This department of our activities is very popular with our boys. They find plenty of opportunity to try out their inventive faculties, often with surprising results. Some of our non-acting members find a niche here that gives them a chance to feel one of the crowd.

We frequently find the most amazing inventive talent possessed by the quiet little girl whom we have tried very hard to interest in many things, or the shy boy who never volunteers to read a part in a play yet never misses a rehearsal.

I am green with envy when I walk through the painting, sculpture, stage-designing rooms at the Cannon Hill Park Centre in Birmingham. This set-up is what I have always visualised. It is wonderful to realise that at last we are awakening to the fact that we must have places where we can feed the artistic hunger of thousands of young people all over the country. We have struggled to do just this in our small way for twenty-one years. In the matter of having a home of our own we are much better off than many groups.

Our Props Department is an absorbing part of our work. Every show we do demands something which we cannot borrow or afford to buy, so we must make. Here is yet another challenge.

The boys are always keen to make armour, guns, banners and the more flamboyant articles. Time spent decorating a shield is amply justified when one sees the effect on the night. The girls turn out some very charming costume accessories.

Props for each show are put under the care of a Property Mistress, who may have some assistants. We find that the girls are a little more reliable in this position than the boys.

Once the play is chosen, the Property Mistress makes out a list of the props, scene by scene, I make out a similar list, and then we cross-check. Then the list is carefully set down. There are columns for each performance and before the curtain goes up each night, every single item on the list is checked. We usually have them on a table off stage right.

Properties required stage left are carefully placed on table off-left, and an assistant placed in charge. Hand props are given out to the individuals requiring them, and when they leave the stage, or at the end of the act, they return them to the Property Mistress. When the lists are checked, we generally mark all these items we can borrow or buy. Arrangements are made for collecting them and details of where we are loaning them from are entered in a notebook.

The common experience in the amateur stage world is that societies are very ready to borrow properties, but are very slack at returning them. This casual attitude gives a society a bad name and people are reluctant to loan props. Borrowed properties should be returned at the earliest possible moment after the last performance.

Certain props will not be available until the actual performance, or perhaps the dress rehearsal. Substitute props should be used in rehearsal. I like props or their substitutes to be used in rehearsal at least a month before the show.

If drinks are necessary, or more particularly if a full meal has to be manoeuvred, you cannot have the props too early. To leave them to the last minute is asking for a disaster on the opening night.

There is nothing worse than the clumsy handling of props. It spoils the flow of the action and ruins the picture. A word here about drinking on stage. Some people argue that mimed drinking is correct. They say one should use the imagination. I am quite prepared to use my imagination on something really important and significant, but not on a simple action like drinking. I like to see actual fluid in the cup or goblet. Also, if the liquid is supposed to be hot, let me see the steam rising as the tea is poured out.

At this point we carefully prepare a list of all the props we are going to make. Volunteers are invited and teams are set to work on various articles. It may be necessary to do quite a bit of research in the library. Sketches have to be made. Discussions as to the size take place. Careful measurements are taken. Sometimes a large number of youngsters are busy on a few props.

Needless to say, these things must not be left till last. Everything must be prepared at the earliest moment.

We use every conceivable material in making our props. No one's scrap box or junk corner is safe. It is fascinating to try out new materials. Many of our elaborate props cost us nothing except the time spent making them.

In our Richard III we had some effective crowns. They were made of cardboard carefully constructed, strengthened and painted. The cardboard was cut from boxes, which had contained our gas fires when they were delivered to the headquarters. A few inventive minds can save the Theatre pounds.

I think it would be most helpful to name a few of the props we have made for some of our productions and explain how we have made them. I do not claim our way is the best but at any rate it has proved a workable way to us, so may well be for others.

The basic requirements for property-making are: pencil, cardboard, ruler, scissors, needles, thread, a good adhesive-we use Bostik-various-sized paint brushes, paint-our choice is oil-bound poster paint-and of course gold and silver paint.

Apart from any kind of cardboard, we also carry good stock of a very thin, tough cardboard, called elephantide. This is obtainable in rolls of varying widths.

A modern product, which has proved excellent for the making of scenery and props is Jablite, expanded polystyrene. It is excellent for masonry, rocks, sculpture effects and such props as panels and unusually shaped articles. It can be quickly and easily carved, and is very light in weight.

A whole book could be written about making props. I propose to illustrate how we make some of our more interesting properties by sketches.

A The basis of this form of breastplate is the papier-mâché tray used to pack eggs. We usually make each of our breastplates to measure. Having decided on the size, we adjust the trays by overlapping and sticking with Bostic.

The hollows on the side that we have chosen to be the back are filled with plaster of Paris mixed into a thick paste. Then over the entire back we stick canvas or a piece of material, e.g. an unpicked coat. The edges are bound with strips of leather. Shoulder straps of leather are added. The projections at the bottom are pieces of Elephantide bordered with leather or thick cardboard.

The back is made in the same way if one is required. Of course, if a cloak is to be worn, no back plate is necessary. We usually incorporate a belt under the breastplate, arranging for the buckle to come on the right-hand side. To finish off we paint the breastplate the required colour. Gold and silver are the most suitable colours, but, if a particular colour is required to match a colour scheme, we use oil-bound poster colours.

B This model has a foundation of Elephantide. The centre design is cut out of fairly thick cardboard and stuck on. It is possible to buy, at a Do It Yourself store, plastic motifs which can be stuck on. The edge is leather or thick cardboard, and the flaps at the bottom are Elephantide. The shoulder straps can be leather or Elephantide, which is quite strong enough. In most of these breastplates we rivet the shoulder straps on. We use round-headed rivets as illustrated at No. 2. A hole is punched through the two surfaces to be riveted, the bottom part of the rivet is pushed through them, the round head placed on the top of the bottom part, and a sharp stroke with a hammer will make a very strong fastening. Furthermore the shining head of the rivet looks well against the colour of the breastplate.

C This one was made of pieces of linoleum, stuck on to a canvas backing. A small space was left between each piece. Rivets were put at each corner of the pieces, and cardboard was stuck on as a border round each section. With a dark colour on the pieces, and gold borders, it made a most effective addition to the general décor.

D Elephantide cut to shape forms this model. A template of cardboard as shown at No. 1 is prepared and then the shapes are pencilled round it. The binding round the edge can be either leather or cardboard. Rivets (as in No 2) are placed at each point. The result is a most effective costume piece.

E This is a very simple piece to make. Strips of Elephantide to make the main part are cut out and riveted through an over lap of about an inch. Shoulder pieces are riveted back and front, and strips added at the front bottom. Eyelets are put at the back and then, when worn, the breastplate will be laced on.

F A piece of canvas or coarse material forms the basis of this. Strips of leather about an inch and a quarter wide are riveted on, and the whole is bound by a strip of leather. The leather strips and binding can be gilded, and if the background is a dark colour, the effect is striking.

A We use every kind of material imaginable for these. A was made of hardboard, with a background painted gold. The strips, cut from hardboard and glued on, were painted crimson.

B A frame of hardboard was put round a piece of green silk (an old dance dress) on both sides of a backing of canvas. A piece of gold fringe from a lampshade was put along the bottom, and strips of dark green webbing hung the whole from the bar, which was an old stair rod. The motif was cut out of purple felt, and stuck on with Bateman's rubber adhesive.

C This could be either stiff or flexible. Hardboard with passe-partout border, and cardboard motifs stuck on, would provide a rigid form. Velvet (both sides) with motifs and border stitched on or stuck on would provide a smaller banner which would fall in effective folds..

D Old architect's drawings were boiled and then the linen stitched together and left white. Coloured tape was stitched around the edges, and the whole backed with canvas. An old curtain tassel was added, and a loop of tape was stitched behind so that the holder could slip his thumb through it and so hold the whole banner steady.

E Hardboard painted the same each side made this for a production of The Mikado.

F A Biblical play called for this design. Two pieces of cardboard, shaped up to XX, are stuck together, and painted the same each side. The fringed top is made of Denison's crepe paper. It was stuck between the two layers of cardboard for about an inch. The pole extended to the top of the cardboard.

All crowns start as a simple coronet as shown at A.We make this from Elephantide. It is possible to purchase by the yard, at a very reasonable cost, plastic borders with a design in high relief. These circlets make most effective accessories in the wardrobe.

D We usually make the main circle of two or three thicknesses of cardboard. In this model the points were made of two thicknesses stuck between two other layers of plain band. The small decoration at each point was a long scarf pin with a coloured head. Rivets were placed at intervals around.

E This is fundamentally the same. The trefoils were built up on pieces of wire inserted between the layers of cardboard. Six layers were used, and strips of webbing glued in between.

F This looks elaborate, but it is not so difficult to make as it appears. Layers of cardboard form the basis and in between the middle layers is a strip of metal. The leaf design is painted on Elephantide, and stuck on a second layer to give it strength. Both this model and E model have cord stuck around the edge, and gilded. The jewels around the base are painted peas and clear gum sweets stuck in the appropriate places. Small pearls from old necklaces are used when available.

G Again this is not difficult to make. Layers of cardboard strengthened with metal strips which came round our Elephantide order made the big loops. Pearls were stuck around the loops. The orb was a table tennis ball with a cardboard cross. A cake-frill stuck around the bottom, with ermine marks painted on, and red velvet cap complete the effect.

We use as the bases of most of our goblets the plastic containers and picnic drinking cups which are easily obtainable. To make the stems cotton bobbins B are used. Two of them are joined by inserting a dowel rod in the central hole. The rod is coated in Bostik before insertion. The diagram C illustrates this method. The plastic container is stuck on the top, and a circle of cardboard, or, better still, three-ply wood is stuck on the bottom.

A more elaborate stem can be turned out of wood E and stuck on the base of the container, as shown at D. The finished goblet can be painted in plain gold or silver, or indeed any desired colour. To make a much richer effect, a design is cut out of cardboard, and stuck around the goblet as shown in diagram D. If such a design is then painted with gold or silver, it gives a chased appearance. Plastic d'oyleys have designs on them which can be cut out and used in this manner.

A goblet painted in deep red, and with a design cut out in cardboard, as shown at F, painted in gold and stuck on, becomes a most decorative property. To cut out such a pattern, use an X-Acto knife.

Although the crowns of discarded hats can be used as the foundations of helmets. I prefer to build them up with Elephantide and paper.

The preliminary strips are laid across the head and fastened to the band going round the head, as shown in diagrams A and B. To make the helmet C it is only necessary to stick on shaped pieces of thin cardboard. Each piece overlaps and is stuck with Bostik.

Elephantide is the basic material for all the helmets illustrated here. For the Roman type shown D a strip is shaped as at X, and two pieces as at E, and three small pieces for the neck shield. They are all riveted to the crown. Suitably painted gold or silver, with design in black, it successfully simulates the Roman style.

Design F has a visor made of two pieces fastened together, and a chin piece in one piece. They are both riveted to the crown. The collar can be quite separate. Three pieces are measured and cut in strips. They are riveted to strips shown by the dotted lines.

Model G, plan at H, is made of six pieces. They overlap about three-quarters of an inch and are riveted above the eyes, and two to cover the cheeks, riveted to the side pieces.

The Cromwellian style is made of sections riveted together. Ear and neck pieces are riveted to the crown. Wire forms the mask and is fixed to a wire, which passes round the head, fixed just inside the crown.

The Trojan helmet is very effective, but not difficult to make. The mask is one shaped piece riveted at the sides, and three pieces form the neck shield. The crest is made in a triangular form and shaped as in the diagram. The front view is shown at K. Red crepe paper, about six inches deep, is folded as the dark line in diagram L. It is stuck inside the cardboard crest for about an inch. The projecting paper is then cut to simulate feathers or hair, and shaped to a point at Z. The whole crest is riveted to the crown as shown in diagram J. Painted gold, with shaded parts in a dark colour, it plays its part on the set with distinction.

For the comfort of the wearer it is a good idea for all the crowns and helmets to have a strip of foam rubber stuck round the headband. Allowances for this should be made when measurements are being taken.

Nearly any material can be used as a belt. Different types of cord and braid are excellent, and both cheap and easily obtained. Many of them can be plaited into different patterns and variations. Once again Elephantide can be successfully used. A, strip painted, can have a pattern cut out of another piece, painted a contrasting colour and stuck on. For the fastening for our belts we use the common tie, a buckle, and the type of fastening found on a man's trouser belt.

D shows what is called a 'D' ring. It can be purchased for a copper or two from any handicraft supplier. Bits of leather cut as shown B, stitched around the D ring-shown at C-and linked with different coloured leather, or even different materials, can make the most attractive belt. The example F we made for our production of Richard III. The rectangles were made of linoleum, having frames of cardboard stuck on. At each corner we fixed an eyelet, and pieces of chain salvaged from the girls' junk boxes supplied the connections. The medallions in the centre of each rectangle were milk bottle tops modelled into a pattern and stuck on.

G and H show examples of collars made from the same Elephantide. Circles were cut and after the patterns had been painted and the centre cut out they were folded on the dotted line.

I shows a plastic washer. A kind parent gave me hundreds. Cut across at X, the washer retained its shape, being as hard as wood. We were able to link them together in many ways for both belts and ceremonial chains. The one at J was painted gold and stitched on to a collar of Elephantide which had been covered in velvet. The large medallion was the trade mark cut off a roll of material, and stuck on cardboard.