The Art Of Theatrical Properties

Through light, sound, movement, and design, Theatre invites an audience to believe in worlds that exist only for a few hours on stage. It is an art of illusion, and though they often go unnoticed, when used effectively, properties — more commonly, props — play a vital role in making this magic possible. 

Arguably, the unsung heroes of theatrical storytelling, props are the objects actors handle, the furnishings that define a setting, and the physical anchors that connect performance to reality. A well-crafted prop can deepen character, advance plot, and enrich atmosphere — sometimes with more impact than a line of dialogue.

My name’s Peter Fernandez, and in this article, I’ll be exploring the artistry and craft behind theatrical properties, as well as the indispensable work of the Props Master/Mistress who helps bring a director’s vision to life.

What Is a Theatrical Prop?

In the simplest terms, a prop is any object used on stage by performers to support the storytelling of a play. The term comes from the word “property”, which dates back to the early days of English theatre when theatre companies referred to stage belongings as a “player’s properties.” Over time, the term shortened to “props,” encompassing everything from swords and letters to teacups, telephones and more.

At its heart, the artistry of props is about belief. An audience doesn’t come to marvel at the realism of the teacup or the exactness of a dagger; they come to feel the truth those objects help reveal. To create tangible worlds out of imagination, and to remind us that even the smallest objects can hold entire universes, is the true artistry behind the world of theatrical properties.

Types of Props

Essentially, if it’s on stage and not part of the actor’s costume or a fixed part of the set/scenic design, it’s a prop. Props can be broadly categorised into several types:

• Hand Props – Items handled directly by actors during performance, such as books, weapons, cups, letters, tools, or musical instruments.
• Set Dressing – Objects that decorate the set but are not actively used by actors, like paintings, furniture, or vases.
• Personal Props – Items associated with a specific character, such as a pocket watch, handbag, or notebook.
• Consumable Props – Objects that are used up or destroyed during performance, including food, drinks, paper, or breakaway bottles.
• Weapons and Special Props – Swords, guns, wands, or any specialised or mechanically functional objects requiring safety and realism.

The Power of Props

Props are not merely decorative — they are narrative instruments. A simple object (e.g. a key, a letter, a glass of wine) can carry enormous emotional weight on stage; in the hands of an actor, under the guidance of a director, and through the craftsmanship of the props team, it can become a vessel of story.

Enhancing Realism

A realistic-looking prop helps the audience suspend disbelief. When an actor pours from a teapot, signs a letter, loads a pistol, or wields a knife, the illusion must feel genuine. If the cup is empty, the letter blank, or the knife flimsy, the audience’s emotional connection can falter.

Realism in props doesn’t mean literal replication; it means believability. The goal is not always to perfectly imitate reality, but to evoke it convincingly within the aesthetic of the production.

For example, a period drama like A Doll’s House demands historically accurate household objects that reflect 19th-century domestic life. By contrast, a stylised production of Macbeth may use symbolic props, like a blood-red cloth instead of an actual dagger, to convey the same dramatic truth through abstraction.

Balancing Realism & Theatricality

Theatre does not always aim to replicate reality literally. Some productions use stylised or symbolic props to heighten mood and meaning. For instance, in minimalist theatre, a single chair might stand for an entire courtroom, or a paper bird may represent freedom more poignantly than any literal model.

Supporting Characterisation

Props often become extensions of character. The way a person handles an object reveals personality and emotional state. Certain props — like Willy Loman’s battered briefcase or Blanche DuBois’ tattered trunk — are so integral to their characters that they become psychological symbols:

• A nervous actor fiddling with a pen communicates tension.
• A powerful figure slamming a goblet shows dominance.
• A grieving widow clutching a locket embodies memory and loss.

Driving Plot and Action

Props are not static objects — they are dynamic participants in storytelling and can be essential to plot development. Shakespeare’s plays are full of pivotal props: Desdemona’s handkerchief, the poisoned cup in Hamlet, or the letter in Twelfth Night. Each serves as a catalyst for conflict and resolution, and modern playwrights continue this tradition: Blanche’s paper lantern in A Streetcar Named Desire, for instance, represents her fragile illusions; its removal marks her psychological unravelling.

Creating Props

The process of creating or acquiring props involves equal parts artistry, ingenuity, and practicality. Whether adapting everyday objects or building from scratch, the goal is always the same — to achieve authenticity within the constraints of the performance:

• In The Crucible, the poppet represents innocence manipulated by hysteria.
• In Waiting for Godot, the hats, boots, and rope embody futility and cyclical despair.
• In Our Town, the everyday objects — string, a watch, a hat — become emblems of fleeting life.

The best props don’t just decorate — they speak. Beyond utility, props carry symbolic and emotional resonance: a masterful prop can encapsulate a play’s entire theme in a single image. They can also serve as metaphors: a cracked mirror reflecting broken identity, a wilted flower symbolising lost love, or a worn Bible marking faith under strain.

Using Real Objects

Often, the most straightforward approach is to use genuine items. Real furniture, glassware, or books can lend authenticity and save time. However, realism must be balanced with practicality. Genuine objects may be too fragile, heavy, or unsafe for stage use; real glass, for example, is typically replaced with acrylic, and genuine antique furniture might be replicated with lighter, sturdier materials.

Adapting Everyday Items

Many props begin as everyday objects creatively modified for theatrical needs. A household radio can be rewired to light up when switched on, a modern kettle disguised with paint and fabric to resemble a Victorian teapot, or a foam ball painted to look like a cannonball. This process — sometimes called repurposing — is central to prop artistry, and it saves resources while encouraging imaginative problem-solving.

Building from Scratch

When specific items don’t exist or need to perform special functions, they must be built from the ground up. Building from scratch also ensures control over weight, durability, and safety — vital for objects that will be handled repeatedly or broken during performance. Techniques vary depending on the material and the effect desired, with construction combining carpentry, sculpture, painting, and mechanical design skills:

• Fabrication and sewing for banners, flags, or soft props.
• Wood and foam carving for furniture, architectural pieces, or statues.
• Thermoplastics and resin casting for weapons, jewellery, or complex shapes.
• 3D printing for intricate or repetitive elements (e.g., identical artefacts).

The Illusion of Function

Some props need to appear functional without actually working. A prop phone, for instance, may not make real calls but might light up or vibrate to mimic use. A gun may not fire live blanks, but produce light and sound via an electric trigger (or, in many cases, cue sound and lighting effects). This is where the artistry truly shines: the audience must believe in the function, even if it’s purely illusion.

Safety and Practicality

While aesthetics matter, safety always comes first. Props must be safe for repeated use, easy to reset between performances, and designed to prevent accidents. Breakaway glass must shatter harmlessly; edible props must be hygienic and non-allergenic; weapons must be inspected, locked, and handled only by trained professionals.

The Role of the Props Master/Mistress

Behind every well-stocked stage lies a meticulous and creative professional: the Props Master/Mistress. This role sits at the intersection of artistry and logistics — they translate creative vision into tactile, usable reality; as a prop designer, one of their greatest challenges is balancing realism with theatricality.

The role of the Props Master/Mistress combines artistry, research, engineering, and diplomacy, and is responsible for the sourcing, building, organising, and maintaining of every prop in a production — duties that typically include:

• Collaboration and Design — Working with the Director and Set Designer to understand the production’s visual style, historical period, and tone.
• Research — Investigating period accuracy, materials, and usage for authenticity.
• Acquisition — Renting, purchasing, or borrowing props from suppliers, storage houses, or local sources.
• Construction — Creating or modifying items as needed in the props workshop.
• Organisation and Maintenance — Keeping an inventory, labelling, storing, and ensuring props are maintained and reset after every performance.
• Budgeting — Managing the financial constraints of the props department while maintaining quality.
• Supervision — Leading a team of prop artisans, assistants, or interns when necessary.

A Labour of Love

Working in props requires patience, creativity, and resilience: schedules are often demanding; deadlines are tight; unexpected issues arise constantly. Yet for many props artisans, the joy lies in problem-solving — turning an impossible request (“I need a vase that explodes on cue but doesn’t make a mess”) into a seamless illusion.

Collaboration with the Creative Team

Props work is often invisible to the audience — its success is measured in immersion: when everything feels authentic and effortless, the props artist has achieved their goal. To achieve this, the Props Master/Mistress doesn’t work in isolation; their success depends on collaboration across the various production departments:

• With the Director: To interpret the narrative and emotional needs of each prop (what must be realistic, symbolic, or exaggerated).
• With the Set Designer: To ensure that props match the visual world of the set in colour, scale, and style.
• With the Costume Designer: To coordinate items like jewellery, accessories, or handheld objects that cross departmental lines.
• With the Stage Manager: To maintain organisation backstage, track prop placement, and ensure consistent use and safety.
• With the Actors: To provide comfort, functionality, and reliability. Actors may rehearse extensively with props to establish muscle memory and confidence.

Rehearsal vs. Performance Props

Props evolve over the rehearsal process. Early in production, actors often work with rehearsal props — temporary stand-ins that approximate size and weight. This allows them to develop blocking and interaction before the final props are ready. During technical and dress rehearsals, performance props — i.e. the finished, fully functional items — are introduced. Adjustments are made to accommodate visibility, sound, and handling.

Sustainability and Reuse

In contemporary theatre, sustainability has become a key concern. Prop departments increasingly reuse, recycle, and repurpose materials to reduce waste and cost, particularly in small/community productions.

Hiring props is often preferable to holding a large stock of items, particularly for those involved in community theatre productions. Companies providing theatrical props for hire have storage facilities that hold decades of accumulated objects, catalogued and ready for new life in future productions. A single wooden chair might appear in a Victorian drama one season and a 1950s kitchen the next.

Sustainability also inspires innovation — prop artists use eco-friendly materials, biodegradable paints, and energy-efficient lighting to reduce environmental impact without sacrificing artistry.