Bristol Riverside Theatre – Props Master

The 2018-2019 season at Bristol Riverside Theatre included The Rivals, a new musical from the minds of Peter Kellogg and Stephen Weiner, as well as other classic plays like Neil Simon’s The Sunshine Boys. Ms. O’Brien served as the Props Master on all five productions.

 

 

The tiny apartment set for Neil Simon’s The Sunshine Boys included many practicals, including lighting, speakers, and a TV unit.

Act II of The Sunshine Boys required a set change that included a new style of props.

Ms. O’Brien rented many items for The Sunshine Boys, including rugs and floral arrangements, to keep costs low.

Many paper props were required for The Sunshine Boys, including telegrams, newspapers, and food labels.

The world premier of The Rivals rehearsed in New York City. Ms. O’Brien was responsible for delivering hand props to rehearsal and safely transporting them back to Bristol for the run of the show.

Fine furniture was attached to small dollies for The Rivals, which allowed actors and crew to easily move them in transition. Ms. O’Brien maintained them during the run of the show as necessary.

Ms. O’Brien’s favorite prop of the season was a small stuffed bear that lost its head each night in a moment of passion. She bought three identical bears, and doctored two of them: one to be the decapitated one and another to be the “fixed” bear for the final scene.

A cheap pool table was modified to be on wheels and gaudy looking for a pool hall scene.

Theatre Row (Off Broadway) – Props Designer

 

Pressing Matters, by Jennifer Jasper, was a production composed of six short plays all set in different locations. Much of Ms. O’Brien’s work involved setting those scenes without weighing down transitions between the plays.

In his review, Anthony Calamunci from Theatre Is Easy quipped that:

“Oscar Clyde Denman boasts the most impressive design, depicting a rather convincing girl’s bedroom. The bookshelves in particular show an admirable attention to detail.”

The most involved setting of the six plays was “Oscar Clyde Denman,” which was situated in a young girl’s bedroom. The furniture needed to be placed quickly and quietly by three crew members, yet needed to fully incorporate all the trappings of a young person’s room.

Pressing Matters, by Jennifer Jasper, was composed of six short plays. Each story involved a different setting, which caused the furniture and props to shift for each.

Most of the furniture pieces used in the six plays were resold or re-homed after the production closed to help balance the budget and to keep items out of the landfill.

For “Inheritance,” O’Brien scouted the Smithsonian archives for 1970s era protest signs. She replicated one by using hand stencils and spraypaint.

The armchair and ottoman used in this production were sourced through Craigslist. The family that originally owned the items were so interested in their Off-Broadway use that they drove from Pennsylvania to see them used on stage.

The hardest find for this production was an airport tandem seat. Ms. O’Brien found and refurbished an original Kreuger for the final play of the evening.

Colt Coeur Theatre Company – Props Designer

Empathitrax, by Ana Nogueira, imagines a possible near-future when couples use a pill to feel each other’s emotions. Highly favored by many reviewers, the play went on to receive a New York Innovative Theater nomination for Best Set Design.

 

Empathitrax, a new play by Ana Nogueira, consisted of a relatively simple set. The focal point was the muted couch, a Craigslist find.

The Empathitrax pills were consumed on stage six times per show. Ms. O’Brien created a safe product for the actors to consume, taking actors’ dietary restrictions into account. She also hand built the light-up packaging for the pills.

Other consumables used in the show were a vaporizer, food, and drink.

The stand-in for Zoloft was yellow PEZ, which also needed to be consumed multiple times per show.

Electronics were abundant in the show, including a laptop, three cell phones, a Palm Pilot, and speakers. All were sourced cheaply for the production.

Colt Coeur Theatre Company – Props Designer

Ms. O’Brien re-joined Colt Coeur for another Off-Broadway production, this time for the world premiere of How To Live on Earth by MJ Kaufman.

Set in a neutral waiting room that served as many locations, Ms. O’Brien repainted Eames style chairs and a table to fit in the many worlds.

Ms. O’Brien was responsible for creating a hand written poetry journal for one character.

The production’s set design by Amy Rubin was met with much praise from New York critics.

Budgeting was important when factoring in the assorted pieces of furniture and electronic elements used throughout the play.

Much of the furniture was sourced through Craigslist, which helped keep the production under budget.

How To Live On Earth also made use of multiple functioning electronics, including a television, video camera, three phones, and two computers.

Dorset Theatre Festival – Props Master

This production of Intimate Apparel used three beds, including an antique canopy. Ms. O’Brien was responsible for creating a ruffled canopy to fit the designed world.

Esther’s quilt was equipped with hidden pockets that were ripped each night on stage.

Mr. Mark’s fabric table was custom built for the production and carefully dressed with a variety of fabric.

A period accurate and functioning Singer sewing machine was purchased for this production.

For Sherlock Holmes and the Case of the Jersey Lily, Ms. O’Brien was tasked with finding period accurate furniture on a very tight budget.

Two armchairs, two card catalogs, three side tables, four desks, and six occasional chairs were all purchased for this production.

The show required a functioning 1900 era Underwood typewriter, which needed maintenance and regular check-ups throughout the run.

Outside Mullingar was performed on a raked stage, and much of the furniture was adapted to mimic the rake.

All chairs and tables were stained and distressed to match the world of a weathered Irish farm home.

The set included a peat stove and radiator, as well as chicken feeders modified to be pendant lights.

A wrought iron bed was moved center stage during a transition. Creating a sturdy but light set piece was one of Ms. O’Brien’s greatest challenges.

Guinness was mimicked on stage using Diet IBC Root Beer.

For I Hate Hamlet, the final show of the season, Ms. O’Brien stayed under budget by using many items from stock, borrowing from local connections, and reupholstering existing items.

A Wassily chair was purchased for Act I of I Hate Hamlet and the modern couch was heavily reinforced to support the actors rough use of the piece.

The chaise was re-upholstered by Ms. O’Brien and her intern in one afternoon.

I Hate Hamlet contained a complete re-dressing of the set during Intermission. This included curtains, four rugs, two thrones, a chaise, an ottoman, suit of armor, chandelier, and wall art. The entire change only took 7 minutes for two ASMs and a stage hand to complete.

Just The Lads Theatre Company – Set Designer

The Last Post is a promenade production that was staged at The MART in Rathmines, Dublin. The production detailed the history of postal workers in Ireland with the help of oral histories and research of An Post and the Returns Letter Branch.

Ms. O’Brien was responsible for handwriting over 100 addresses on letters that were later sorted by the audience.

The audience moved through the entire building, including the bathroom, which was turned into a museum of postal history.

The walls were covered in newspaper articles about RLBs and postal workers, while junk mail was strung across the ceiling.

One scene about delivering the post was situated outside on stationary bikes.

The basement was home to Aoife’s House, a typical Irish granny’s house. The break room was converted by adding an armchair, lace wall coverings, patterned curtains, and art.

The actress served tea to the audience after inviting them into her home to share stories of old love letters.

The final scene took place in the garage space once used for firetrucks. The audience fully participated in sorting mail for the Christmas rush. Tasks included reading illegible handwriting, cutting out stamps, and sorting mail to famous Irish personalities.

Colt Coeur Theatre Company – Props Designer

As the Props Designer, Ms. O’Brien helped to create a locker room for Ruby Rae Spiegel’s Off-Broadway play Dry Land – about girls, abortion, bathing suits, and what happens in one high school locker room after everybody’s left. The abortion scene proved to be a challenge for Ms. O’Brien, who engineered two blood effects that were noted in many of the reviews. Elisabeth Vincentelli at the New York Post stated:

“As for the blood: It seeps out slowly and horribly in one of the most harrowing scenes of the year, which has something to do with how Amy (Mezzanotte) has chosen to deal with that problem of hers.”

Keith Paul Medelis at Theatre Is Easy called it a Best Bet as he elaborated:

“In just the right ways, Ruby Rae Spiegel’s play can’t resist a good deal of seat dancing as you squirm your way through repeated (literal) gut punching action, toxic locker room humor, and some blood effects that will remind you why you shouldn’t eat at least an hour before going into the pool.”

The play was praised by The New York Times’ Ben Brantley as a Critics’ Pick”

“Be warned: This scene, which portrays the ultimate result of Amy’s search to end her pregnancy, is almost unbearable to watch. Ms. Mezzanotte and Ms. Ivlev rise beautifully to the challenge posed here, which is a tough one on many levels.” 

Each locker was dressed for the individual swimmers.

Ms. O’Brien was responsible for building the bench, which had to be stable enough to be leaned against, but light enough to be carried by one person.

The stage blood effect was a two step process. The first was a blood bag that the actor palmed from inside her locker.

The actor controlled the blood bag by pressing her side. It was attached in the quick change before the scene.

Ms. O’Brien engineered the blood effect to create an on-stage abortion.

The Janitor was responsible for cleaning up the stage blood, which had to be

The blood effect was easily cleaned by the Janitor due to the base of Tide detergent.

The only scene to take place outside the locker room was set in a dorm hallway.

The television and DVD player were purchased cheaply through Criagslist and operated through the light board.

The vending machine functioned, but was modified to fit Gatorade, which were specifically mentioned in the script.

The blood bag was fashioned from an IV bag and tube from a hardware store. A small sponge blocked the tube, which was forced out during the first “contraction.”

The actor attached the blood bag to her side using see through medical tape during a quick change. The tube was painted to blend with the floor so it was invisible to the audience.

Dorset Theatre Festival – Props Master

Dorset Theatre Festival’s set for Red by John Logan.

Actors mixed red paint on stage using fillers, such as jello and chalk. After propping two productions of Red, Ms. O’Brien has the perfect formula for red paint that works well on canvas but doesn’t stain hands or clothes.

Actors assembled a partially finished stretcher on stage, as well as a blank canvas.

After stretching the canvas, actors used one mixture to paint a canvas live on stage.

Set dressings from the Dorset Theatre Festival production of Red.

Set dressings from the Dorset Theatre Festival production of Red.

Set dressings from the Dorset Theatre Festival production of Red.

Leslie Ayvazian’s new play Out of the City premiered at Dorset Theatre Festival.

The small green slipcover and all the throw pillows were sewn by Ms. O’Brien.

Ms. O’Brien was responsible for acquiring four armchairs and one sofa within her limited budget. She drove three hours to buy the couch and borrowed the other furniture for the run from various local sources.

Props for All In the Timing included three working typewriters, a period accurate newspaper, matching school desks, a replica cheesesteak, and a photoshopped 1943 wall calendar.

Ms. O’Brien worked with the carpenters to create a realistic looking seagull that could ambulate across the stage.

Ms. O’Brien worked with the costume crew to embed an axe in Trotsky’s skull, which needed to withstand multiple pratfalls each performance.

Dorset Theatre Festival’s set for the production of The Mousetrap by Agatha Christie.

Dorset’s production of Agatha Christie’s Mousetrap was different from the usual interpretation, but it was still period accurate.

Ms. O’Brien was responsible for finding British sockets and light switches, as well as fabricating period accurate newspapers, magazines, and train tickets.

The furniture was reinforced with planks to help actors and the cushions were tacked down to mask the addition.

Ms. O’Brien sourced a pair of skis from the first year that EMS sold them.

Walnut Street Theatre – Properties Apprenticeship

Rosario’s Car Service Counter from In The Heights

LED backlighting on Rosario’s Car Service counter from In The Heights

In The Heights: The Rosario’s at the counter-top

In The Heights

Ms. O’Brien was responsible for consumables for In The Heights

Prop microphone made of PVC pipe, lamp parts, and springs for Sophie Tucker: Last of The Red Hot Mamas

Downstage side of Sophie Tucker’s microphone

Sophie Tucker: Last of the Red Hot Mamas

Complete refurbishment of Santa’s armchair for Elf

The existing chair was shrunk by six inches from front to back and three inches from side to side to fit a specified platform.

New fabric, lining, springs and supports were added to the chair.

Santa’s armchair

Santa’s armchair on its platform

Elf

Macy’s Santa platform, which contains an air caster system to move it on and off-stage.

Elf

Ms. O’Brien used Photoshop to create pages from the children’s book “Jingles the Jolly Christmas Puppy”.

One of three Central Park trees constructed and painted by Ms. O’Brien for Elf.

One 10ft and two 12ft trees for Elf

Pastel de guava for In The Heights

Replica AppleTV for Elf

Book jacket for “Love & Mercy: A Memoir”, a novel written by the main character in Other Desert Cities

The actress playing Brooke Wyeth reading from the prop book – Love and Mercy: A Memoir.

Ms. O’Brien stands beside an oversized rolling MyPlate prop constructed for a touring education production, Nick Nutrition.

Side table for Beautiful Boy, which was created from a larger table.

Finished log side table

Walker Pouch fabricated from muslin.

All food items in Pinkalicious: The Musical were printed and attached to foam core. Ms. O’Brien cut and carved all the items using the bandsaw.

Foam phone with cord attached.

This full color modern newspaper was created using Photoshop.

Ms. O’Brien created an oddly shaped kitchen counter for The Rise and Fall of Little Voice.

Ms. O’Brien was also responsible for the box pleat skirt. The curtain was removed in Act II to reveal a scorched interior.

The kitchen counter following the house fire that occurs in Act II.

Created from a phone, lamp parts, and scrap wood, this item was used in I Love You, You’re Perfect, Now Change.

The handset was later modified so it could not be removed from the cradle.

The bed for I Love You, You’re Perfect, Now Change had a folding headboard and footboard for offstage clearance.

The bed prior to modifications to make it narrower.

Three actors testing the upright bed. Sheets parted in the center to allow a third actor to appear during the scene.

An existing toadstool was duplicated and then repainted.

Second toadstool after foam and tissue paper exterior were added.

Finished toadstools used for Alice In Wonderland Jr.

Good People – Set Design

Ms. O’Brien’s set design for Good People incorporated the use of two rolling wall units that doubled for the exterior scene and the Bingo hall.

The set for Good People was contained on a 20′ x 20′ platform that rotated on a single pivot point.

Due to the pivot point being off-center, each of the three rooms on the platform were of varying sizes and shapes.

Crew members moved the turntable in complete darkness.

Mike and Kate’s home in Chestnut Hill was the most lavish set, and spilled off the platform to create a grandeur not present in Margie’s everyday life.

Ms. O’Brien’s main focus is in Properties. The Chestnut Hill set allowed her to show her artistic eye for set dressing and properties, both big and small.