Coordinating the props needing electricity to operate requires collaboration with the electrics department.   This would include table lamps, chandlers, sconces, lanterns, appliances, radios, clocks, "live" outlets, street lights, smoke effects, electrically controlled special effects - anything requiring an electrical hookup so it can be "run" or turned on/off.   Special effects such as radio controlled and wireless DMX controlled props usually are a cross-departmental collaboration allowing both areas to explore the technology to achieve remote effects as well as share the expense. 

    Props with electrical hookups may require special wiring or a special plug installed to allow it to be used and controlled with the light board. Departments and theatres have varying policies about who does what and as always, these projects should be negotiated based on who has the time and who has the skill.  If the theatre is a Union house it may be covered in the Union contract.  While the prop shop always provides the actual unit such as a chandelier or wall sconces or radio that needs to light up, if the unit needs to be wired the responsibility may fall into either shop's jurisdiction.  In most cases, once the prop is built in the prop shop, the electrics department usually takes the prop for final wiring and, in the case of flown props such as a chandelier, coordination with the scenic department for rigging of both the unit and the cable for electricity.

    Props that are installed on the set as part of dressing such as wall sconces, fireplace logs with a "flame", a wall clock or shelf radio are coordinated for electrical run to be completed during set dress when the prop shop installs the item.  The prop shop will often drill the hole for the props electrical wire to pass through to the back of the set where it is connected to the appropriate electrical run provided by the electrics department.  For props set onstage near a wall in the scenery such as a floor lamp or a television, a standard wall socket installed in the set wall would complete the realistic setting allowing the prop to be plugged in just as it would be done in a regular home. Procurement and installation of the wall socket is coordinated between all areas. Props placed on a thrust or out away from the walls where a wall socket is unavailable or where a cord snaked across the floor would cause a tripping hazard to the actors require a floor plug built into the stage floor at scenery load in is used. 

    

Electrics is often asked to wire special effects coordinated with the prop shop.  Just as with chandeliers or traditional set dress items, the prop shop provides the item, electrics provides the power, and the installation is coordinated with scenery.  This is especially important when working with anything that might give off smoke, flame, or heat as all items near the special effect unit must be flame proofed or otherwise safe guarded.  Costumes should also be alerted to flameproof  costumes as necessary. 

Prop chandelier built by ACT prop shop.

    Battery operated props require a special level of coordination between the areas.  Batteries can be bulky and heavy requiring the prop shop to build an item larger or to remove all internal parts to allow space for the batteries.  Installation of lamp units in a prop has often been problematic in the past given the size of sockets, bulbs, and batteries.  LED light sources allow for much smaller sources and are more conservative in battery usage allowing props and electrics to place effects in props more easily.  Investment in rechargeable batteries and a battery charger keeps battery cost down, is more environmentally friendly, and helps guarantee a fully charged battery for each performance.  Battery purchase is negotiated between the shops depending on budget and other uses.  Switches are installed allowing easy operation by the actor and to prevent accidental discharge draining the batteries.  In some props a switch is installed automatically turning on the light or beginning operation of the device when the prop is opened or in some specific way manipulated.  For example, the director may wish to have a trunk of  gold and jewels "glow" after  it has been carried in and then opened.  Since it is not a preset item but must move, it cannot be plugged into the wall for an electrical source so the effect must be battery operated.  It should operate only when the lid is opened so the batteries don't run down.  A switch must be installed in the trunk that activates upon opening, pulling power from batteries that have been secured under the trunk dressing, to operate tiny lights concealed in the jewels and gold coins dressing the interior and creating illumination on the trunk lid, actor's face, and the interior trunk dressing.  For the effect to work successfully all parts must have been coordinated and thought through by both shops.  Additionally stage management and the run crew must understand the workings of the prop so batteries can be recharged and installed as needed without damaging the prop or affecting the dressing.

Ring Round the Moon, UW-M   Designed by Rick Graham

Click here to view sub-topics:

REHEARSAL AND PRODUCTION PROCESS

Rehearsal Props         Production Meeting       Costume Collaboration

Sound Collaboration                  Scenery Collaboration

Click here to view sub-topics:

REHEARSAL AND PRODUCTION PROCESS

Rehearsal Props         Production Meeting       Costume Collaboration

Sound Collaboration                  Scenery Collaboration

Electrics Collaboration