Author: Diane

On the radio the other day, there was a discussion about recycling, and they said that cardboard recycling has gone up during COVID. We are no stranger to this phenomenon, having more than done our part to contribute to Jeff Bezos’ wealth. The real cardboard goldmine, however, came courtesy of the new fridge we bought for the basement.

“Make sure to tell them to leave the box!” I said to the Husband when he told me that the fridge was being delivered.

The day the fridge arrived, as the delivery people were trying to figure out how to take the door off the fridge, I waved them down, pointing at the box. “Can you please leave it?” They delivery guy looked at me and laughed.

“Yeah, sure,” he said, and dragged it to the far end of the driveway.

Immediately the kids were entranced and set up shop inside, among the Styrofoam and packing materials. It made a shady little hideout from the 90 degree weather.

“We can’t just leave it here,” I said. “Let’s have a plan.”

The next day, I was playing in the backyard with the two younger kids when I heard scraping and thumping and heaving. I looked around the house, and saw the eight year old trying to heave this box, this very big, refrigerator box, over the front gate and into the back yard.

I wasn’t quite sure what the plan was. Just that it was a big box. When I was little, I read a book called Christina Katerina and the Box by Patricia Lee Gauch. It tells the story of a little girl’s endless adventure with a large cardboard box. Ever after, I saw cardboard boxes as full of infinite possibilities and mutations, and even now I have a hard time throwing large boxes out. “It is going to be something!” I tell myself. After all, the cardboard box was inducted into the National Toy Hall of Fame in 2005.

The eight year old decided that the refrigerator box was going to be a clubhouse/ lemonade stand. We painted it with some leftover paint from painting her bedroom (turquoise) and the dining room (yellow). Holes were cut to be the service window. The kids moved in and started to play in it, running in and out, serving lemonade, using other boxes to be a pretend counter.

Then rain was forecast and the box was brought inside, much to the Husband’s chagrin. I mean the thing is huge. We folded it up and tucked it in the play room, and the eight year old continued to plot and design. Eventually she fashioned a drink dispenser out of a smaller box and some paper and we slotted it into the side of the larger box.

The cardboard creative bug was unleashed.

A few weeks later, I saw this DIY large object permanence box on a Montessori website, and decided to make one for the baby. Mine is not as neat and tidy as the one featured, but still, the baby has really gotten into dropping a ball into the hole and looking for it at the bottom where it comes out. She has actually now moved on to dropping cars in the hole and watching them come shooting out the doors. The three year old, too, has really gotten into this.

“More! More! Cardboard creations!” a Gollum-like voice inside me insisted.

Which brings me to yet another stage management skill that has been languishing during COVID: making rehearsal props out of tape and cardboard.

I remember during my first stage management internship at a regional theatre – a production of Agatha Christie’s Ten Little Indians – the props mistress was so excited to have found a set of ten carved Indians on eBay. She was rhapsodic about the ease with which she was able to find these things, and now we just had to wait for them to be shipped to us from across the country. The idea that she could find such a specific prop without having to visit fifteen antique stores or hand make it herself was intoxicating.

The patience and wonder we had with the way the internet made propping a show much easier has worn off a little these days. Now we take it for granted sometimes that things can be clicked upon and delivered the next day. Like on those days when a director demands that the prop he added five seconds ago should have been in rehearsal yesterday.

So what is a props ASM to do when the need is immediate and the Props Master needs at least a couple hours to produce something? Well, if it isn’t readily at hand, you decide that, yes, the performers need something to put in their hands. Right. This. Minute. No, they can’t mime it. So, okay. What are we going to give them? (At one theatre I worked at, the Prop Crew had a tongue-in-cheek rehearsal prop request form. One of the questions on the form was, “Please explain why a piece of 2×4 labelled with gaff tape will not suffice in rehearsal.”)

So you root around, take stock of what there is, scavenge a little, do some magic with scissors, some origami with unpliable objects and then wrap it all in yards of tape to keep it all together.

I have crafted many a rehearsal prop in my time. Janky rehearsal prop construction out of minimal materials is definitely a job skill. You have analyze how the “improptu” is needed to function in rehearsal. Does it need to work or move in a certain way? Is it something that has to be thrown? Sat upon? Exchanged between singers? Does it need to just be the right size and shape to fit in someone’s hand?

Next, you have to balance aesthetics with the function. So you don’t want it to look so ugly that it is distracting in rehearsal, but you also don’t want it to look so good that it becomes the real prop. This is where wrapping the creation in black gaff tape is helpful.

Then you look at what is available and get to work.

Things that are helpful to have for optimal rehearsal prop creation:

With those things, I figure you can make just about any rehearsal prop you need. I mean maybe not things that are bigger than a house cat, but really most things. It won’t necessarily be pretty, but it will get you through til the real thing comes. Or until the director decides that was a bad idea after all and cut the thing.

“Improptus” I or my colleagues have constucted: jewelery, cigarettes, cigars, globes, reticules, pocket watches, wands, butterfly nets, miniatures in frames, large pictures in frames, brushes, hand mirrors… the list goes on.

So back to COVID present times and the carboard box city growing in our house – or as my husband calls it, “The Warehouse”. I asked the three year old what he wanted. And he said he wanted a UPS truck.

My friend Kristen had recently gifted us a large box. Originally I had promised this box to my husband to use as cover in the garden later this year, but I figured that there would be no shortage of cardboard in our house, and that a UPS truck was a worthy project for such a large box. So I wrestled the box inside the house and started cutting a front window.

“It needs to have a sliding door,” the three year old said.

This is when I have to start breaking things down in my head. What exactly are the essential elements of a sliding door? Well, a door. And a track. And a handle.

A door is easy – a large rectangle. I cut out a window on that as well.

And a handle is easy to fashion out of a strip of cardboard, though it does take a lot of tape to get it to stick.

Which leaves a track. And I think what is a basic track? Well it’s a groove, I guess. So I cut two long pieces of cardboard to run the back length of the box, bent them to form a place for the door to ride, and taped those to the box. I slid the door in and voila!

I drew a UPS symbol on the box… amazing how much authenticity a logo can give a confection of cardboard and tape.

Next, turning out attention to the inside – some knobs and a steering wheel, all made to turn on cylinders made of more cardboard.

“And it needs buttons,” he said.

Well, that was beyond me. But not beyond that other Stage Management magic weapon…. the Sharpie.

He is delighted with it. He sits in it and drives, “pushes” the buttons, turns the knobs. He fills it with more, yes, cardboard boxes, and delivers his packages around the house. I almost need to find him brown pants and a brown polo shirt.

I’m not sure how long these cardboard creations will last. But, as with improptus, longevity isn’t the point. Even though these things aren’t the real thing, they serve their purpose. There is joy and satisfaction in their creation and there is joy and satisfaction in seeing them put to use. They are perfect for the now. They don’t have to be perfect for the forever.