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COPY PASTE THE ARTICLE HERE. meow meow meow. I am not a cat, I am holly. I’m stuck with this cat filter on my face. My assistant is coming to help me but I am not a cat
I repeat I am not a cat. I am holly
If it’s been a while since you dusted off your collection of classic Broadway albums, there’s nothing like a nostalgia-packed listening session to transport you to a simpler time. Hearing golden-piped leading ladies warble full-throated anthems while you attempt Jerome Robbins choreography in the privacy of your living room is a guaranteed fun evening!
And to make it even more festive, we’ve paired wines and cocktails with some of our favorite classic Broadway scores.
Based on Romeo and Juliet, with music by Leonard Bernstein and lyrics by Stephen Sondheim, West Side Story is undoubtedly one of the most thrilling scores in Broadway history. The star crossed love story is set against the teenage gang wars of New York City. The music covers multiple genres, from the Latin rhythms “America” and “The Dance At The Gym” to the beatnik jazz touches of “Jet Song” and “Cool” to the swooning romantic ballads “One Hand, One Heart” and “Somewhere,” which have become standards. Our hero, Tony, is the son of Polish-American immigrants, and his love, Maria, is Puerto Rican. So, we suggest you make yourself two cocktails (it’s a long show after all)…
For Tony, pick up a bottle of Polish vodka. Belvedere, created from Polish Dankowskie Rye and quadruple-distilled, is an excellent choice when combined with ginger beer and elderflower in a Polish Mule. More adventurous palates should try Zubrowka, a traditional Polish bison grass flavored vodka that dates back to the 16th century and is delicious in a Grapefruit Thyme cocktail.
For Maria, choose a Puerto Rican rum. Don Q is the top-selling rum in Puerto Rico, and many locals claim it’s the best. Keep it classic with a Daiquiri or Pina Colada, or use an aged rum to make an unexpected take on an old-fashioned.
The tale of a charismatic con man selling fake hopes and empty promises to naive citizens of small-town America might hit a little too close to home at the moment… but if you have fond memories of glory days in your high school marching band, Meredith Wilson’s sunny, melodic score is an instant mood-lifter.
Full of rousing marches (“76 Trombones”), upbeat ditties (“The Wells Fargo Wagon”), and romantic ballads (“Til There Was You”), this appealing musical comedy is a nostalgic treasure featuring classic Americana touches such as an Independence Day celebration and even a barbershop quartet. The climactic scene where our leading man is unmasked as a fraud occurs at River’s City’s annual ice cream social. In that spirit, our listening party pairing for The Music Man is a grown-up, boozy ice cream float! Try a Boozy Cherry Vanilla Float spiked with vanilla vodka, a Whiskey Root Beer Float, a Blackberry Gin Fizz Float, or a Chocolate Stout Brownie Sundae Float.
A musical adaptation of Damon Runyan’s short stories about Manhattan’s underworld in the mid-20th century, Guys and Dolls is chock full of colorful, whimsical tunes by Frank Loesser where gangsters, gamblers, nightclub performers, and other quirky characters all converge. When Gangster Nathan Detroit bets gambler Sky Masterson $1000 that he can’t get prim, proper, teetotaling Sergeant Sarah Brown of the Save-a-Soul Mission to join him for a night in Havana, hi-jinks ensue. Standout hits from the cast album include “Luck Be a Lady”, “I’ve Never Been in Love Before”, and “Sit Down, You’re Rockin’ the Boat”.
The booziest moment in the show comes during the Havana escapade when the pious Sarah attempts to order a milkshake– and Sky asks the waiter to bring a Bacardi rum cocktail called ‘Dulce de Leche.’ This prompts one of the funniest lines in the show as Sarah becomes more intoxicated and exclaims: “You know, this would be a wonderful way to get children to drink milk!” Efforts to find a Dulce de Leche recipe in cocktail books from the 1950s came up dry– so it’s likely that the playwright was referring to a creamy Cuban rum drink, the Batido. However, in 2009 Bacardi created a new Dulce de Leche cocktail recipe in honor of the Broadway production that year; get the recipe here and shake one up!
And of course– if you’re suffering from a bad, bad cold after being engaged for 14 years, you could always forego the rum milkshake and go straight to one of these cold remedy cocktails instead.
The tale of Dolly Gallagher Levi, a professional busybody/matchmaker, has been a hit since Thornton Wilder’s 1938 play. It became a musical with music and lyrics by Jerry Herman in 1963, with a legendary leading performance from Carol Channing– and gained further immortality for the film version starring Barbra Streisand. And the most iconic scene is Dolly’s big return to the Harmonia Gardens restaurant in the title number when we see waiters rushing around the opulent dining room with Champagne buckets, floral arrangements, and crisp linens before Dolly’s entrance down that grand staircase.
For a beverage pairing as decadent as the scene, pop a bottle of Champagne! True Champagne is only made in the Champagne region of France, and it’s made with the utmost attention to care and craft… so it can command a premium price tag, but some things are #expensivebutworthit, and Champagne is absolutely one of those things! For an elegant brut style, try Besserat de Bellefon Bleu Brut, perfectly balanced between citrus, apricot, and praline tones. For something clean, lean, sleek, and mineral, grab a bottle of Ruinart Brut Blanc de Blancs. And rosé fans, Laurent-Perrier Cuvee Rose won’t disappoint with tangy and bright layers of fresh red cherry and raspberry flavors.
Set in the jazz age of the roaring ’20s, Chicago is a dark and stylish peek into the lives of Vaudeville chorus girls and ‘merry murderesses’ with music by John Kander and lyrics by Fred Ebb. The plot is based on actual events of a series of high-profile cases in Chicago when attractive young women killed their husbands or lovers and got acquitted. The show is just as legendary for its concept and choreography by Bob Fosse as it is for memorable songs like “All That Jazz”, “Cell Block Tango”, and “Razzle Dazzle.”
The cast album (the original and the 1997 revival are both excellent) immediately transports listeners to a sexy spot where the gin is cold… so elevate your listening experience by mixing up a Prohibition-era cocktail! There are much better gin options nowadays than Matron Mama Morton was likely brewing in her bathtub… so grab a bottle and mix up a Gin Rickey, a Bees Knees, or a Last Word. We’re partial to the Southside— a mix of gin, mint, lemon and simple syrup– which allegedly got its name from some 1920’s gangsters on the South Side of Chicago who created this cocktail to make their homemade gin more drinkable! A perfect pairing for a sultry night in.
Sarah Tracey is a certified sommelier, entertaining expert, and wine educator based in New York City. Whether teaching classes, creating custom beverage programming for corporate and media events, or exploring wine regions world-wide, she’s driven by her love for producers who make fabulous wines and are also mindful of our environment. With years of experience, knowledge, and a certification from the Court of Master Sommeliers, above all, Sarah is a fierce believer that wine should always be approachable, festive, and fun.
Follow Sarah Tracey on Facebook, Instagram, Twitter and on her website for more wine and cocktail tips and tricks!
“When she’s around him, her mind dilates.” That’s how Adam Rapp describes Bella, the college literary professor in his play The Sound Inside who develops a life-changing connection with a student named Christopher. In the show, which opened on Broadway last fall, the pair’s banter about novels and academia evolves into a spiritual bond so intense that during the shocking final moments, they reveal the deepest parts of themselves.
Crucially, Bella and Christopher don’t see anyone else, at least not on stage. The Sound Inside was one of the season’s most notable two-handers (or play for two actors), a form that has proven to be one of the most resilient in modern theatre.
On Broadway alone, two-handers like The Fourposter and Red have won the Tony Award for Best Play, while Talley’s Folley and Topdog/Underdog earned the Pulitzer Prize in the midst of their runs. Two-handers also led to Tony Award-winning, breakout roles for Anne Bancroft (Two for the Seesaw) and Nina Arianda (Venus in Fur) and earned Tony nominations for Ruth Wilson (Constellations) and Diana Sands (in a production of The Owl and the Pussycat that famously broke the color barrier in 1964).
And that doesn’t even account for two-hander musicals. I Do! I Do!, adapted from The Fourposter, is arguably the most notable example on Broadway, running for over 500 performances in the 1960s. And titles like The Last Five Years, John and Jen, Goblin Market, and Murder for Two have made two-person tuners part of the Off-Broadway landscape for decades.
But why? What is it about this type of show that’s so appealing?
Sometimes it’s a practical choice. “When I was coming up, a lot of playwrights would talk about things like unit sets and small casts, because you’d be more likely to be produced,” says Rapp. “It was more cost efficient.” He wrote Blackbird, his first two-hander, after downtown theatre troupe Mabou Mines gave him a grant to experiment with directing his own work. Company founder Lee Breuer encouraged him to cut his teeth on something straightforward, so he wrote a play about a troubled couple trying to survive in a dank apartment.
What started as professional prudence, however, led Rapp to some deeper reasons a two-hander can work.
Lauren Gunderson says the form crackles with energy, and she should know. Her two-handers like I and You and The Half-Life of Marie Curie have helped her become America’s most produced living playwright. (That’s according to the record-keepers at TCG, who note that despite not having a Broadway credit, she has had an incredible number of regional productions in the last few years.) Speaking of two-handers, she says, “When you only have two people, then you know that something is going to happen between them. You can’t think, ‘Well, I don’t know. Who’s the story about?’ It can only be about these people, so for us in the audience, part of the excitement comes from wondering where we’re going with them.”
As an actor, Mary-Louise Parker has experienced that excitement firsthand. Her two-hander credits include the Broadway productions of The Sound Inside (with co-star Will Hochman) and Simon Stephens’ play Heisenberg (with co-star Denis Arndt). She says both created an unparalleled sense of urgency. “It’s risky because you’re so dependent on that other person,” she explains. “It’s like life. If you’re stuck somewhere with one other person, it’s risky, but it’s wonderful because it forces you to create a real closeness. And when it’s working, the audience feels that, too.”
Many two-handers are potent because of how they wield the dynamic between the people on stage. In Edward Albee’s A Zoo Story and Amiri Baraka’s Dutchman, for instance, seemingly banal interactions in public places escalate to horrific violence. In ‘night Mother (another Pulitzer Prize winner), Marsha Norman exploits our assumption that a woman can’t be serious when she enters the play and tells her mother she’s going to kill herself.
Sometimes, a two-hander pulls us out of reality altogether. Take Charles Ludlam’s The Mystery of Irma Vep, in which two actors play eight characters in a camp satire about monsters run amok on a posh estate. “That play lets the audience enjoy the impossibility of what they’re seeing,” says Catherine Sheehy, Resident Dramaturg of Yale Repertory Theatre. It would be much less satisfying with eight actors, she notes, because that wouldn’t let us savor how the performers (and the playwright) create so many people with so few bodies.
That underscores how challenging a two-hander can be for the actors. “I have never had another job that called on me to do as much as that one did,” says Jeff Blumenkrantz, who played a collection of suspects in Murder for Two during its extended Off-Broadway run in 2013 and 2014. “The challenge really hit me in rehearsal. I was on stage the whole time, so for the entire eight-hour rehearsal day, I was required to fire on all cylinders. It was exhausting, but it was also really rewarding. Whatever was happening on stage, I knew for a fact that I was contributing to it.”
For Parker, the primary effort comes in staying connected with her co-star. “You have to keep the energy between two people really taut,” she says. “It’s like somebody at the top of a mountain dangling a rope: You can’t let go. I think of it being that intense.”
While performing in The Sound Inside, she was especially fascinated by the interplay between Bella’s monologues to the audience and her intense scenes with Christopher, who never addresses anyone but her. “There were some moments when I actually felt like I was in two places at once,” she recalls. “I was with him and with [the audience], talking to them. I was still working on that quite actively when the play ended, and I would just die to get the chance to do it again.”
And there it is again: The reminder that two-handers, these seemingly small theatrical jewels, can feel enormous. Just like a relationship with another person, the best ones can create an intimacy that dilates our minds.
Mark Blankenship is the founder and editor of The Flashpaper and the host of The Showtune Countdown on iHeartRadio Broadway.
By Mark Peikert
You may not know the name, but you have seen Paul Huntley’s work. With a career that stretches back to Elizabeth Taylor’s Cleopatra, the wig designer has worked extensively on both sides of the Atlantic, in film, television, and theatre. Faye Dunaway’s hair in Network? A Paul Huntley wig. Princess Margaret’s ‘60s beehives? Huntley. Patti LuPone’s Evita hair? Huntley. From Mae West to Joan Crawford to Glenn Close to the hair that transformed Santino Fontana into Dorothy Michaels eight times a week in Tootsie, Huntley has been in close counsel with the biggest stars of the last 70 years.
The erstwhile Brit is still going strong, contributing hair to Broadway’s Diana and in the process recreating the look of a woman who conjures up a thousand different images in our collective memory as soon as her name is uttered. From the royal wedding to her media blitz tour post divorce, The People’s Princess was a master at recreating herself—and in that regard, she’s well-matched by the talents of Huntley.
Of course, recreating royal looks for a Broadway musical requires sleight of hand with which something more documentary-like (say, Netflix’s The Crown) doesn’t have to contend. There are microphones to consider, quick changes, and condensing a lifetime into a two-and-a-half evening show.
Huntley, Tony-winning director Christopher Ashley (Come From Away), and bookwriter Joe DiPietro settled on establishing Diana with just four iconic looks: the style with which she was first introduced to the public as the future Princess of Wales (“We call that the pudding basin look. Because it really wasn’t that becoming to her”); the darker hair from the royal wedding, the must-watch event of 1981; the tousled and “quite big” hair that most people picture from the early ’90s; and the shorter, spikier style from the end of her tragically short life.
Huntley is also responsible for the rest of the royal family, as well—though one imagines Queen Elizabeth II’s hair was a fairly simple feat, changing has it has not a whit for decades at a time—in addition to Diana’s aunt, romance novelist Barbara Cartland, who sported a very specific look during the period.
Each wig takes an average of five days’ work from Huntley and his team of five to create from human hair (Huntley sources it from “wig merchants” and most of the hair comes from Russia). For a project like Diana, what is particularly interesting is that there are very few natural blondes in the world; most blonde wigs audiences see have been dyed that shade. And throughout the process, Huntley remains in communication with both the creative team and the performers.
Though certainly not one to back down from an argument about his work—he tried in vain to convince Faye Dunaway not to restyle the Maria Callas wig he gave her for Master Class—Huntley has a c’est la vie outlook that has kept him sane while working intimately with some of the biggest divas of all time. “We’re not curing cancer here, he says. “It is, after all, a musical. And people are wearing these things on their face, so you have to sort of say, ‘Oh well, what the fuck.’ You really can’t make too much of it, I don’t think.”
Over the course of his long career, Huntley has seen fads come and go, and stars wax and wane. But throughout, the nature of his relationship with the performers has remained steadfast, ever since the day he crawled into Mae West’s bed to set her wig. “Honestly I’ve never gotten over that,” he says. “And all I could think was… ‘My god, how does anyone have teeth that white?’ It was like Walt Disney stars, they were so fucking white!”
“I always felt from my earliest years that they were the stars, and they were the most important people and therefore I was just someone who helped,” he says. Now, of course, his reputation precedes him, but Huntley remains the “strange Englishman who’ll probably do some wonderful stuff,” as he puts it.
Beginning his career in England with Stanley Hall at Hall’s Wig Creations—a major wig creation company for film at the time—Huntley was creating wigs and false eyebrows for director Mike NIchols—who suffered from alopecia—and made the leap to America after Nichols hired him to do the hair on Carnal Knowledge and asked if he’d ever considered moving.
“He said, ‘Well, you know, why don’t you come and live here?’” Huntley recalls. “And I said, ‘Oh I couldn’t possibly go to America! Good heavens, it’s so loud!’”
“That’s where the ‘grand voice’ comes in,” he adds dryly.
But Nichols pressed on and ultimately sponsored Huntley’s visa. Two years after Carnal Knowledge was released, Huntley made his Broadway debut with the Nichols-directed production of Uncle Vanya, starring—in a very eclectic cast—George C. Scott, Julie Christie, Elizabeth Wilson, and 70-year-old Lillian Gish.
“The sweet thing about Lillian was she said, ‘Oh, Paul darling, I’m going to look so young on the stage! You’re going to have to give me a gray wig,” Huntley recalls, laughing. “And she did look young!”
Huntley’s list of devotees reads as a Who’s Who of theatrical and Hollywood history. He worked again with Gish a decade later, when she starred with Bette Davis in The Whales of August; he did Crawford’s wigs on her final film, Trog (a project that produces the equivalent of a good-natured verbal shudder from him); he restyled Marlene Dietrich’s wigs when she toured the world with her concert act, receiving them in plain brown parcels with a note and a next destination to which he’d send the refreshed wig; he works extensively with Glenn Close, on everything from Sunset Boulevard to 101 Dalmations; and Patti LuPone famously has him written into her contract for every project since Evita. In fact, Huntley is the man behind her memorable, flame-colored wigs on Ryan Murphy’s latest Netflix series Hollywood.
But even a man who counts the original Broadway productions of Dreamgirls and Cats (the project he’d most want to relive) to the most recent revivals of Anything Goes and Noises Off! has a few projects he wishes had been his.
“I would have liked to have worked on [the 2019] Kiss Me, Kate,” he says. “I did the 1999 revival. I would have loved to have done that again. But there are good people. David Brian Brown, Charles LaPointe…I can respect people who do good work. I have no qualms about praising people if it’s good work.”
But with more memorable creations on his résumé than even seems possible, it’s safe to say that Huntley’s missed opportunities are few and far between. And with Diana, he proves once again who the royal hair creator is.
Follow Paul Huntley on Instagram at @paul_huntley_wigs
Beverly Jenkins is not afraid of a cut show. That’s a performance where there are more actors calling out than there are understudies or swings to replace them, and it requires a last-minute reconfiguration of everything from blocking to costuming to the placement of props.
For many people, this would be terrifying, but for Jenkins, who’s been a Broadway stage manager since the early 90s, it’s an opportunity.
Case in point: At one performance of Broadway’s A Bronx Tale The Musical, she only had one Black actress available, even though there was a scene that required two. “I had to decide,” she recalls. “‘Do I have one Black female on stage, or do I have a Black female and a Black male in that other track?’ I’d planned for that, because you have to plan for that, even if it never happens. So I made the decision to have a Black male on stage, because otherwise it would have thrown some things off [to just have one person]. I spoke to some people; we made a few changes, and it worked. No problem.”
That solution indicates what a distinct style of stage management Jenkins has developed over her career, which includes landmark productions like Bring in ‘Da Noise, Bring in ‘Da Funk; the original Miss Saigon; and her current gig as the production stage manager for Hadestown.
Crucially, she sees a cut show as a chance to connect. “It’s a community event,” she says. “You check with wardrobe, and they’ll make adjustments. The music department and the dance captains are involved. I always reach out to the director or the AD to make sure my choices are okay. And I take the personal trip to tell people what’s happening. I get a couple of extra steps in on my FitBit, and I’m good. I want to make sure I’m personally letting people know what’s going on before they step on stage.”
Those steps — up and down stairs, into the green room, into the wings — set Jenkins apart “Beverly runs a building, and she doesn’t have to open her computer to do it,” says Michael Rico Cohen, a fellow stage manager who has worked alongside her on A Bronx Tale The Musical, Amazing Grace, and Fully Committed.
Or to borrow a phrase Jenkins uses to describe herself, she’s a mom of many. “I’m fine with the tech,” she says. “It’s all good. I’m very calm, and I can call a cue just as well as the next person, but I believe my speciality is about being hands-on with the people. I put a lot of thought and care into everyone — not just the actors, but everyone — coming into that theatre.”
On every show, then, a big part of her job is figuring out exactly what this particular group of people needs. For instance, on Bring in ‘Da Noise, Bring in ‘Da Funk, the 1996 dance musical that uses tap to trace Black history in the United States, Jenkins worked with performers who were more familiar with the dance world than with Broadway. “Sorry Equity, but I had to bend the rules for this group of young men,” she says. “I had to assess the rules and see what they needed. Like, ‘I know this is half hour, and if you’re not here at half hour, then I need you to call me and tell me how far away you are. And as Iong as I know you’re coming, you get a five-minute grace period.’ And that’s something I still do, the five-minute grace period.”
On Noise/Funk, she also turned her office into an occasional daycare center, so that parents in the company could bring their children with them when there were no other options. She recalls, “I had Barney tapes. I had a playpen. I was like, ‘You’re not going to be forced to miss work because you’re doing the right thing with your child.’ I have to get my show up, no matter what. I have to figure out how to get the best show on stage today. And on that show, watching kids was part of it.”
For Amazing Grace, the 2015 Broadway musical that explores how the British slave trade inspired the titular hymn, Jenkins knew her job required extra compassion. She says, “Amazing Grace was important to me because of what was happening on stage. How hard is it that the first time you see Black people on stage, they are stuffed in a crate, and then they get pulled out, thrown on the ground, and shot in the back? So when the actors come off stage, how can they not carry that off stage? How do we make sure that these people are not carrying the feelings of trauma off stage with them?
“We had company morale-building events. We had t-shirt day. We made sure the dressing rooms were mixed, and that we weren’t keeping the Puritans over here and the Africans over here. It was good to see everyone put thought into how to make this a harmonious backstage area and still tell that particular story.”
It no doubt helped that Jenkins herself was spearheading the backstage culture. “She is wildly good at creating fellowship and community,” says Rachel Chavkin, the director of Hadestown.
Jenkins asserts that small touches help a company avoid bigger problems, particularly when they’re together for a lengthy run. That’s one reasons she runs a “turkey hand” contest for Thanksgiving, getting everyone in the building to trace their hand on construction paper and then turn it into a decorated turkey drawing. “And believe me, there are prizes, honey,” she says.
Cohen confirms, “There’s nobody that loves a turkey hand competition more than Beverly Jenkins. But it’s more than just turkey hands or door decorating contests or the Father’s Day barbecue. She’s a master of the casual-but-meaningful interaction. It creates a camaraderie and an immediate trust. It’s these little things that really make the building a happy place over a period of years. All of those things are just as important — and sometimes more — than announcing what we’re doing in understudy rehearsal on Friday.”
Mark Blankenship is the founder and editor of The Flashpaper and the host of The Showtune Countdown on iHeartRadio Broadway.
A lamp, a locket, a fiddle, a pie. To theatre fans, these four items conjure up images of iconic shows, and that’s the secret power of props. Though they often blend into the scenery, each prop has its own story to tell and can become the eternal image of a production. But how do you go about finding that all-important piece?
“My process starts with dramaturgy—reading the play, reading the play, reading the play,” says Kathy Fabian, owner of Propstar. “I read about the play, the playwright, about the playwright’s other plays, listen to the director and the other designers [discuss] their interpretation of the piece and their goals so I can attempt to interpret what’s in their ‘mind’s eye’ when they picture the world we are about to create.”
Since 2005, Kathy’s company has designed and managed large-scale prop packages for dozens of Broadway and Off-Broadway shows, as well as for TV and film. From All My Sons to Kinky Boots, her keen eye and amazing artistic vision have dressed the sets of some of the biggest productions in New York—and her latest challenge is quite a feat.
Kathy will provide the props for David Mamet’s classic play American Buffalo, which is due to open at Circle In The Square Theatre this summer. Set in a junk shop in the late 70s, it tells the tale of the shop’s owner, Don, who plans to steal back a buffalo nickel he believes is worth more than he sold it for.
“The junk shop definitely has its own presence, and even though it doesn’t have a voice, it’s integral to telling the story,” Kathy explains.
Like an actor building their character, she digs deep to get to know her subject inside and out ensuring it becomes a real place in the minds’ of the audience. “I ask myself many questions like what’s the history of the shop? How long ago did the junk begin to amass? What are Don’s personal interests that might influence what he collects? Does he curate his goods or did he just happen upon/steal/salvage/buy them? What’s the difference between a pawn shop, a thrift shop, an antique store, and a junk shop?”
Just like a missed line or an ill-timed lighting cue, a prop from the wrong decade or even a piece with the wrong texture can pull an audience out of the world presented on stage. But sourcing items takes time, research, and patience, particularly for a set that’s densely layered. “I start looking at advertisements from the era and head to eBay and Etsy to look for hero items first. Once I’ve got my smattering of jaw-dropping 60s and 70s lamps, famous toys, posters, comic books, car parts, and specific items mentioned in the script by name, I move onto vintage fillers. Other than a few iconic gems an audience member might recognize from their past, the merchandise, (if you can call it that), is truly junk – used items you wouldn’t believe anyone would buy.”
Though filling a junk shop may be a prop master’s dream, each show offers its own opportunity, challenges and excitement, with no two jobs ever being the same. “You probably won’t learn something from one project that you can use as a go-to solution on the following ones. One morning, you may find yourself embarking on a play that’s set on an imaginary planet 100 years in the future, and after you’ve translated the playwright’s words into 3D for the stage, your next endeavour might be to recreate the inside of a military hospital during World War II.”
With a breadth of eras, locations, venues, and environments to create, the number of items needed by such a prolific prop specialist is astounding. “Space is always an issue, especially in Manhattan,” Kathy explains. “I keep two large rooms of small items like houseware, tools, soft goods, and collectibles at my studio on 52nd Street. We offer smaller companies with challenged budgets the option to rent items for $5 to $10 a month. This keeps things moving. I keep larger items in storage units in New Jersey and Yonkers. Shows like American Buffalo provide a great opportunity for spring cleaning as they allow me to lend things from my own stock and make some much-needed space for a while.”
With rows and rows of incredible items that have created their very own time capsule, along with all the equipment any theatre company may need to kit out a rehearsal space, Propstar’s warehouses are treasure troves that would wow anybody lucky enough to explore them. Packed full of vintage telephones and signs, banquets of fake food and old-school accounting calculators, miniature books and handmade textiles, Propstar’s wealth of products are more than a starting point for any production’s needs. However, Kathy’s hunt for the perfect items never stops. “I visit flea markets, Goodwills, salvage yards, Craigslist… the online auction sites these days are so very helpful. When I started my career, all my shopping was on foot, and in some cases, I really had to get lucky!”
Kathy is part of a community of prop specialists that work on Broadway. Between them, they form a network of knowledge and contacts that can find almost anything a director could want or need for a show. “If I hit a wall and can’t find the particular item I’m looking for, I call around to some of my junk dealers and other pals in the business. People who do what I do enjoy the hunt, so often once I put the word out there that I’m after something, folks join in on the search. We trade favors.”
However, there are times when all the favors in the world aren’t enough to find that one special item and you have to go a little further afield to find what you’re looking for: “For Fiddler on the Roof in 2004, no one could come up with the authentic Russian antiques which were required to fulfil the design vision, so I got on a plane to St. Petersburg.”
With tight schedules and a creative team awaiting input, prop masters don’t always have time to fly across the world. Luckily, there are other ways to get your hands on that elusive object. “Sometimes, rather than wasting too much time looking for something, I decide it’s more effective to just start from scratch and build a copy of the item. The wealth of talented craftspeople in this local network affords us that option as well.”
Kathy herself has always had an interest in making and creating, learning crafty hobbies at a young age. “Both my grandmothers taught me to sew, and so my hands were busy with crochet projects, needlepoint, doll-making, etc. from a very young age.”
This creative nature followed Kathy throughout her life and eventually led her to a career in props. “During my time at the University of Vermont, I was very active in theatre, both the performance side and the technical side. I took a special interest in carpentry and finish work. When I first moved to New York, I worked as a furniture maker and began receiving offers for props work. Slowly I took on more and more projects (while keeping my night job, of course), built a small company, and graduated from Off-Broadway to Broadway offers. Finally, one day I realized I didn’t need to wait tables anymore.”
For anyone interested in starting a career in props, Kathy has two pieces of advice: “Number one, call me! And number two, be prepared for a wild ride of multitasking and shedding your fears of trying new things and asking questions. You will never find the words ‘I’m so bored’ floating in your mind again.”