February 25th and 27th, 2025 SIP Blog

“Lies Spread Faster Than the Truth But Have a Shorter Shelf Life”

February 25

Fisher-Grant kicked off a discussion about the show’s concept, focusing on interpretation leading to mood leading to a setting for the show. He introduced a worksheet idea to guide Thursday’s conversation, which the group agreed to use. We discussed what the show is going to look and feel like. One ensemble member suggested corsets and poodle skirts. Another offered to shave a tantra in her head as the Friar.

Fisher-Grant asked about the interpretation of the piece. “What is our play about? What is the message? What do we want the audience to walk away talking about?” One participant responded, “They’re gonna talk about Dogberry and the foolishness.” Another added, “They’re gonna say this is just like prison.” When asked why, the group responded, “Catty,” “Talk shit, fall in love,” “Talk like a crackhead but they love you,” “Say they love you but they talk behind your back.”

Participants debated character interpretations, with one member envisioning Benedick as a matador, leading to a discussion about foam swords. Another suggested setting it in the “Gone With the Wind” era, incorporating dresses and coattails. “I’ll wear a trench coat,” another ensemble member called out.

Fisher-Grant asked, “What does this play mean to you?” Responses varied: “Rich people problems,” “How aristocracy sets up marriages and the hierarchy,” “Lies spread faster than the truth but have a shorter shelf life.” Others added, “Love, scandal, betrayal, soap opera,” “You can’t always base what you think by what others say.” Another noted, “Leonato was so quick to disavow his daughter. He was quick to do homework on Antonio’s message, but not with the allegations of his daughter.”

Discussions about visual elements followed. One member suggested “Opulence, royalty, high-end.” Others chimed in, “Mafia, rubbing hands,” “Fake pinky rings,” and animal masks for the masquerade scene to represent the hierarchy of the animal kingdom. Facial hair was debated, with the challenge of Benedick shaving mid-show leading to creative problem-solving.

To end the session, the group worked through Act 2, Scene 1, with some debating whether to cut an exchange in the dance. Fisher-Grant challenged them to refine it by Thursday. We closed with games: Demand a Dance and Raise the Ring.

February 27

Fisher-Grant passed out a worksheet on theme and context. One ensemble member suggested, “Benedick and Beatrice are actually Adam and Eve with magical friends.” Another likened Much Ado to the 50s, saying, “The way it moves to me… and the way that they court them is very 50s.” While this idea gained enthusiasm, another participant questioned if the language would fit the era, prompting a discussion about modern context in professional Shakespeare.

Another participant proposed a Civil War setting: “I like the Civil War ‘cause it’s brothers against brothers.” She also noted it “would be cheaper for the budget.”

The group brainstormed words and phrases associated with the script:

• “Little kids in school. Where one little boy makes fun of the girl he likes.”

• “Trying to find love can be crazy.”

• “Don’t climb too high or you might fall down. Or learn how to fly.”

• “A lot about pride… about other people’s opinions.”

• “He-said she-said. Don John is manipulative. He’s the guy in school who gets picked on and becomes a villain.”

• “You can never really tell when someone else plants a seed.”

• “Romance can happen anywhere. No love, just jealousy.”

• “Making a mountain out of a molehill.”

• “Believe what you see, not what you hear.”

The group debated setting options. One ensemble member envisioned it as a circus: “One minute you’re in the funhouse, the next you’re on the Ferris wheel.” Another said it felt like flipping through a news channel, leading to ideas of using a banner or a newscaster narrator. Some preferred a “Comedy Central or Real Housewives” vibe, while another wanted it “like SNL… people looking good, outrageously funny with the cast having the time of their lives.”

Returning to the Civil War concept, one member suggested: “When Hero first comes on it’s Civil War. When Hero gets married again, then the era changes.” She envisioned Gone With the Wind-style costumes, with soldiers in “white peasant shirts, riding boots, and a hat,” jackets for formal moments. Another proposed color-coding characters: green for villains, blue and purple for royalty.

A vote was held. The Renaissance setting was eliminated first. The final vote sealed Much Ado About Nothing as a Civil War-era production.

We wrapped up the night with physical games to counterbalance the discussion-heavy session: Whoosh, Wah!, Animal Sounds, and The Counting Game, where the group reached a high score of 36. The session ended with the ring, solidifying excitement for the production’s newly chosen setting.

February 18th and 20th, 2025 SIP Blog

"All I Know Is I Want a Sword."

February 18

As members trickled in, we chatted about the cold, snowy weather. Some discussed their monologues for auditions. During check-in, Fisher-Grant accepted some whooshes, and we had our first-ever group whoosh. We played Crazy 8s, Zip Zap Zop, and Wah, which lifted the group’s spirits. “This cheered me up,” one member admitted after the games.

We reviewed monologue pages for new members—Claudio (63), Beatrice (45), and Benedick (38-39)—and offered time for practice before auditions. Some members read on book, while others had already memorized their pieces. The group was highly engaged, snapping and cheering each other on. One member nailed their Benedick monologue, prompting an uproar and a loud “Bravo!” from the group. Another, auditioning with Claudio’s monologue, received encouragement to take their time on a second read, which led to a more thoughtful performance.

When asked about top role choices, members expressed interest in a variety of parts, from Antonio to Seacole.

We resumed blocking 1.1, incorporating all previous blocking into the script. Two members had great chemistry, naturally bantering in their roles. Another encouraged more movement in their scene work. A moment of logistical clarification arose when someone mentioned that a participant wasn’t allowed to join because they had gone to the library first. Fisher-Grant reminded the group that they couldn’t have two leisurely callouts at the same time.

In 1.2, two members stepped into Leonato and Antonio’s roles, adding strong physicality. Fisher-Grant encouraged them to “break down the hot tea” in the scene and develop their blocking further.

For 1.3, Don John, Conrade, and Borachio worked through their scene. Don John was encouraged to sit and let their misery simmer before finding a shift that propelled them to action. Borachio experimented with a dramatic entrance, which sparked debate about the character’s motivations. The group also discussed whether Leonato’s name was being pronounced correctly.

As we wrapped up for the night, a debate emerged about Don John’s emotional state—was she furious about Claudio stealing “all my glory,” or was her villainy more mischievous? We raised the ring and ended the night on that lingering question.

February 20

After starting the evening with the ring and check-ins, Fisher-Grant proposed the evening’s agenda: auditions, blocking, and a discussion about themes for the production. He also updated the group on the status of the flats—either we’d get new ones, or we’d lose them entirely.

The theme discussion took off immediately. One member envisioned “extravagant, over-the-top stuff,” suggesting big ruffles for Beatrice and shoulder pads and a mustache for Don John. “And a top hat!” another added. Someone else preferred a beret—“for the French element.”

The idea of different eras for different characters sparked enthusiasm, leading to a suggestion that we “time warp” between scenes. This snowballed into futuristic ideas: “I think of The Jetsons,” one member said. “Dogberry should be a robot,” another joked, only to be met with a firm, “Stay in your lane! I know what Dogberry is going to be.”

A Gangster-era setting resurfaced as a popular choice, with discussions of pinstripe suits, fedoras, and suspenders. “I want the big hair, the big dress, the big everything,” one member insisted. Fisher-Grant suggested maintaining a classical theme, which excited members already rehearsing a classical dance. “All I know is I want a sword.”

Logistics came up when members questioned whether they would need to wear state blues under costumes, referencing past performances with different policies.

The group also considered musical elements. “How are we going to do the dance?” one member asked. Two others referenced choreography they had already been working on, while the group decided to experiment with movement during blocking. Tejada encouraged everyone to return with their top two theme ideas next session.

With that, we shifted to auditions. Each audition brought something unique. Some members had fully memorized their monologues and brought in bold choices, like accents and strong physicality. One standout performance had the room erupting into cheers, with one member exclaiming, “What the fuck? That was amazing. Do you know how long I wanted to scream?” Others were visibly nervous but pushed through, finding strength in the support of the ensemble. Even those who hesitated to perform received encouragement and applause.

Once auditions wrapped, Fisher-Grant distributed ballots for casting votes while the group moved on to blocking Act II. A member playing Antonio leaned into physical comedy, using props and getting big laughs. Tejada reminded them to stay funny without pulling focus.

We ended just before Claudio’s monologue on page 21. Fisher-Grant announced the cast list, and the group erupted in celebration. As we closed the ring, excitement buzzed in the air—new members were eager to step into their roles, and the production was beginning to take shape.

February 11th and 13th, 2025 SIP Blog

“A Big Giant Messiness Mess of Mess”

February 11

As we started, we took stock of the roles still open: Antonio, Conrade, Borachio, Balthasar, Verges, Seacole, Watchman, Sexton, and Friar Francis. The new members shared how far they had read in the script. One said, "I’m connecting to it. I’ve seen a lot of people conspire," and pointed out the line, "A villany should never be this rich." Another liked Friar Francis’ part, and one member summed up the play as, "a big giant messiness mess of mess."

One member connected deeply with a grief line from Leonato’s monologue. "It relates to my personal life. I’m being positive, but my wife says I don’t get it." Another member advised, "Sometimes you just need to be heard. Sometimes I need advice, sometimes silence is the best advice. Make the positivity her idea." "I’m a fixer," the first member admitted. "Me too!" another added.

The group worked on stage directions and blocking. Members demonstrated different blocking choices while the rest watched from the audience. One suggested we work on stage directions, so I introduced a four-corners game. Most played until we had two winners. Another member suggested projection work, so we did the Tarzan vocal exercise on the edge of the stage, projecting to the back.

We began blocking 1.1, filling in for the Messenger. We brainstormed background actions for Beatrice and Hero—suggestions included crocheting, knitting, and reading. Some members played additional attendants reacting to Beatrice’s jokes. One member had many blocking suggestions, while another encouraged everyone to be louder. A member requested their character be female, and we adapted Leonato to Leonata.

We finished blocking 1.1 but didn’t have time to run it. We planned to leave time at the end of each session for run-throughs. I recorded Tuesday’s blocking while another facilitator would take notes for Thursday. We left feeling energized about the work.

February 13

At the start of session, we set up the circle of chairs, and after check-ins, someone asked to review names. Fisher-Grant planned a name game but first wanted to discuss auditions for the remaining roles.

New members shared their role preferences before we outlined the audition process. Fisher-Grant asked past participants to describe their experiences. One explained slating, performing for a proscenium, and other key aspects. Fisher-Grant filled in the gaps, referencing auditions from earlier in the year. "It [auditioning] got me out of my comfort zone, which was good," one member shared. Another said, "I felt better after I got it over with." A member described rehearsing in her unit, performing her monologue to anyone willing to listen. "You were all over the unit working on it!" someone else said.

The new members decided to use the same audition monologues, and after reviewing them, they agreed they worked. Fisher-Grant asked for volunteers to give an example audition later in the session. One member immediately raised her hand, while another hesitated before also volunteering. Fisher-Grant told her she could go after we played the name game.

The name game had everyone create a physical action and sound to go with their name. The group quickly embraced the activity, adding personal modifications. Laughter filled the room as everyone participated enthusiastically. The game ran longer than expected, but the energy was high.

At 7:15, we moved to the audition example. Before starting, someone asked about "proscenium," which led to a discussion about staging formats. Fisher-Grant explained thrust and round staging, and a member shared her experience watching a black box production. Once everyone had a clearer understanding, we transitioned to the audition demonstration.

One member volunteered first, and another assisted as the reader. The new members followed along in their books, engaged in the process. After applause, another member asked to go again, feeling she hadn’t performed well initially. "I was giggling too much the first time," she admitted. The group encouraged her, and this time she hit strong comedic beats. More applause followed.

With 30 minutes left, we returned to blocking 1.1 since some members had missed Tuesday’s session. The ensemble was highly engaged—if they weren’t onstage, they were following in their scripts or watching closely. One member proposed a new opening moment, which we incorporated. One member, with no lines in this section, took on an unofficial directing role, offering insightful suggestions.

We spent extra time refining the "roast session" and character reactions. By 7:50, we had blocked up to line 193 on page 8. Fisher-Grant suggested running the scene, and though some hesitated, the group went for it. The blocking flowed smoothly.

The session wrapped with a closing circle. Fisher-Grant reminded everyone that repetition builds a show worth being proud of. As we left, the ensemble carried that momentum forward.

February 4th and 6th, 2025 SIP Blog

“The Crux of Much Ado is Gossip”

February 4

When the group gathered, we noticed it was smaller than usual. A participant shared that she had been talking about her role with some people in her unit: “I’m trying to get them bitches married!” With the call-out not opening until Thursday, we didn’t have a structured plan, so we left it open for the group. One participant suggested we use the smaller group to make production decisions but agreed that everyone should have a vote, so we tabled that conversation. Instead, she suggested an exercise from past seasons: removing consonants.

We spread around the room to work independently, reading a line or monologue using only vowels before reading it as written. When we came back together, one participant read a Borachio speech. “It feels like a speech therapy exercise,” she said. “She read smoother,” another added. “The words packed a punch,” someone commented. “It’s a focus thing,” the first participant continued. “Focusing on the vowels is hard. Knocking the consonants to the side.”

Another participant read a Beatrice speech. She judged herself a lot during the exercise but improved noticeably. “You said it so smooth,” someone commented. Another participant followed with a Don John speech. “It was easier to read it after I worked so hard,” she said. “I was against it in the beginning. It took me out of my comfort zone.”

Another participant refused to do the vowel exercise but read a Leonato monologue. Fisher-Grant suggested she focus on the verbs, which she tried. Another participant did a Don Pedro speech. “It does seem easier,” she admitted after reading it normally. Cannella read a Margaret speech, and another participant did a Hero monologue, struggling with the vowels but coming back strong with the full text. Another read Dogberry. One participant finished with a Claudio line.

Someone suggested a read-around of a long monologue, reading to a comma or period. We tried the Leonato monologue, switching readers at the punctuation. I introduced the concept of reading until the punctuation change, and we tried that, too. Fisher-Grant and Cannella jokingly “beefed” about whether you read to the line end or the punctuation.

A participant commented that she didn’t like the last line about grief turning into advertisement. Another defended it, suggesting we replace “advertisement” with “an owl at night.”

Then, someone suggested reading the monologue in funny voices. She sang her lines first, which got the group laughing, then encouraged everyone to sing through it.

With the last 10 minutes, we played Bippity Bippity Bop, then the Counting Game. We raised the ring and ended the night.

February 6

To start the evening, we set up the chairs and chatted. More members trickled in, making it our highest-attended session since the season began. Fisher-Grant introduced himself and the basics of Shakespeare in Prison, welcoming new participants and inviting them to introduce themselves.

After check-ins, Fisher-Grant introduced “bringing down the ring” as one of our two required exercises. We tried it, and more than one new participant put something into the ring..

We then split into two groups: new participants stayed in the auditorium with Fisher-Grant to go through the welcome packet, while returning members closed the curtain on stage to work without interruptions. Tejada and I asked how they wanted to spend the time, offering some ideas. They chose to start with walking in character.

Since everyone in this group had been assigned a role, we encouraged them to explore how posture and movement shape communication. They walked around the space, finding their characters physically. Then, we layered in another step: I called out a character name, and everyone but that character froze to watch how they moved.

Some discoveries emerged:

• “I liked having a sword.”

• “I like having the mustache!”

• “I’m having fun with this scroll.”

For the next round, when I called “stop,” participants froze and had an in-character conversation with the person nearest them. It was more chaotic but full of energy. Two participants kept landing together as Benedick and Beatrice, and at one point, one even dropped to one knee and presented plastic flowers.

We circled up to share signature gestures:

• Hero buried her face in her hands.

• A villainous mustache twist.

• Fanning while lifting an imaginary dress.

• The Thinker pose.

• A dramatic eye roll.

• A monocle and a head wiggle.

• Stroking an imaginary beard.

• Reading from a long scroll.

• One hand tucked into a shirt while resting the other on an imaginary sword.

To end, we played Pancake, where a “cook,” “customer,” and “doctor” improvise a scene based on a suggested theme. Our rounds included:

• French: “These crepes are to die for!”

• Cowboy: A doctor drawling, “Well, looks like you got a case of the rattlesnake belly.”

• Valley Girl, Bronx, and Cockney British all brought different flavors of comedy.

As we finished, the new participants rejoined us. Fisher-Grant told the group that the next day was Shakespeare in Prison’s anniversary, and we celebrated. A new participant shared she had waited one and a half years to join.

Existing ensemble members recapped what they had worked on, revisiting favorite Pancake moments and character gestures. One summed up their character: “Leonato is a thinker.” Another’s interpretation of Margaret’s constant movement for Hero clicked with the group: “Hero always needs something.”

We wrapped up with a summary of Much Ado. One ensemble member gave a detailed rundown. When they got to the Masquerade, a new participant said, “Ooh, that’s messy,” which got general agreement. The story resonated with the new folks. Fisher-Grant added, “The crux [of Much Ado], for me, is gossip.” Heads nodded.

We raised the ring and ended early, hoping to see everyone back next time.

January 28th and 30th, 2025 SIP Blog

"By My Troth, She is Sick"

January 28

We started the evening by gathering and chatting as a group. The group discussed how another member had transitioned into a different program and could no longer participate. Some felt that the other program provided more opportunities, while others disagreed. “This gives us a platform to get involved on the outside with theatre,” one member said. Another agreed, adding, “This is a good healthy habit to offset the bad habits.”

A role needed to be reassigned, with one participant requesting Don John. Another mentioned they would confirm their role at the next session. We began reading and continued for almost the entire session. One participant brought a fun Southern voice to Dogberry, which led others to follow suit. The group discussed how to distinguish the watchmen as police, suggesting the use of sashes. Another participant received support while reading Margaret, and after finishing the scene, another member asked if she wanted to hear it again. They read it together, which was found to be helpful.

We explored phrases like “by my troth,” equating it to “on God.” A joke emerged: “By my troth, she is sick.” During the wedding scene, everyone was “Eh-ohing.”

We finished with Benedick and Beatrice’s scene and discussed its meaning. One participant thought Beatrice was overreacting and they should just elope. Another quipped, “Hoes before Bros.”

We ended the evening with Demand a Dance, with everyone participating in some way. One member raised the ring, signaling the close of the session.

January 30

At the top of the session, we set up chairs and chatted as more people arrived. After bringing down the ring, we got right into reading since we were close to finishing the play. Casting assignments were distributed, and the reading began. Before the scene started, one participant leaned over and promised to bring back their Southern accent for Dogberry. As soon as they began, it was clear they had thought about this beforehand: they delivered a dramatic Southern accent with a thoughtful stutter. The group loved it, laughing throughout. Another participant followed suit with a nearly perfect Southern accent.

As we reached the final scenes, the excitement in the room grew. There were side comments, but all were connected to the script. When we got to the second wedding, someone called out, “This is entrapment!” which got a great laugh. Another participant’s delivery of “Another Hero?” also got a strong reaction. As Benedick and Beatrice finally confessed their love, one participant broke character to say, “Ugh, I love this.” Another enthusiastically responded, “This is the best part!” A suggestion was made to play “When Doves Cry” at the wedding, which was met with approval.

After finishing the script, some members left while the rest stayed to discuss the show’s vision and design elements. One participant was excited to share the idea of setting the play in the Roaring ‘20s, which sparked discussion about costumes and sets. Others debated whether characters should carry swords, with some arguing it would detract from the aesthetic. Another suggested a “gangster theme—Al Capone vibe.”

Talk turned to the masquerade scenes and the different types of masks that could be used. The group leaned towards stick masks for ease of use. Another participant noted that the men in the play should be “put together,” while Dogberry should have an exaggerated, comedic look. Someone envisioned Dogberry in a short jacket with long tails, socks over pants, and a monocle.

When discussing the set, ideas ranged from a traditional 1920s look to a futuristic “Jetsons” theme. Ultimately, the group agreed that simplifying set changes would be ideal. One participant suggested using the eavesdropping scenes as opportunities to shift the stage and “decorate for the wedding.” “The audience will love it,” they said. Another responded, “And if they don’t, who cares?” which resonated with the group.

Before closing, the facilitators informed the group of performance date changes. Since the auditorium was unavailable on the original date, members suggested alternative performance days, agreeing to book a classroom on one of the original dates for rehearsal and discussion.

The session ended with excitement about the production and a clear vision taking shape.