The definition of a theatrical prop is very precise, as Deputy Head of Property Shop, Sharon Foley explains, 'A prop is anything that appears on stage and is not scenery, and is not a costume or a hat. Props are things moved on and off stage.'

The RSC's team of seven full time workers make, source, or find props for all RSC productions, at home and abroad. Not surprisingly such an interesting job inspires loyalty. Head of Property Shop, John Evans, began working in the department thirty-three years ago, when he was just fifteen. 'I started off sweeping the floor, making the tea and cleaning the offices,' John remembers. Like four of the other full time props staff John quickly went on to learn all his prop making skills on the job, and now can make just about anything, though he insists his speciality is cabinet making and joinery.

Sharon Foley took a different route into the department. She started her career with a BA degree in Wood, Metal and Ceramics. 'Theatre isn't where I thought I'd be,' she says, 'it just happened. I found out they were looking for someone in the Soft Props Department and I applied.'

Prop makers require a multitude of skills; carving, sculpting, basket weaving, plastic moulding, cabinet making, metalwork, soldering, embroidery, upholstery making, casting, to name just a few. The work is extremely detailed. Accuracy according to period is essential, and much time is spent consulting reference books, researching items on the Internet, and visiting museums for meticulous study.

The journey from proposal to prop begins twelve weeks before the opening of a new show. Firstly the designer holds a model showing, where the design is explained to all production departments. The designer then presents the Prop Shop with a model box, containing a scale model (1:25) of all the major props.

'When we're making props it's usually necessary to have the designer in our workshops every couple of days,' Sharon explains, 'then we're able to check details and ensure they're happy with how everything is coming along.'

Sometimes props can be found and recycled from the RSC's extensive props store, but usually there are hundreds of new objects to be individually made. Once an item is finished it is often aged and broken down, to give it an authentically used appearance.

The technical and the preview period is used to check that all props are working effectively and looking right within the wider stage design. 'Ninety nine per cent of the time everything is hunky dory,' John laughs. 'We pride ourselves on that! However, we do have to make adjustments to props to suit the needs of the actors once they have the items on stage.'

Once the props are in use on the stage, the responsibility for their care is transferred to the theatre's Property Master. In the Swan Theatre Peter Cholerton heads a department of six. In the Royal Shakespeare Theatre Pete Stone heads up a team of ten. These teams are not only in charge of daily maintenance; they also carry props on and off the stage during every show. These are the mysterious light-footed people seen moving around in black, or even in costumes, during scene changes.

'A prop is almost part of an actor's script,' Peter explains. 'Often actors take cues from a prop, so we have to ensure that everything is perfectly organised, and available exactly when and where the actor needs it. We also look after all running repairs, and on one occasion we had to mend a table leg on stage during a performance!'

Extracts from a piece by Helen Cross