A prop list that says “cup, letter, chair” tells the company little once several cups, two letters and three rehearsal chairs enter the room. Give every required item a clear identity. The inventory should connect the object to its scene, the person responsible and its current status. Start early, while substitutes are still being used, so the transition to performance props does not depend on everyone remembering which version is final.
Use one row per distinct item or clearly defined set. Record a short identifier, description, quantity, scene reference and owner. Add dimensions or a photograph when appearance or fit matters. If an object is borrowed, write down the agreed condition, return date and any limits on alteration. Do not assume permission to paint, cut or repair a borrowed item because the production needs it to look different.
Separate rehearsal and performance objects
Mark substitutes plainly and record what must match the eventual prop. Weight, size, grip and the way an object opens can affect the action. Ask the relevant creative and technical staff to approve the transition. The RSC’s stage-management description identifies props as part of the rehearsal and performance coordination. Your company may distribute the tasks differently, but someone still needs to know which version is in use and who can authorise a change.
Keep special items under the appropriate controlled procedures. Weapons, breakables, consumables, electrical objects and other unusual props require qualified assessment and the venue’s rules. Do not treat a general inventory article as instructions for making or handling them. Record the responsible specialist and the relevant procedure without spreading sensitive details unnecessarily. A harmless-looking substitute should also be checked for the actual movement and environment in which it will be used.
Document the journey through the show
For each performance prop, note where it begins, who collects it, where it goes and who resets it. A simple plot can reveal an impossible transfer before the first run. If the same object appears on opposite sides of the space in quick succession, the company needs a workable route or another agreed solution. Do not leave that discovery until the audience is seated and the first handoff fails.
Photograph the preset once it is approved. Use labels that remain legible under the working conditions without distracting the audience. Keep tables and storage arranged so people can reach items without crossing unsafe routes. Follow the venue’s backstage and fire requirements. A neatly labelled prop is still a problem if its storage blocks an exit or encourages someone to reach through moving scenery.
Count, inspect and return
Assign the pre-show and post-show checks. Record missing or damaged items promptly, including what action was taken. Separate a cosmetic change from a condition that affects safe use. If an item is replaced, update the photograph and description so the inventory continues to reflect reality. Do not keep two competing “final” objects in the same unmarked box and expect a new crew member to choose correctly.
Plan the end of the run before strike. Identify borrowed returns, storage items, consumables and materials suitable for reuse. The Theatre Green Book’s reuse guidance points to theatre stores and networks as resources for further use. Confirm ownership and permission before passing anything on. Reuse works best when the next recipient knows what the object is and what condition it is in.
When the inventory is being transferred to a Boston workspace, use the Boston theatre-moving guide to prepare the transport inquiry. Identify borrowed property, awkward scenic shapes, and fragile props separately. Keep technical preparation with the responsible production staff and ask the mover to define the contents it will accept.
Close the inventory only after returns and agreed transfers are complete. Keep receipts or acknowledgements where appropriate and archive the final list with useful photographs. The next production can then find an object without reopening a chain of messages from the previous cast. A prop inventory is a practical record of responsibility, not merely a shopping list with ticks beside it.