Two full-time Property Masters travel with the national tour of Spamalot, Scott Gibson and Tom Perrin. When they arrived in San Francisco, they hired six from the local crew pool to help load the show in and then two crew to help them during performances for the Bay Area engagement of Spamalot at the Golden Gate Theatre. They answered our questions as a team.

Scott Gibson is the Head Prop Master and is marking his 25th year in the business. He joined IATSE, Local #33, in 1984 and has been a Prop man for 15 of those years. Scott finds props more of a joy to do than other jobs on the crew. Based in Los Angeles, he has done numerous Broadway shows and concerts and worked for Fox Network and Fox Sports.

Tom Perrin is the Assistant Prop Master and has been a member of IATSE, #126/Ft. Worth, Texas, since 1993. He has worked on many Broadway tours including Les Misérables, Wicked and Sesame Street Live. Tom earned a BFA in Technical Theater from Purdue.

Describe your job as Properties Masters for Spamalot and how you manage the additional crewmembers in each city.

When the show first arrives at a theatre, the Prop Master oversees the distribution of work boxes, hampers and other equipment to the Hair, Wardrobe and Management Departments. We also help set up the orchestra pit with the Sound Department. We also deliver luggage when necessary. During performance, we set and strike big props on stage like the Wooden Rabbit, the Lady of the Lake’s pedestal, etc. We also hand out props to the actors as they go on stage and catch the props as they come off stage — coconuts, fish, and so.

Spamalot’s Scenic and Costume Designer Tim Hatley provided the original designs for the Props but who actually built them?

Many scenic and specialty prop shops in New York.

The Pythons were quite clever in how they used props in the film and that obviously carried over to the musical. How many props do you manage for Spamalot?

Over 100— from flags and fish to butt trumpets.

Is there anything unusual in the size, structure and maintenance of those props? What’s the largest/heaviest prop featured in the show, and the most difficult to maintain?

The large wooden rabbit is the largest and heaviest, but the cattails with flicker lights are fragile and need a lot of care.

What is the Prop crew’s role pre, during and post show?

We see that the stage is clean and ready to go at curtain time and check all of the props and be sure that they are working. Once the show ends, we lock up all the props and go home.

What’s the most challenging prop to move from city to city?

The two large "gaming" tables in Camelot that the guys tap dance on. They are heavy and don't come apart.

What’s you favorite part of Spamalot?

Tossing the cow! It's the ‘money’ cue.

What’s the Prop Master’s worst nightmare on Spamalot?

Not getting the cow over the castle!

What’s a personal prop or gadget that you can’t live without?

We always carry a flashlight and a multi-tool for quick fixes.

Anything we didn’t ask that you think our readers would want to know about the show and its props?

Don’t touch or sit on the props!

For more about Spamalot, click here. For details about the show, click here.

Production photos, including Montage shot of Knights and John O'Hurley as King Arhtur: Joan Marcus
Cow toss production photo: Catherine Ashmore
Cow, rabbit and hand of God images courtesy of Spamalot

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