Contact

CHRISTOPHER HAIG 610-574-1461 christopherhaig@yahoo.com
Throughout this blog you will find examples of my set and prop design work and my process for each. To see a complete portfolio of my work or if you are interested in having me design your production, please contact me via the phone number or email address above. Thanks and enjoy the blog.

Sunday, August 22, 2010

Musical Propping Vs. Play Propping

While working for Theatre Horizon on their upcoming production of The 25th Annual Putnam County Spelling Bee, the difference between propping a musical and a staged play has become amusingly clear. 

To explain, for Bee I'm brainstorming a way to make a Twinkie really explode when squeezed during a song about an erection.  While The Cryptogram has me hunting for just the right German pilot's knife to remain historically acurate while also looking dangerous and massive in the hands of John, the 10 year old boy played by Conrad Sager.



I do love my job. If you were ever an avid treasure hunter as a kid, this may be the profession for you.

Thursday, August 5, 2010

The Cryptogram by David Mamet

I'm currently working on props for Simpatico Theatre Project's upcoming production of David Mamet's The Cryptogram.  The show opens September 30, 2010 at the Walnut Street Theatre's Independence Studio on 3.  For more info on the production and Simpatico (where I'm also the Company Manager) visit us online: http://www.simpaticotheatre.org/

The play takes place in 1959.  A very specific year chosen by Mamet as it relates to a turning point in America.  It is the last year of the 50's before the crazy swinging 60's and all its social upheaval took the country by storm.  It is the last year of America's "innocence" some say.  In The Cryptogram, the characters also go from an idyllic, picture perfect existence into a troubling and unknown future where the stability of life is forever upset.

TOY research - One of the three characters in this thriller is ten-year old JOHN, played by Conrad Sager in Simpatico's production.  To get a sense of what John might play with and to fill the living room space onstage and give Conrad some objects to identify with, I've researched popular toys of the 1950's.


KNIFE research - One of the most significant props in this play is the KNIFE.  John's father, Robert, a character never seen onstage, is the central motivating factor in the lives of the three characters we do encounter: his wife, Donny, his son, John and the family friend, Del.  The knife belongs to Robert who picked it up under mysterious circumstances during World War II or maybe from a street vendor.  It holds mythic and symbolic importance to both Del and John and leads to a crucial plot point.  The knife is described as a German Pilot's knife that would be used by paratroopers to cut their cords should they become entangled in a tree after their jump.  Doing research on knives was enlightening as there are several variations on the "pilot knife".  The one pictured above is the closest I could find that fits the scripts description of its origins and size.  The play ends with young John carrying the knife upstairs by himself into a dark unknown where nothing good can happen.


RADIO research - Set Designer, Meghan Jones and Sound Designer, Larry Fowler, have been discussing ways to include a vintage 1950's radio as a practical onstage.  The one pictured above is typical of the period with a hard-plastic shell, two knobs for tuning and volume and a large speaker face on the front.  This prop will live onstage for most of the show and will be somewhat central to indicating the time period of the piece.  Hopefully, audiences will recognize the radio as being from the 1950's along with the costumes being designed by Janus Stefanowicz.
more to come on THE CRYPTOGRAM by David Mamet http://www.simpaticotheatre.org/