Leeroooy Jenkins! Collaboration in Theatre.
A props master’s field-tested rules for collaboration in the theatre, from doing
A props master’s field-tested rules for collaboration in the theatre, from doing
Emerging lighting designer whose work on Broadway and beyond is guided by
Six contemporary plays for student drama clubs and theatre groups. Minimal sets,
September’s most-read stories on Skene: Hernán Peñuela on beauty that saves us,
Six contemporary plays perfect for student productions: high-impact stories, minimal sets, manageable
Leeroy Jenkins is a player character created by Ben Schulz in Blizzard Entertainment’s World of Warcraft. Having been absent during his group’s discussion of a meticulous plan, Leeroy returns and ruins it by charging straight into combat shouting his own name. A video which captured the character’s antics subsequently went viral and became an Internet meme.
Leeroy became big because we all know and or worked with that person. Just barreling through with little regard for the plan or others on the team. One of the great things about people like this, we are able to recognize them early on and deal with them accordingly. We can laugh at Leeroy Jenkins since it is something we are observing and not in the situation with his group.
Theater HAS to be a collaborative process. Even if you have to work with directors like [redacted] or designers like [redacted] or petty actors like [redacted] or [redacted, redacted] or God forbid [redacted]. I mean they are true to form grawlex (superlative)! There is a balance all of us have to dance with, making sure the director, actor, design team and production managers are all happy at the end of the day.
This gives you a vast amount of knowledge of the time period and political climate and helps you fill in the team with the dramaturgical information of the period. This helps your street credit when people want information regarding items from the time.
It’s very easy to say well I can’t do that, and I can’t do this because I don’t have time or I just don’t have the money. Time and money have always been precious commodities. But they are also measurable quantities. Break your build times down into a calendar including paint and dry times as well as overnight dying or staining so you can share your timetable if you need. In the same vein take your budget and put labor Breaking it down by hours per project the materials you need for that project. And what you set aside for in show added items. Keep on top of that budget every day, one because you need to always know where you’re at financially, and two it will impress your production manager when they ask you where you’re at financially you can let them know where you’re at that day. That’s the thing about numbers: they are unmovable and they do not lie. So instead of just saying you can’t do something, show your budget and your calendar. It turns the opinion of you can’t do it too cold hard numbers of why you need extra money or help.
Our mastery and understanding of the script as well as our research and dramaturgical knowledge can strengthen your bond with your actor as well as your director. If you take time with your actor to show them one of their props that you worked on and give them references in the script and the understanding of their character, they will feel that you have Really paid attention to them individually as well. one example was when I gave Jay O Saunders a pipe for a period piece we were doing. He looked at it and asked if it was okay to use and I explained that yes, I had burned it and aged it myself. I told him that I noticed he was left-handed and at that time people would only use matches or gaslights to light their pipe. if he was right-handed, it would be charred on the opposite side of the bowl but since he was left-handed, I made sure it was consistent with his character. We have always had a deep bond since then.
There are times you will be put in a situation where you know you can’t afford something, oh, it might be an actor request or a director’s idea. Keep in mind your job is your job, providing lights, providing costumes, providing props, designing sound whatever. It is not to solve the problems of the world. Make sure you do your diligence and find the item they’re looking for at three different price levels. The decision to buy those things or spend that money is above your pay grade. You can always take that to your production manager and they will be able to see if other departments have the budget to give you the money you need to get the items you have on your list. It is never your job to say no. It is your job did make the show happen the best way you know how.
This is an old magician’s technique that I use when offering up props to directors, designers and actors. I always give them three choices. I know that will not be right for the show just so it’s a little off, and then two other choices. It is always hard for people to make decisions, especially as a team. Once they agree on the item that is wrong that has broken the ice. then it’s just down to the two other items and it’s a lot easier to make that second decision. It always makes the director, and the actor feel that you are opening up the creative process and value their input.
Once you can fake that everything else is easy.
There is always an exception to the rule. Theoni Aldrige the Costume Design Goddess once told me that she and Lorin Bacal were in tech and Becal walked to the edge of the stage and said, ‘Theoni Darling I just don’t know about this outfit I don’t care for it.’ From her seat in the dark Theoni clapped back ‘It’s alright my dear, your character loves that dress!’.
True story.
Support artists—share this
Off-Book is the Skene newsletter for artists and makers. Profiles, opportunities, and editorials, free. New subscribers also receive the 2026 Performing Arts Survival Guide.
Practical career guidance for performing arts artists and makers. Take it with you.
