April 14th and 16th

“I like that we get to write our own pieces.” - April 14

This session shifted our focus toward imagination, authorship, and the future of the ensemble’s creative work.

After gathering and checking in, many members transitioned into Volunteer Appreciation Event rehearsal, leaving a smaller group to reflect on the summer program. What followed was a rich and generative conversation about what the ensemble values most in their creative process.

“I like that we get to write our own pieces. There are no shows where we get to write,” one ensemble member shared, grounding the conversation in the importance of authorship and ownership. The group explored how to build on that strength, with suggestions to make the final performance feel more structured and production-driven.

An exciting idea emerged: a larger original play interwoven with “commercial breaks” featuring original writing. These pieces would explore themes of love, loss, grief, struggle, happiness, and overcoming. With support from Aupperlee, the group discussed using guiding questions to help generate writing, ensuring that everyone has a point of entry into the creative process.

The room was filled with storytelling. An ensemble member shared writing and even broke into song, creating a moment of play and connection. Others reflected on past seasons and the desire to balance heavier themes with humor and lightness. “I like funny things,” one participant noted, reminding us of the importance of joy alongside truth.

By the end of the session, the group was already thinking ahead—imagining a model where a writer or small team develops a piece over the course of the season. The foundation for this summer’s work is beginning to take shape, rooted in collaboration, creativity, and the voices of the ensemble.

“There is a lot of great scene work happening.” - April 16

This session brought us back into the heart of rehearsal, with a full run of Comedy of Errors and continued work on Hamlet for the Volunteer Appreciation Event.

After check-in, we began a run at 6:32, with ensemble members stepping into roles and supporting one another throughout. Even with overlapping work happening in the space, the focus remained on building the world of the play and strengthening each moment.

“There is a lot of great scene work happening,” and it showed. Performances are becoming more grounded and confident, with participants bringing energy, specificity, and growing clarity to their characters. Scenes we’ve revisited are showing noticeable improvement, a testament to the ensemble’s commitment to the process.

We spent time refining key moments—particularly physical sequences and transitions—working through blocking and exploring how to make storytelling clearer and more dynamic. Some performances began tentatively but opened up as the work continued, revealing depth and confidence.

Fisher-Grant supported the Hamlet group, helping simplify the sword fight choreography and making the scene more accessible and playable. Meanwhile, conversations around music and transitions sparked ideas for how to enhance the flow and energy of the performance as a whole.

As the evening continued, we adapted as needed—stepping into roles, adjusting staging, and keeping the work moving forward. We closed by spending additional time on the Hamlet scene, digging deeper into the text and continuing to shape the piece.

The momentum is clear: the ensemble is building something strong, together.

April 7th and 9th

“How Do I Act That?” – April 7

I arrived a bit late, waiting on materials for our Hamlet work, but the group was already gathered and ready to begin. After a quick check-in, we dove into Act 5, Scene 1 of Hamlet, with ensemble members stepping into the Gravedigger scene and immediately finding moments of humor and rhythm in the text.

We spent time discussing how to adapt the final scene for a smaller group, problem-solving together and identifying what could be trimmed while still honoring the story. From there, we shifted back into The Comedy of Errors, continuing our work through Act 1, Scene 2.

One of the most exciting moments of the night came when a participant asked, “How do I act that?” It opened up a rich conversation about playing actions instead of emotions - focusing on what a character is doing rather than how they feel. She immediately began applying the note, and the shift was clear.

Throughout the rehearsal, ideas were flying. Participants explored physical comedy, experimented with reactions, and even suggested adding sound elements like drum hits to heighten moments of impact. The room was full of creativity, even as we navigated moments of distraction and worked to stay focused.

We closed by revisiting Hamlet, where the group had already begun shaping casting ideas for the Volunteer Appreciation Event (VAE). Even in its early stages, there was a strong sense of ownership and excitement around the piece.

“I’m Not Going to Go Out Like That!” – April 9

This session was grounded in detailed scene work as we continued building The Comedy of Errors. After some initial discussion and planning, we jumped into Act 4, Scene 3, where the group brought strong instincts and clear character choices. The scene developed quickly through repetition, with each pass adding more specificity and confidence.

We then moved into Act 4, Scene 4, focusing on staging and physical storytelling. The ensemble worked through the mechanics of the scene - particularly moments involving movement and coordination - offering ideas and adjustments to make the action clearer and more dynamic. The work required patience and collaboration, and the group continued to refine it together.

Later in the session, attention shifted to the VAE Hamlet piece. The ensemble is still discovering the tone of the scene, exploring whether it leans more toward comedy or seriousness. As they work through the language, they are beginning to find clarity in both the storytelling and their individual performances.

The process is ongoing, but what remains consistent is the ensemble’s willingness to experiment, question, and shape the work together.

March 31st and April 2nd

“I’m the Duke and I run this.” - March 31

This session marked a turning point — both in decision-making and in the depth of the work.

We welcomed Burkett into the space, and the ensemble immediately leaned into the opportunity to learn from a new perspective. After grounding ourselves in check-in and the ring, we moved into one of the most anticipated moments of the season: the final vote for our next production.

With thoughtful consideration and conversation, the ensemble selected King Lear. While there were mixed emotions, the decision reflected the group’s willingness to take on a challenge — a story that demands emotional depth, clarity, and ensemble strength.

From there, we got right to work.

Burkett led the group through the given circumstances of Act 1, Scene 1, helping actors anchor themselves in the world of the play. What followed was a powerful moment of growth. As one participant stepped into the role, Burkett encouraged her to connect action to language — to let the words live in the body. Slowly, the performance shifted. Energy rose. The ensemble responded with cheers as the work became fuller, more embodied, and more alive.

We continued into Act 5, Scene 1, exploring staging and refining movement. The introduction of V-blocking helped clarify relationships and focus the storytelling, giving the scene a stronger visual and emotional shape.

The session held a balance of big-picture decisions and detailed craft. By the end of the night, the ensemble had not only chosen their next show, but had already begun stepping into the world of the current one — physically, vocally, and collectively.

We closed in the circle, carrying forward both the weight and the excitement of what’s to come.

“I want to do the gravedigger scene.” - April 2

This session was rooted in joy, collaboration, and the kind of play that reminds us why we do this work.

After a longer check-in filled with warmth and connection, the ensemble shifted focus to preparing for the upcoming Volunteer Appreciation Event. What began as a logistical conversation quickly became a creative one, as participants imagined what they wanted to share.

“I want to do the gravedigger scene,” one ensemble member said — and just like that, the room had direction.

The group rallied around the idea, pairing it with the final scene from Hamlet and exploring how to shape the material within a short performance window. They requested both the No Fear and original text, eager to understand and perform the language with clarity and confidence.

Even as we navigated the practical challenges — limited time, shifting group size — the ensemble stayed solution-oriented, thinking ahead and ensuring that whatever version of the group showed up, the work would still be strong.

We then returned to Comedy of Errors, running Act 3, Scene 1 twice. Each pass brought more clarity. We refined staging, explored how to communicate space using minimal elements, and leaned into storytelling choices that made the scene legible and dynamic.

There were moments of adjustment and honesty — particularly around elements we won’t be able to include — but even those moments were met with care and collective support. The work continued.

We ended the night the way we often do: in play. Queen of the Jungle brought laughter into the room, reinforcing the ensemble’s connection to one another.

We closed in the circle, grounded in connection, creativity, and the steady momentum of the work ahead.

March 24th and 26th

“Use Your Brain Outside the Box.” — March 24

This session was a reminder that creativity doesn’t disappear when resources are limited — it sharpens.

After check-in, I shared an update with the ensemble: our request for costumes and the ability to film the production had been denied. There was an initial wave of disappointment — understandable, given how much care and pride this group brings to building the world of the play. But what stood out was how quickly that frustration transformed into problem-solving.

“We didn’t have costumes last year and we did amazing,” a participant reminded the group. That spirit carried us forward.

What followed was one of the most inventive design conversations we’ve had all season. The ensemble began reimagining the entire visual language of the show using what is already available to them. Newspaper became fabric. Sheets became robes. State blues became a base layer for character transformation.

“Use your brain outside the box,” an ensemble member encouraged — and the room rose to meet that challenge.

Each character started to take shape in new and unexpected ways: bold color choices, handmade accessories, layered textures, and inventive silhouettes. There was laughter, debate, and collaboration — especially as we worked through ideas for Antipholus and found ourselves navigating different comfort levels and perspectives. Even in moments of disagreement, the commitment to the collective vision remained clear.

By the end of the conversation, the energy had shifted completely. What began as a limitation became an opportunity — not just to design costumes, but to define the aesthetic of this production as something uniquely ours.

We closed the night by turning our attention to future seasons, reading through potential plays and beginning the exciting process of imagining what comes next. Even as we look ahead, the focus remains the same: building something together, with whatever tools we have, and making it meaningful.

We raised the ring and ended the night grounded in that shared purpose.

“We Can’t Go Wrong With These Choices.” — March 26

This session centered on possibility — what stories we want to tell next, and how we want to tell them.

After check-in, we dove into a conversation about the future of the program. Should we spend extended time developing a piece? Should we adapt a Shakespeare play or perform it as written? The ensemble weighed these questions thoughtfully, drawing from their own experiences to guide the discussion.

Fisher-Grant emphasized the value of working with Shakespeare’s original text — how its consistency can anchor the ensemble and keep everyone moving together. Others imagined new forms: adaptations, hip hop influences, and ways to make the work feel personal and immediate.

As we read through potential plays, the room filled with curiosity and debate. King Lear, The Winter’s Tale, and Romeo and Juliet quickly rose to the top, each offering something different: scale, magic, familiarity, challenge.

“I want to be Romeo,” one participant said, while another was drawn to the richness of roles in King Lear. Others were captivated by the blend of comedy and tragedy in The Winter’s Tale — a story of loss, forgiveness, and transformation.

The conversation moved beyond preference into strategy. What stories will resonate most? What will challenge us? What will allow new members to step in and grow? The ensemble considered not just what they wanted to perform, but why it mattered.

By the end of the night, the vote came down to two: King Lear and The Winter’s Tale. The final decision remains ahead on Tuesday, but the process itself — collaborative, thoughtful, and deeply engaged — is already shaping the future of the work.

We closed by sharing monologues, stepping briefly into these worlds and testing what it feels like to speak their language. It was playful, exploratory, and full of possibility.

We raised the ring, carrying forward not just a decision to be made, but a shared investment in whatever comes next.

March 17th and 19th

“Someone Backstage Should Knap the Slaps.” — March 17

This week, we shifted into a different kind of rehearsal — observation and analysis. Instead of working the scenes on our feet, we began watching a film adaptation of The Comedy of Errors, using it as a tool to spark ideas for our own production.

Even in a quieter session, the ensemble stayed engaged, watching closely and offering insights along the way. Small moments in the film opened up big possibilities. A simple sunglasses gag inspired conversation about how physical comedy can heighten character, while another participant suggested enhancing stage combat by reinforcing the sound of slaps from backstage. These ideas reflect how deeply the ensemble is thinking about theatricality — not just what happens, but how it lands with an audience.

We also began to notice patterns in character behavior. One observation stood out: Dromio constantly trying to exit scenes. That recurring choice sparked discussion about how we might build that same comedic urgency into our own staging.

Throughout the evening, there were thoughtful side conversations about performance choices — particularly around physical interaction and how different productions approach touch and staging. Even while watching, the ensemble remained in a creative mindset, filtering everything through the lens of our show.

We paused the film after the arrest scene, planning to finish it next session. As always, we closed in a circle, grounding the work in community before heading out.

“Use the Silence to Emphasize the Error.” — March 19

We returned to the film this session, finishing what we started and diving deeper into what we could take from it.

Before we pressed play, the group jumped into a lively conversation about next season’s show. The debate between comedy and tragedy continues, with strong opinions on both sides — a reminder of how invested this ensemble is not just in this production, but in the future of the work.

After check-in, we picked up the film and watched through to the end. What followed was one of the most detailed and dynamic discussions we’ve had about performance.

The ensemble analyzed everything: pacing, staging, character relationships, and visual composition. One participant noted how the production emphasized Antipholus’ relationship to money, while another reflected on the overall energy: “The whole time I felt energy. It was exciting. Even the silence was energized.”

That idea of energized stillness led to a powerful takeaway: “Use the silence to emphasize the error.” The group began thinking about how pauses — when used intentionally — can heighten confusion, tension, and comedy all at once.

There was also a strong focus on staging. The ensemble noticed moments where actors turned away from the audience and discussed how techniques like “cheating out” and playing in a three-quarters thrust could keep the storytelling clear. Questions about physicality emerged as well, especially around how to stage more dynamic moments safely and effectively.

The final scene sparked debate. Some loved the ending focus on the Dromios, while others questioned the length of the final pause. These differing perspectives opened up a larger conversation about rhythm — how long is too long, and when does a pause serve the story versus slow it down?

Throughout the discussion, one thing was clear: the ensemble is no longer just learning the play — they are actively directing it. They are questioning choices, offering alternatives, and imagining how to make this production their own.

We closed, as always, in the circle — carrying forward new ideas, sharper instincts, and a deeper understanding of the world we’re building together.