1. The Glass Menagerie. Approximately 2’ x 2’ x 30". SLG will supply drawings or further information regarding size, function and design. This unit is a light box and a piece of period furniture. It must light up from below and radiate through glass shelves. This same lighting will need to magically glow, show faces at times as uplight, isolate and make the glass animals sparkle, and dim down so as not to be noticed throughout the show. As it rests on the edge of a +24" deck, electric’s and instrumentation can be housed under the platforming. We need to consider heat generation in the design of this unit. This unit needs to be coordinated by all departments: design, properties, electrics and certainly the blocking for the show.
2. 30-40 glass animals. The Unicorn will not show from stage so any glass figures will do. Look for these early as the real cheap ones are hard to find.
3. Laura’s area window seat will be a scenic and property unit. This unit will require a custom fitted, upholstery covered, seat cushion. This is where Laura sits and works. Coordinate color with costumes. SLG will supply drawings or further information regarding size, function and design.
4. Window Curtains. The scenic windows will be light boxes. In order to soften these electric lighting elements, we may need several layers of sheers and period drapes. These curtains are intended to serve several functions: a. period design, b. artistic masking for the lighting boxes, c. diffusion of the light. At times the window needs to appear to be radiating as Laura’s dream world. At times it should be warm and sepia. SLG will supply drawings or further information regarding size, function and design.
5. Several period area rugs. Number and style to be determined.
6. One new rug for Act II
7. The Photographed Framed Picture of Father. This unit will require coordination in scenery, costumes, lighting, properties and stage management. It must be rigged to fly as it will be suspended from the grid or a batten. Use 1/16 braided cable (or most thin within rigging safety standards), painted flat black to fly. The actor playing Tom will be photographed in front of a suitable 1920’s background and in costumes. Properties will need to photograph the actor in sufficient time to process the custom photo translucency. The photograph is a light box with the transparent photo in a period styled frame. We will need to make deadlines for the execution of this unit. SLG will supply drawings or further information regarding size, function and design.
8. Wind up period phonograph with record storage area and records. Approximately 2’ x 2’ x 40-48"". SLG will supply drawings or further information regarding size, function and design. There is limited floor plan space for this furniture. We may have to build it. Only the exterior handle and a possible "period needle arm" need be practical. The design should include a top lid which opens and closes. The "record" will be placed inside by the actor in such a way that it masks the fact that this may be a non-functioning prop. A speaker can be placed in the deck underneath the phonograph for source sound. Cable come be run under the platform.
9. Typing table. Approximately 2’ wide and 2’6" - 3’-0" long at correct height for type by sitting on the window seat. This unit should be delicate, not bulky and massive. Laura’s area should be thin and lace like. Typing table may need to be on wheels. It need only be large enough for a period typewriter and side typing chart or text.
10. Period, 1920s manual, working typewriter. It will need all working keys, carbon ribbon and the like. Laura will need to insert typing paper (onion style) for practicing on stage. This prop needs to be in rehearsal immediately for the actor to work with it.
11. Typing paper. I see onion skin style. It can be legal sized.
12. A period 20’s style typing chart from the Typing School. Or a book stand for typing copy with a small typing textbook.
13. 5 wall sconces. These will need coordination in scenery, props and lighting. SLG will supply drawings or further information regarding size, function and design. They will be period reproductions of 20’S style wall sconces with glass shades. Most Discount Home Improvement centers carry these sconces. The three downstage sconces are wired into the flying wall. The cable run must come from under the deck so the audience will not see electrical cable coming down from the grid. Plan on 25 wt lamps. Depending on the frosting of the shades, we may want to use clear bulbs for the scource filaments.
14. Colored paper lanterns over sconces for Act II.
15. Wall mirror above the phonograph. It should be in a period frame no larger than 2’ wide and 2’-2’6" tall. We may need to soft the mirror surface. The director may want actor reflections in the mirrors to be seen by the audience. Placement and tilt will be important. Also, it must be rigged to fly with the wall unit.
16. Day Bed. A period sofa which can be used for Tom to sleep on. Look for a 3’ deep by 7’ long unit. We may need to recover the unit. Dress with period dollies on the back and arms.
17. Act II chintz cover on sofa. Coordinate color with Act II costumes. Laura in particular.
18. Sofa pillows, Act I.
19. New Sofa pillows, Act II.
20. Period sofa end table. 1’3" - 1’-6" wide, 1’-6" - 2’-0" deep max. at normal height. Can be square or round.
21. End table period table cloth, Act I
22. End table period table cloth, Act II
23. Period looking, practical end table lamp with Act I Shade. Run electrical cabling through the deck. Lamp between 25 - 60 wt. We may need a clear filament bulb.
24. Act II Shade w/rose silk
25. Amanda’s Period Chair. Maximum 3’ x 3’. We may need to recover it or cover it for both acts. This is where Amanda sits and works. Coordinate color with costumes.
26. Act II chintz cover on Amanda’s Chair. Coordinate color with Act II costumes. Laura in particular.
27. Period looking, practical floor lamp with Act I Shade. Run electrical cabling through the deck. Lamp between 25 - 60 wt. We may need a clear filament bulb.
28. Act II new floor lamp shade w/rose silk
29. Period phone table. Low. 18" - 20" tall.
30. Period phone table cloth.
31. Period 1925-30 phone. Check with director to see if it needs a figure dialing devise. I believe the phone company may be able to assist in locating a museum which may rent or loan. The is an important prop.
32. A custom china bureau or poorboy with matching wall mirrors. This unit conforms to the angle of the walls. It will need to be constructed and styled to blend with the other period furniture in color, shape and detail. SLG will provide addition reference.
33. Wall mirrors above the bureau. They should be in period frames no larger than 2-6" - 3’ tall and custom fit. We may need to soft the mirror surface. The director may want actor reflections in the mirrors to be seen by the audience. Placement and tilt will be important. Also, the upstage mirror must be rigged to fly with the wall unit.
34. Period wall coat and hat hooks suitable for 3 practical hooks. SLG will draft this with scenery. Coordinate with scenery and props.
35. Dinning room period pedestal table. 2’ by 3’. Top can be plywood as it will always be covered.
36. Act I. table cloth.
37. Act II table cloth.
38. Dinning room sheers. See drafting for dimension and details.
39. Dinning room sheers curtain rod and hangers. See drafting for dimension and details. These drafts must be operated by actors and manually and easily closed. This is an important action on stage.
40. 4 matching SMALL side chairs suitable for this dinning room. We may need to recover the seats.
41. China bureau or poor boy. 1’3" deep and 3"-0" long. Normal height. We may need to build. Discuss with director if it need be functional.
42. We may need to add period wall pictures. TBA
43. Hallway wall shelf. See drafting.
44. Discuss with director season flowers for the shelf to show passage of time.
45. If not flowers, some decorative and appropriate Amanda house dressing.
46. Upstage hallway curtain. See drafting.
47. Amanda’s upstairs room area rug.
48. Amanda’s period chair. It should be dark with a wooden silhouette. Laura will stand on it when being fitted for her dress.
49. Amanda’s upstairs floor lamp. Very simple and practical. Small glass shade? Cable through platform.
50. Costume changing area with hooks for changing and possible ghost light in the backstage hallway stair case. Amanda will need to do a quick change here.
51. Tom’s Upstairs area rug.
52. Tom’s chair. It should be dark with a wooden silhouette.
53. Tom’s writing table. It should be dark with a wooden silhouette. 2’3" x 1’6". Space is limited. We may have to build this piece of furniture.
54. Writing table lamp. Period. Very, very small. Maybe a cafe table size.
55. Outside Fire Escape Light. . SLG will provide addition reference. This must be practical. Wire through the wall. 25 to 60 Wt. lamp clear to show the filament.
56. Exterior door to fire escape may have a sheer curtain on it ... maybe not.
57. Electrical, telephone lines and connections as dressing in the streets of St. Louis. . SLG will provide addition reference.
58. Follow spots chairs. Absolute flat black with black cushion for operator comfort.

59. p.11 Tom’s cigarettes. Discuss with actor type. Create period packaging. Camels unfiltered look period. Remove outside cellophane.
60. Zippo lights
61. Kitchen "light anywhere" stick matches as backups.
62. p.12 Discuss with director the extend of flat ware and china for the meal. A portion will be pantomimed. Some will be real to establish meal environment.
63. Discuss food with director.
64. Tray for gathering dishes.
65. p.13. tray with coffee for all three. Must fit on the end table.
66. p.16 Make enough typing charts for Amanda to be able to ripe one up each night.
67. p.19 Laura’s High School year book. This must be period. 1925 ish.
68. p. 20 "The Homemaker’s Companion" magazine. Research period looks and make or obtain a real look. Consult script for the action of this prop.
69. p.25. Tom fishes in his pockets for a door-key, removing a motley assortment of articles in the search, including a perfect shower of movie-ticket stubs an empty bottle. Coordinate with costumes and director.
70. Tom strikes a match to see the door lock.
71. p.26 The Rainbow scarf. This is a very important scarf. Consult with the director on look and needed movement. This should be in rehearsal ASAP
72. p. 27 Tom is covered on the sofa with a blanket.
73. tray of breakfast dishes and flatware and cereal. "Eat a bowl of Purina" "Shredded Wheat Biscuit"
74. p.28. Coffee cups, creamer, saucers, etc.
75. p.31 Muffler on coat rack. COSTUME.
76. p. 39 Laura appears with a dish towel.
77. p.42. Amanda’s sewing kit as she alters Laura’s dress.
78. 2 powder puffs as falses
79. p. 43. Amanda’s bunch of jouquils. This needs to be carefully coordinated with costumes.
80. p. 48 The Union of Merchant Seamen Union card which Tom gets from his wallet.
81. Dinner serving, etc. Food, etc. Wine, etc. Discuss with director.
82. p. 52. Candelabra. three candles. These must be able to be lighted.
83. Fire extinguishers in the wings. Follow standard theatre fire precautions.
84. p. 53. Amanda pours wine into glass. "Dandelion wine" white water is fine.
85. p. 54. Period St. Louis Dispatch Newspaper which includes the Comics and Sports page. Please research and recreate a period paper possibly using a Wall Street Journal with no pictures and ads as filler.
86. p. 55 Wrigley juicy fruit gum. Must be real and consumed.
87. p.57 Pirates of Penzance program. 1920’s style. A program will be signed each night.
88. Fountain pen to sign program. Belongs to Jim.
89. Jim lights cigarette. Same as Tom’s
90. Unicorn glass animals. One will be "broken" each night. This can be pantomimed as the distance to the audience will not see this detail.
91. p. 64 Individually wrapped hard candy mint like the type you see in a restaurant. Several for the run
92. Peppermint Life-Savers. Several for the run/.
93. p. 65. Lemonade for three on a tray which Amanda brings on-stage. Must fit on the end table.
94. A cherry in each glass.
95.