of the mid-19th century. A project of deep research and wanton invention, of feeling and flair, it’s … [Read more...]
Propwatch: the hoof pick in Equus
The most fascinating tool on the Swiss army knife was surely the curved implement designed for scraping stones out of horses’ hooves. Undeniably practical yet destined to sulk unused in most urban lives. Except in Peter Shaffer’s Equus, where it gleams forth to hideous effect. Ned Bennett’s galvanic production for English Touring Theatre and Stratford East sets it at the time of the 1973 … [Read more...]