The red and blue pills in The Matrix. The Rosebud sled in Citizen Kane. Marsellus Wallace’s briefcase in Pulp Fiction, contents unknown. The (real) severed horse head in The Godfather. Every sword, gun, wand and lightsaber that has been brandished by an actor on a screen or stage. What do these items have in common? Nothing, except that they are a tiny sample of the staggering range of objects, from the iconic to the instantly forgotten, known as props – or, to use their formal name, “properties”.
Props are, properly defined, anything used in a performance that is not part of the set or costumes. Sourcing or fabricating them is the job of a team overseen by the prop master; the term is gender-neutral, although the prim-sounding “prop mistress” is occasionally heard. It’s a massive undertaking, but not one that gets much attention. “It’s nice that you are asking about props, because they’re not really acknowledged,” says Jode Mann, a TV prop master in Los Angeles.
