The scenery department and scenic paint area also overlap often into the props area.  In any given design, the division of the elements as designed by the scenic designer must be divided up between props and scenery.  This is often based on the size of the elements as well as the specific skills of the artisans in the different shops.  Early on in the design process a production meeting is usually held to look at preliminary designs and often the division of who will do what is begun even at this early stage.  It is also common that items will shift as the design evolves and gets either more simplified or more complex.  For example, the designer needs to create a downstage scenic element to establish an actor looking outside a window and at first purposes a large flown header piece with a suspended window frame.  Given it's size, method of installation (rigged), and need to visually echo the upstage architecture it would make sense to have the unit built by scenery.  But perhaps the designer later purposes to establish the window by simply rigging a swagged drape to hang above the stage where the window would be with a window seat placed on the floor.  The drape and the furniture piece are obviously props and the rigging of the hanging drape would be coordinated with scenery. 

 

    Sometimes the lines are not so easily defined.   Instances where props and scenery intersect often have to do with artisan skill sets and shop work loads.  For example, determining responsibilities when large carved statuary is required, trees and other landscaping are needed, or when a large part of the stage space is completed with carpeting or landfill are all frequently negotiable situations.  It could go either way depending on budget, artisan availability and skill, and what else the shops are being asked to complete or build.

Stove and sink unit - Intiman Theatre - all water and gas piping coordinated with scenery.

    Props and scenery also often need to coordinate the movement of scene changes.  Talking through what has to move first and how props get safely on and off stage as well as guaranteeing the security of actors and crew is an important consideration for both shops and stage management.  Storage space backstage is often tight, requiring both shops to be involved in how things track, where prop run tables can be placed, and how props can be preset or struck off during the show.  Props that fly in or that are rigged must be coordinated with the scene shop staff person who is responsible for completing the rigging of props in most theatres.  The prop shop should be working with the technical director to build props that have appropriate structure and points for either a single or multiple point fly, and to be properly weighted, neither too heavy or cumbersome to fly or so light weight the prop cannot offset the rigging requirements.  Size and spacing are often critical factors.  Insuring the prop to be flown has proper clearance the multitude of other things being flown or rigged must be coordinated between scenery, electrics, and the prop shop.  A large three dimensional chandelier may need to become a two armed "flat" chandelier in order to have it fly between scenic pieces and electrics battens.  All of these decisions are done in collaboration with the scenic designer and lighting designer as well.

 

    Props should make any requests for special building considerations in order to accommodate set dressing in advance of scenic unit completion.  For example, if the prop shop knows placement of pictures or wall sconces on set walls, the scene shop can install backings allowing for extra support in those areas if given the necessary measurements and information to install them during the build.  The prop shop also should coordinate the dressing of elements that will be flown or are inaccessible from the floor with the scenery load-in.  Hopefully the technical director is in communication with the properties director and production stage manager about any minor changes in things like sizes of windows or changes in door openings which may impact the building of props like curtains or props that must be carried in and out through  the door.  Technical rehearsal is not the time to discover the door opening was shrunk three inches making the entrance of a wheelbarrow loaded with suitcases impossible.  The production meeting allows both departments to communicate any concerns or confirm changes that might impact the other department's work or product.  

 

 

        Scenic artists often are the "craftsmen" filling the artistic space between the props and scenery shops when those large carving projects or landscape projects are required.  Scenic artists also often come to the prop shop for collaboration on stencil production or pattern making requiring the finer tools or the computer graphic support found in the prop shop.