May 5th and 7th

“Everyone Should Just Keep Going if They Mess Up.” - May 5

The ensemble jumped into rehearsal almost immediately after arriving, energized by the arrival of props and new creative possibilities. The session focused heavily on pacing, scene work, and refining the growing world of The Comedy of Errors. Ensemble members filled in for missing roles throughout the evening, creating a collaborative rehearsal room where everyone supported one another and kept the show moving forward.

As the run progressed, the ensemble continued strengthening blocking, entrances, exits, and physical comedy. One participant brought huge energy and variety to Dromio (S), while others explored stronger vocal choices, clearer pacing, and more dynamic movement. The group also experimented with staging details, including placement of the fountain prop and new approaches to slapstick moments. A particularly funny moment came when one participant hid behind a tree during the jailer scene, bringing laughter to the room.

The ensemble completed the full run at just over an hour and a half, an encouraging milestone as performances approach. When asked how the run felt, one participant reflected, “I think it went good. We need the actual people. Everyone should just keep going if they mess up.” The group agreed, emphasizing the spirit of resilience, adaptability, and teamwork that continues to define the process.

“I Think We Should Go Beyond the Walls.” - May 7

This session focused on imagining the future of the summer writing project and exploring what it means to create original work together. The ensemble reflected on last year’s performances and discussed how writing can create opportunities for voices, stories, and experiences to be shared in new ways.

Participants emphasized how meaningful it was that everyone’s writing had a place in previous projects. “I like that everything that was written was included,” one ensemble member shared. “It encouraged people to write.” Others discussed the importance of balancing individual expression with a cohesive production structure. The group explored ideas around themes, collaborative storytelling, performer choice, and ways to shape the performance into something both personal and theatrical.

Throughout the conversation, ensemble members reflected deeply on authorship, ownership, and collaboration. They discussed giving performers freedom with the material while still honoring the intentions of the writer. The conversation became a powerful exploration of trust, creativity, and collective storytelling. One participant summed up the vision for the future simply: “I think we should go beyond the walls.”

The group also shared developing creative ideas for future productions, including original plays, themes centered around love and grief, and collaborative structures where every participant contributes at least one piece of writing. By the end of the night, the ensemble had not only continued preparing for The Comedy of Errors, but also begun building the artistic foundation for the next chapter of Shakespeare & Beyond.

April 28th and 30th

“All of it was impressive.” – April 28

The session began with the group arriving gradually, settling into check-in and the ring. As we moved into reflection, much of the conversation centered on the recent Volunteer Appreciation Event.

The response was overwhelmingly positive. “Did I die good?” one participant joked, sparking laughter. Others shared, “It was nice,” “It was fun,” and “All of it was impressive.” Another added, “It was pretty moving.” The group took pride in the work they presented and the impact it had.

Looking ahead, we discussed ways to build on that success. One idea was incorporating monologues at a microphone in future events, allowing voices to carry more clearly and giving performers a stronger presence in the space. The conversation expanded into artistic interests beyond the stage, with one participant sharing her experience learning guitar and playing in a band.

We then turned our focus back to The Comedy of Errors, continuing the process of refining cuts. The group engaged thoughtfully, weighing what could be trimmed while maintaining clarity and storytelling. While many cuts were agreed upon, others sparked deeper discussion, reinforcing the ensemble’s investment in the material.

Rehearsal continued with Act 3, Scene 1, as facilitators stepped into roles to support the work and ensure the scene could run fully. Ms. Matthews joined to rehearse her role, guided by the group, and the ensemble worked together to integrate her into the scene.

We closed the session by identifying next steps: preparing additional scripts, creating highlighted versions, and bringing in notecards to support the work ahead. The night ended, as always, with the ring - grounding the ensemble in shared focus and forward momentum.

“She could definitely do the entire show in Italian speed.” – April 30

This session was full of energy, experimentation, and discovery as we pushed the pace of the show in new ways.

After gathering and checking in, the group discussed upcoming props and long-term ideas for costumes, including possibilities for future funding and resource-building. The conversation reflected the ensemble’s continued commitment to problem-solving and making the work their own.

We then introduced an Italian run-through, a fast-paced rehearsal technique designed to sharpen timing and increase fluency with the text. Once casting was set, we jumped in.

The results were immediate. One participant moved through the text at an incredible speed, earning cheers from the group. Another also thrived in the exercise, maintaining clarity and energy throughout. While some found the pace more challenging, the ensemble remained engaged, pushing themselves and supporting one another.

The run revealed key moments that benefit from speed - quick exchanges, comedic beats, and high-energy sequences all gained momentum and clarity. It became clear that pacing will be a major factor in tightening the show, sometimes more than additional cuts.

As the rehearsal continued, the group navigated moments of distraction and focus, working toward maintaining the energy needed for a full run. The conversation at the end reinforced a shared commitment to improving focus and continuing to build the work together.

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.