PROPPING UP AN ACTOR'S PERFORMANCE: LISA WILEY

Sometimes I design and build props.  Sometimes I build characters and act onstage. One might ask if my acting ever influences or aids in my prop designs, and I would say yes, it does. 

In previous posts I’ve mentioned how I feel the props should be an extension of the character, a reflection of the character and enhance the overall story.  Actors will sometimes say that stepping into the perfect costume helps them really connect with the character.  The same can be said for a personal prop.  I have been an actor and been given a prop that is supposed to represent a personal item of my character but it does not.  A book, a diary, a flower or picture.  And because it does not represent the character, I have to figure out “how to make it work”, ”make it mean something”.  And I will do my best, because I am an actor.  All the while hoping that the audience doesn't notice the less than perfect prop and are not pulled out of the story.  Magic happens when I am given a diary and clearly it looks like I’ve had it with me for years, it holds all of my intimate thoughts and to me it is precious and irreplaceable. When this happens, it is the equivalent of putting on that perfect costume. 

I also have to ask if there are practical obstacles to solve.   Using the diary as an example, let’s say it has a clasp and lock that has to be opened, with a hidden key that is found onstage during a lightning storm. And the person doing the finding and unlocking is a handcuffed man. I must consider the technical application and onstage use of the item.  The prop may be beautiful and visually represent the character, but is it functional?  How will it work, is it too heavy, can the lock be opened easily, can the hidden key be found and easily "used"? Many times I have to ask myself if a prop is going to inhibit a performer. Are there environmental factors that might affect the use of the prop, such as timing, lighting, physical restrictions, costume restrictions etc. And that is when I call on my acting experience to help guide me.  The actor must be able to operate, or use the item without fear of “something going wrong”.  Even if it’s supposed to look as if it's gone wrong onstage, it must go wrong right!  Knowing what it feels like to be onstage, gives me a little insight to things that could go wrong and the opportunity to solve the potential problem before it becomes reality.