February 3rd and 5th

“We’re in the 60s and 70s, songs are great.” - February 3

This session was filled with creativity, humor, and big-picture dreaming about what comes next for the ensemble. As we gathered and checked in, we talked about the remainder of the season and the exciting work ahead - finishing blocking, welcoming new ensemble members, and eventually choosing next year’s production. The conversation quickly turned imaginative as participants began brainstorming ways to shape the show in ways that felt true to them.

The group discussed how timing runs might help tighten the script and joked about cutting lines, rearranging moments, and even adding music. The idea of incorporating songs or rap elements sparked enthusiasm, and several participants imagined future productions that blend Shakespeare with original musical or spoken-word storytelling. Conversations about projects like Hip Hop Hamlet inspired everyone to think about how their own creative voices might shape future work together.

As rehearsal began, laughter flowed easily. Playful moments emerged as scenes were restaged, with participants experimenting with character choices, adding humorous touches, and supporting one another’s performances. Improvised moments - like shared reading glasses becoming part of a comic exchange - showed how the ensemble continually discovers new bits of storytelling through collaboration.

Scene work continued with strong performances and generous peer feedback, with participants encouraging one another to explore bigger emotional stakes and clearer character intentions. The energy remained high as rehearsal transitioned into dance practice, with the group suggesting songs and moving together through familiar dances, filling the room with music, laughter, and joy.

The evening ended on a light, playful note, reminding us that even in the middle of rehearsal challenges, laughter and shared movement remain central to the ensemble’s creative process.

“You must wear boots.” - February 5

This session opened with lively conversation and a return to one of the ensemble’s favorite topics: costumes. As measurements were gathered, participants shared ideas about how facilitators and background performers might look onstage. Suggestions ranged from jumpsuits and military-style hats to boots and tie-dye shirts, all contributing to a vibrant visual world for the production. Participants eagerly described their own costume wishes as well, imagining hats, colorful ascots, and playful details that fit the show’s energetic spirit.

Rehearsal then moved into scene work, with participants diving into Act 2, Scene 2. Performers explored new choices, refining blocking and experimenting with comedic timing. Facilitators encouraged performers to heighten humor and connection, and the group supported one another in finding moments that felt playful and alive.

Even when rehearsal energy dipped, the ensemble found ways to bring levity back into the room. One performer burst into a scene with such bold physical comedy that laughter spread instantly through the group, resetting the mood and reminding everyone of the joy at the heart of the process.

As rehearsal wound down, the group shifted into games, playing rounds of Late for Work and reconnecting through play. The laughter and movement closed the evening on a strong note, reinforcing how much this work depends not only on performance skills but on trust, humor, and ensemble connection.

January 27th and 29th

“Acceptance is my answer.” — January 27

This session began with warm conversation and a sense of ease as the group gathered and checked in together. To deepen our exploration of The Comedy of Errors, I posed a question connected to my Exit Project: What does mistaken identity and being misunderstood mean to you? The conversation that followed was thoughtful, vulnerable, and deeply reflective.

Participants shared powerful stories about identity, perception, and growth—about being labeled, misunderstood, and learning to reclaim their own narratives. Many spoke about the importance of acceptance, self-awareness, and emotional honesty. One participant reflected on how recognizing and naming her identity helps her stay on track in her recovery, while another shared how being misunderstood throughout her life shaped her desire to be seen and acknowledged. Others spoke about family, parenting, gender expectations, and the complexity of being judged by a single story.

The group also discussed femininity, masculinity, and sexuality, highlighting how stereotypes shape expectations and how self-expression can be a form of resistance and healing. The conversation underscored how Comedy of Errors—a play built on mistaken identity—offers a rich framework for examining how we see ourselves and how others see us.

After the discussion, we transitioned into movement with Crazy 8s and then returned to rehearsal, picking up Act 4, Scene 4. The group worked through stage combat moments and character interactions, experimenting with blocking and filling in roles as needed. We discussed prop needs for the scene and began planning how to support the physical storytelling moving forward.

The evening balanced deep reflection with collaborative practice—affirming how ensemble dialogue and rehearsal can inform and enrich one another.

“She wants to be a disco queen with a crown.” — January 29

This session opened with lighthearted conversation and celebration—one participant shared that it was her birthday and that she wanted to play Pancake, setting a playful tone for the evening. We checked in as a group and discussed upcoming plans for the production, including opening the callout for new ensemble members and how many new participants to invite into the process.

We then moved into rehearsal for Act 5, Scene 1, where I took measurements to support costume planning. The group continued imagining the visual world of the show, with participants sharing bold costume ideas—pink looks, disco-inspired outfits, crowns, and sequined jumpsuits—leaning into the vibrant, playful aesthetic of the production.

After rehearsal, we played Queen of the Jungle and Pancake, filling the room with laughter and movement. The games offered a joyful close to the evening, reinforcing the ensemble’s sense of community, play, and shared momentum as we head toward performance.

January 20th and 22nd

“Laughter is medicine for the soul.” - January 20

Our ensemble gathered this week for a joyful and thoughtful rehearsal filled with reflection, humor, and creative discovery. During check-in, participants shared why they were excited to take on The Comedy of Errors—and what comedy means to them in this moment of their lives.

One participant shared, “We can let loose and be ourselves. It’s such a serious world—so I find every chance to have fun.” Another added, “I thrive better in comedy. I gotta get past this part to go on to tragic roles. My goal is to act.”

The group reflected deeply on laughter and joy, with one participant beautifully summarizing, “Laughter is medicine for the soul.” Another shared, “Shakespeare is my happiness. You bring us happiness. It lets you forget for just a minute the reality you’re in.”

After sharing jokes and stories—sparking waves of laughter—we dove back into blocking Act 3, Scene 1 and beyond. Ensemble members stepped into new roles, supported one another through staging, and brought strong energy and confidence to the work. Participants experimented with movement, dance, and character choices, building momentum toward a vibrant, playful production.

The day closed with continued collaboration, curiosity, and a shared commitment to making people laugh—onstage and off.

“You threw me off ‘cause you’re playing a woman!” “You’re playing a man!” - January 22

Rehearsal continued with creativity, collaboration, and an infectious sense of play. Ensemble members shared their love of reading, creativity, and learning, and celebrated one another with kindness and care. We checked in as a group, shared updates, and celebrated milestones together.

We began the session with warm-ups and movement exercises, followed by focused blocking on Act 3, Scene 2. Participants worked together to deepen objectives, add physicality, and explore audience engagement. When we tried a new chase exercise to energize the scene, the response was immediate and joyful.

“That was fun!” one participant exclaimed, while another added, “I loved it!” The ensemble decided to keep the exercise as part of the staging, embracing movement and play as key storytelling tools.

We continued into Act 4, Scene 2, refining character choices and comedic beats. Participants applied notes with enthusiasm, fought for objectives, and celebrated each other’s breakthroughs. Improvisation, accents, and playful experimentation kept the room buzzing with laughter—especially during a spirited exchange about cross-gender casting that had the whole ensemble laughing.

We wrapped the session with a group game and plenty of joy, ending with connection, humor, and a shared sense of accomplishment.

January 13th and 15th

“I need to act.” — January 13

The energy in the room was vibrant from the very start. As the group settled in together, there was an immediate sense of anticipation and playfulness—people were eager to move, to imagine, and to create. One participant captured the spirit of the evening perfectly, declaring, “I need to act. I gotta get some energy out.” That sense of urgency and joy carried us through the session.

Much of our time together was devoted to dreaming up the world of Comedy of Errors through costume. The room buzzed with ideas: rainbow tie-dye robes, platform shoes, flower crowns, bell bottoms, fluffy collars, vests, and even a “Cat in the Hat”–style hat. Aupperlee sparked a lively conversation about circular glasses, and soon the group was riffing together about how to bring a 1960s/70s aesthetic to life. Creativity was contagious—participants built on one another’s suggestions, imagining bead curtains for doors, tie-dyed backdrops, and playful, colorful silhouettes that would help tell the story.

There was also a beautiful blend of humor and collaboration. Laughter rippled through the room when one participant confidently began her monologue—only to forget a few words—but the moment felt supportive rather than embarrassing. Everyone cheered each other on.

We moved from design into practice, warming up together before diving into Act 3, Scene 1. Morris encouraged performers to take up more space, filling the room with bigger, bolder presence. The group experimented with staging using music stands as doors, discovering what might work onstage. Even as we wrapped up, the creativity continued—one participant taught the ensemble a hustle dance they hope to use at the end of the show.

The evening left us excited about what’s to come: a production rooted in imagination, play, and collective joy.

“Laughing helps the soul.” — January 15

Our session centered on reflection, connection, and the healing power of laughter. As we gathered, we returned to the question that will guide part of my master’s thesis: What drew you to Comedy of Errors? The responses were thoughtful, heartfelt, and often funny.

Several participants spoke about how rare joy can feel in their daily lives—and how essential it is. One shared simply, “Laughing helps the soul.” Others reflected on how comedy brings lightness, community, and something to look forward to. Many expressed how meaningful it is to be part of a Shakespeare production, recalling past experiences where theatre made them feel “like they were outside” or sparked their imagination in vivid ways.

Fisher-Grant guided the conversation with warmth and curiosity, inviting stories about past SIP performances, including Much Ado About Nothing, and Twelfth Night. Participants spoke with pride about handmade props, inventive costumes, and the way small “mistakes” onstage only made the work feel more human and alive.

We also talked openly about roles in the upcoming production. While there were playful debates, the tone remained supportive and generous—several participants even offered to step back so others could have opportunities. Fisher-Grant encouraged everyone to practice boldly and use their full voices, reminding the group that their sound and presence matter.

The session ended on a lighthearted note. After joking about who might be “Queen of the Jungle,” the group chose to play a dance game together, filling the room with movement, laughter, and camaraderie before we wrapped up for the evening.

January 6th and 8th

“We Don’t Have a Lot of Color Here—I’d Love to See That.” - January 6

The week began with the ensemble returning from a short break and jumping back into creative decision-making together. The focus of the night was concept: what world The Comedy of Errors should live in, and how design choices can support both storytelling and practicality.

After reviewing concepts discussed in previous sessions, the group brainstormed a wide range of ideas—from ancient worlds to playful reimaginings—before narrowing their focus. Through discussion and multiple rounds of voting, the ensemble ultimately chose a 1960s/70s Hippies concept. The conversation centered not only on aesthetics, but on accessibility, color, and joy—what would feel exciting, expressive, and achievable.

Once the concept was chosen, the group began thinking ahead to costumes and character distinctions, especially for mirrored roles like the Antipholuses and Dromios. The evening then shifted into skill-building, with time dedicated to stage directions, spacing, and basic blocking language. Ensemble games reinforced ideas like cheating out, actor distance, and sharing the stage.

The session closed with a brief improvised exploration of Act 5, Scene 1, allowing the group to start imagining how the play might move and feel on its feet. The night ended with a strong sense of collective ownership and creative momentum.

“I Just Want Him to Be Funny.” - January 8

With rehearsal scripts officially in hand, the ensemble dove into blocking and scene work, eager to bring the play to life. The group began by revisiting rehearsal room values—how to offer notes, how to receive feedback, and how to balance collaboration with individual choice. The emphasis was clear: actors are encouraged to experiment, but ultimately decide what works best for them.

Blocking began with the opening scenes of the play, quickly revealing opportunities for added stage business and physical storytelling. Ensemble members stepped into both primary and supporting roles, finding inventive ways to stay active and engaged onstage—even when characters weren’t speaking. Moments of improvisation brought humor and surprise, including spontaneous character beats that immediately energized the room.

As scene work continued, the group navigated the balance between specificity and overload. When feedback became dense, the ensemble practiced slowing down and offering one clear note at a time. These moments became opportunities to reinforce trust and care within the room, especially as actors worked through challenging monologues and physical comedy.

The session also featured lively stage combat, playful repetition, and growing confidence—particularly among actors tackling demanding roles with both language and movement. By the end of the night, the ensemble had successfully blocked through multiple scenes, laying strong groundwork for future rehearsals.

The evening closed with ensemble games that emphasized listening and patience, along with early conversations about costumes and upcoming creative choices. Together, the two sessions reflected a rehearsal room full of curiosity, laughter, and forward motion—an ensemble actively shaping The Comedy of Errors with care, courage, and joy.