If you do not already own it, having a copy of the Backstage Handbook is a must for everyone, yes professionals … you too! Aside from the general stagecraft knowledge on its pages, there is some great rope and knot work in the book as well. However to really stand out from the crowd and ascertain full geek’dom, one must add yet another book to their arsenal. The Ashley Book of Knots, which has stood the test of time, is THE definitive reference for rope and knot work. It will teach you how to tie just about every knot for just about every situation you could possibly ever encounter. Focusing on the seizing and whipping sections will open doors for simple effects that can take a prop that extra mile.

I have used the rope work to add hand grips to antique tools, cover steel binding on mops and brooms and to dress the boat that is pictured on our home page. The only tools needed to accomplish the vast majority of your work are a marlin spike, a knife/scissors and a set of large leather needles. For project goods, I hold onto a grab bag of small diameter cotton rope and twine, sisal twine and a few blocks of household paraffin wax. Additionally, it is handy to have a roll of “seizing twine” -a cotton twine pre-impregnated with wax, which can be purchased from a handful of vendors; but, I typically turn to Mike at Hartford Cordage, as he carries a great workable product.

The use of an English Whipping is perfect for simple masking, decoration, and whipping rope cuts. The method allows the tails of the seizing twine to disappear neatly under the body of the whipping. If design choices have you whipping with sisal, I suggest heating up a small amount of paraffin to work into twine once you are finished. The paraffin can help prevent sisal from loosening and it will soften the feel when handled.  For the most part, we prefer to use cotton rope or premium manila as they can be easily “aged” with a simple tea dye.

Lastly, rope is a product where you really do get what you pay for! Go cheap and you will wind up with rope that has poor color, a rough hand feel and will not last.

object that is planned to break in a specific and realistic manner and is, most importantly, safe for the actor. Affordability is a major issue, especially if there is more than one performance because breakaways are, usually, an expendable. Many artisans assume that creating their own breakaways, especially glass and ceramic items, is unfathomable and that purchasing them from a specialty vendor is the only option. My research over the past year includes mold making, various methods and products for the breakaway casting of glass and ceramic mediums, and breakaway furniture joinery.

This article will explain one form of casting researched within my thesis work: sugar glass. A method of breakaway glass casting that anybody can do. All you will need for the casting material is a mold and some simple ingredients you can find at the grocery store. A mold made out of silicone is preferred because the cast will be fragile and having a mold that is flexible enough to peel away is ideal. Make sure the silicone is able to handle high temperatures because the sugar mixture will be around 300 F° when poured. TO GET STARTED YOU WILL NEED:

The Materials: -The Mold -Granulated sugar -Water

-Cream of Tartar -White Corn Syrup

The Tools: -Measuring cups and tablespoons -Candy thermometer -A stove -An oven -A pot or saucepan -Spatula -Rubber bands

Safety Equipment: -Oven mitts -Apron1. Sugar glass is temperature sensitive, so the molds must be pre-heated so not to put the heated mixture into hard shock once it makes contact. Place them on a cookie sheet in an oven set to 200 F° with the door cracked open for five minutes.

2. In a pot, mix together: 3 1/2 cups of granulated sugar, 1/4 teaspoon of cream of tartar, 2 cups of water, 1 cup of white corn syrup

Once thoroughly mixed, place a candy thermometer inside the pot. Set it on a hot plate or burner, turning the heat up gradually until it comes to a boil. Raising the heat slowly will help prevent the mixture from burning and darkening. Keeping track of the temperature is key in this process.

3. Leave the mixture alone and let boil, unstirred. After ten minutes, it should begin bubbling and rising. The temperature will reach about 200 F°. This is a good point at which to remove the molds from the oven and prepare them for the pour.

Ten minutes later (225 F°) the sugar will still be at a constant boil but will begin to lower in level. Within five min. or so (245 F°), most of the water will boil off and the mixture will sink to its lowest point.

4. At this point, the temperature of the sugar will begin to rise fairly quickly and boil at a sludgy consistency. Once the sugar hits 300 F° it is ready to pour immediately.

5. The sugar will continue to froth and bubble for a few seconds but will settle out and begin to solidify.

6. After 20 minutes the sugar glass pane is ready to be removed. It will still be warm and slightly tacky, but removing it from the mold and placing it on a piece of wax paper will help expedite the cooling process. And V oila! Y ou have your own homemade breakaway glass! The sugar glass does not have a very long shelf life, especially in high humidity areas, so be sure to use it within a few days and keep it refrigerated, ideally, minutes before use.