March 10th and 12th

“If a Part Is Difficult to Say, Cut It Out.” — March 10

This week’s rehearsal focused on refining the script and strengthening the ensemble’s approach to memorization and performance. After gathering and checking in, the group turned its attention to shaping the pacing of The Comedy of Errors by discussing potential cuts.

The conversation quickly became collaborative. While some sections seemed ripe for trimming, others sparked debate. One ensemble member strongly advocated for keeping the comedic exchanges between Antipholus and Dromio, arguing that those moments are essential to the rhythm of the play. Another participant suggested a compromise: keep the jokes and punchlines, but trim the extra lines around them to keep the pace moving.

As the ensemble continued discussing possible edits, one piece of advice stood out: “If a part is difficult to say, cut it out. Make sure the lines flow for you — you’re the one who has to say it.” The comment reflected the ensemble’s growing confidence in shaping the script so it feels natural and playable.

The conversation also turned toward performance strategies. The group explored memorization techniques, sharing the creative ways they make Shakespeare’s language their own. One ensemble member described how she uses movement to anchor her lines: “When I’m on stage I like to move. I do a movement to remember my lines. I use the stage to my advantage.” Another talked about singing lines to help remember them, joking that if you sing the text, the audience might not even notice a mistake.

The evening ended with the ensemble reflecting on the power of performance and community before closing in the circle. The work ahead is clear: continue tightening the script, deepen memorization, and prepare the show for its next run-through.

“If We Cut All the Comedy, All We Get Is Errors.” — March 12

Two days later, the ensemble gathered again to continue shaping the script and sharpening the language of the play.

We began with a quick warm-up game before returning to the script. The goal for the evening was to revisit potential cuts and clarify pronunciation throughout the text. As the group worked through edits, one participant offered a reminder that captured the spirit of the play: “If we cut all the comedy, all we get is errors.”

That observation sparked a lively discussion about balance. While trimming the script helps streamline the performance, the ensemble recognized that the humor is what makes The Comedy of Errors come alive. Fisher-Grant emphasized that making thoughtful cuts now will help preserve the most important and funniest moments when the show reaches its final shape.

The group also leaned into the physical and vocal energy of the play. As we worked through pronunciation and rhythm, participants experimented with delivery and pacing. The mantra of the evening quickly became one the group has heard often in rehearsal: “Bigger. Faster. Funnier.”

Along the way, moments of humor kept the room lively. When the group encountered the word mountebank in the text and discovered its meaning, one participant laughed and joked, “That’s what brought me here.” The laughter that followed was a reminder that even while working through Shakespeare’s complex language, joy and connection remain at the center of the process.

By the end of the session, the ensemble had worked through a large portion of the script, refining pronunciation and identifying places where the pacing could improve. With each rehearsal, the play grows sharper, clearer, and more dynamic — guided by the ensemble’s commitment to both the comedy and the craft.

March 3rd and 5th

“This Time You Got to Own Your Character.” — March 3

This week’s session was all about stepping into roles with confidence. After gathering and checking in, we moved quickly into auditions for the remaining parts in The Comedy of Errors. With most roles already filled, the focus was on giving participants the chance to explore characters and try bold choices in front of the ensemble.

One by one, participants stepped forward to audition. Some came in prepared and ready, while others battled nerves as they delivered their monologues. Still, each actor brought something unique to the room. One performance earned a roaring round of applause for the clear choices and energy behind it. Another participant joked “Good lord!” mid-monologue while navigating the complexity of Egeon’s speech, prompting laughter and supportive encouragement from the group.

Facilitator Liv Morris offered thoughtful feedback throughout, encouraging performers to stay grounded in their bodies and bring greater specificity to their choices. At one point, the group reflected on the length of a speech in the show, with a participant joking, “We need to cut that down. Even I got lost in that.” The conversation sparked a larger discussion about balancing Shakespeare’s storytelling with pacing that keeps an audience engaged.

Facilitators Sam Aupperlee, Liv Morris, and Sophia Esch also jumped into the audition round, offering readings alongside the ensemble to keep the momentum moving. The room was full of laughter when one participant delivered the Duke from behind the podium in a playful voice that completely transformed the moment.

After auditions, we checked in about how everyone felt. Some participants shared that nerves were their biggest challenge, especially when thinking about memorization. We reminded the group that while memorization is encouraged, the real goal is to deepen connection with the text and the character.

One ensemble member captured the spirit of the evening perfectly: “It was exciting the first time. This time you got to own your character.”

We closed the session with games — Gibberish Rap, Fairytale storytelling, and the Counting Game — before ending the night by raising the ring together.

“The Arrest Scene Is Big, Fast, and Funny.” — March 5

the ensemble gathered again to run through the show and start shaping the rhythm of the performance. The goal for the evening was simple: get the play on its feet and see where the story moves quickly and where it needs tightening.

We began the run right on schedule, with Sophia Esch stepping in to play the Duke. As the scenes unfolded, the ensemble’s growth was immediately visible. One participant’s work earned snaps of appreciation from another, highlighting the supportive culture that has formed within the group.

Throughout the run, the ensemble offered thoughtful observations. Some conversations centered on pacing — particularly the long storytelling speeches that set up the play’s backstory. While a few ensemble members wondered if certain sections might lose audience attention, the group ultimately recognized how important those moments are for grounding the narrative.

Meanwhile, the comedy of the play continued to shine. Several scenes crackled with energy, especially the arrest sequence. The ensemble leaned fully into the physical humor and fast pacing, creating a moment that felt electric. As we watched the scene unfold, it became clear that this section represents exactly what the show can be at its best: bold, playful, and full of life.

Actors also experimented with accents, reactions, and physical beats. Some scenes sparked conversations about blocking and timing, while others revealed just how funny Shakespeare’s chaos can be when performers commit to the absurdity.

By the end of the run, we had made it through most of the play and identified several places where small cuts could help streamline the performance. The ensemble agreed that tightening the script will help maintain momentum and keep the audience engaged.

Before closing the evening, the group voted on whether they wanted to watch a film version of the play together as part of their preparation. The decision was unanimous: they’re excited to rewatch another interpretation and compare it with the choices they’ve been developing.

With auditions complete and the show beginning to take shape, the ensemble is now focused on refining the rhythm of the play — sharpening the comedy, clarifying the storytelling, and continuing to build the joyful chaos that makes The Comedy of Errors so much fun to perform.

February 24th and 26th

“Can You Imagine Not Knowing Your Husband Had a Twin?” — February 24

This week’s session blended character work, costume experimentation, and plenty of laughter. We began with check-ins and practical updates before diving back into the text. Conversations about tie-dye mishaps turned into collaborative problem-solving, with participants offering creative solutions for keeping color vibrant and bold. The costume process continues to be a collective effort — imaginative, resourceful, and full of personality.

We moved into Act 2, Scene 2, where accents and character choices brought fresh energy to the room. A Southern drawl from Dromio sparked laughter, and when confusion about the scene arose, ensemble members jumped in to explain and clarify. As we discussed Adriana’s predicament, one participant captured the absurdity of Shakespeare’s mistaken identity perfectly: “Can you imagine not knowing your husband had a twin and getting him confused!” The room erupted — it was a reminder of how alive this centuries-old comedy still feels.

As we read through Acts 3 and 4, the ensemble dug deeper into emotional stakes. One participant paused before a speech and said, “This part’s going to make me emotional.” That vulnerability led to meaningful discussion about betrayal, disappointment, and the way Shakespeare’s language mirrors lived experience. Humor remained close by, though — witty asides and playful commentary kept the balance between comedy and heart.

By Act 4, Scene 3, bold interpretive choices took center stage. A participant announced, “I’m gonna make her ghetto,” leaning fully into a dynamic, contemporary take on the Courtesan. The choice sparked laughter and reminded us how interpretation can make classical text feel immediate and personal.

We closed the evening with dance games and music trivia, laughter echoing as we made plans for auditions, final costume decisions, and our first full timed run. Momentum is building — and the ensemble is owning the work more each week.

“The Wakanda Is Wakanda-ing.” — February 26

This session was all about finishing the read-through and sharpening character choices. After check-in, we completed Act 4 and moved into the final act of the play.

Accent work became a joyful focal point. When teased that her Dromio’s accent might not match the other twin, one participant laughed, “The Wakanda is Wakanda-ing.” The room lit up. Rather than seeing accent variation as a problem, the group explored how it could become part of the comedy — perhaps even acknowledged directly in the script. That playful creativity reflects the ensemble’s growing confidence in shaping the story.

In Act 5, Scene 1, we examined the resolution of the play. The group debated whether certain characters should have figured out the twin twist sooner. “They were gonna behead me!” one participant argued passionately, defending Egeon’s confusion. We also discussed whether consequences linger at the end — and whether family truly triumphs. The consensus leaned toward joy. As we reflected, I shared my belief in the power of a happy ending.

Newer members expressed interest in roles and began preparing for auditions. The excitement around stepping into bigger parts is palpable, even when nerves surface. When someone jokingly suggested performing her first forty lines for auditions, groans and laughter filled the room — a reminder that humor keeps us grounded even in moments of anticipation.

We wrapped with games — Buzz, Gibberish Rap, Do Your Dance — and closed in our usual circle. As we head toward auditions and full runs, February has shown us something clearly: this ensemble is not just rehearsing a comedy — they are actively shaping it, questioning it, and making it their own.

February 17th and 19th

February 17

This week’s first session was intentionally light. I was out sick, and without our usual note-taking in place, the evening unfolded simply and organically. The group gathered, played games, read through the show together in a circle of chairs, and spent time talking.

“The More You Practice It Out Loud, the Easier It Gets.” - February 19

We began by gathering and catching up, easing into the night with conversation before our check-in. There was thoughtful discussion about speaking up for oneself and advocating for change. One participant told another, “I’m glad you have the voice to speak up.” That spirit of resilience and encouragement set the tone for the evening.

To help newer ensemble members see where the story is headed, we ran Act 5, Scene 1 — the culmination of the play. Watching everyone step into performance mode so quickly was powerful. Participants embraced their roles, and reflections afterward showed how much the ending clarified the journey of mistaken identity and reunion for the group.

From there, we returned to the beginning of the play and read together. Laughter emerged as we worked through Shakespeare’s dense language. When asked what the Duke’s speech was saying, someone joked, “Too much!” The humor opened the door to a deeper conversation about clarity, pacing, and cutting lines where needed.

As we continued, scenes began to spark. Act 1, Scene 2 flowed smoothly, and by the time we reached Act 2, Scene 1, the energy shifted into something electric. The dynamic between Adriana and Luciana felt alive and grounded, with performers listening closely and responding in real time.

We also talked about Shakespeare’s verse — how line endings interact with full sentences and how rhythm can support understanding. One participant offered a simple truth: “The more you practice it out loud the easier it gets.” It was a reminder that Shakespeare, like any language, becomes more accessible the more we live inside it.

The night closed with laughter, learning, and the raising of the ring — a ritual that continues to anchor our work in community and shared purpose.

February 10th and 12th

“We get creative in here.” - February 10

The evening began with casual conversation and laughter as the group settled in together, swapping stories about inventive cooking and everyday creativity. One participant summed it up best: “We get creative in here.” That spirit of ingenuity carried throughout the session as the ensemble moved from conversation into rehearsal.

We shared updates about upcoming plans, including welcoming new ensemble members and preparing for the next phase of rehearsal. The group eagerly brainstormed roles that new members might take on, demonstrating generosity and openness in making space for newcomers. Costume ideas also flowed freely, with participants imagining bold colors, statement pieces, and playful additions that will bring the world of the show to life.

A highlight of the evening was the introduction of a new ensemble exercise focused on communication and consent. Through playful rounds of Simon Says, participants explored what it feels like to say no, to offer alternatives, and to collaborate in shaping shared choices. Reflections afterward revealed thoughtful insights about agency and openness, reinforcing how rehearsal spaces can support both artistic and personal growth.

From there, the group returned to blocking, bringing strong energy and commitment to scene work. Performers embraced bold character choices and playful accents, and laughter rippled through the room as new ideas were tested. Ensemble members supported one another with feedback and encouragement, helping scenes grow stronger and more dynamic.

The night wrapped with games, improv, and the raising of the ring—a ritual that continues to mark the end of each session with unity and purpose. The sense of connection and shared momentum was clear as everyone headed out, ready to continue building the show together.

“I wanted to try something different.” - February 12

This session was especially exciting as new ensemble members joined the group for the first time. As introductions began, one participant shared simply, “I wanted to try something different,” capturing the courage and curiosity that new members bring into the room.

Conversations quickly turned to why people choose to participate, with both new and returning members sharing their motivations for joining the ensemble. Stories of stepping outside comfort zones, seeking creative challenges, and finding connection through theatre created a welcoming atmosphere for everyone present.

To help new members get oriented, the group revisited the story of the play, introduced characters, and shared insights about the production process. Veteran ensemble members enthusiastically helped newcomers understand the show, demonstrating how the group supports each other through every stage of rehearsal.

The evening also included playful name games and rap-based wordplay, giving everyone a chance to loosen up and connect through humor and rhythm. Costume conversations continued as participants envisioned their characters’ looks, and measurements were taken to prepare for upcoming costume work.

The session concluded with group games and the familiar ritual of raising the ring together—a moment that welcomed new members into the ensemble while reinforcing the sense of shared purpose that keeps the work moving forward.

With new voices joining the process and rehearsal momentum building, the ensemble continues to grow both artistically and as a community.