“Straight Up!”
This week’s gathering was a joyful reminder of what makes the ensemble special—collaboration, humor, and shared ownership of the process. The evening was devoted to one of the most important decisions of the season: how auditions would work.
After warm laughter during check-in, the ensemble discussed several options. Should auditions be before or after Thanksgiving? Should they keep the traditional SIP style of performing solo monologues? Every opinion was heard. One member pointed out that holding auditions before the holiday would avoid scheduling conflicts; another agreed that it would “leave more time for the read-through before the break.” A single voice spoke up for post-holiday auditions, but when it came to a vote, the decision was clear—pre-Thanksgiving auditions won overwhelmingly.
The conversation then turned to the format. The group quickly agreed to return to the traditional style—each person performing a monologue on stage—and began calling out suggestions. The list grew fast: Adriana 2.2, Luciana 3.2, Antipholus 3.2, Egeon 1.1, and Dromio 4.4. One participant read Adriana’s piece and admitted, “I didn’t like it—there were a lot of words I didn’t know.” Another followed and declared, “I loved it! Straight up!” which sent the group into laughter.
Another member gave a lively reading of Luciana’s speech that earned enthusiastic cheers from her peers. The discussion that followed was full of encouragement and curiosity. Together, the ensemble narrowed the options down to five audition pieces:
Adriana 2.2
Duke 1.1
Luciana 3.2
Antipholus 3.2 (paired with #3 for a optional scene)
Dromio 4.4
Or any other piece that “speaks to you”
The evening closed with everyone sharing which roles they hoped to explore. The room buzzed with anticipation—some dreaming of leads, others of comic side roles—and plenty of laughter along the way. By night’s end, the group had charted the path forward democratically and joyfully.
“We Don’t Consider This to Be a Gift!”
Two days later, the ensemble reached another major milestone: stepping into the proscenium for the first time this season. That shift—from sitting in the circle to standing on the stage—is always a thrilling one. It signals that the work is transforming from exploration to performance.
The evening began lightheartedly, with jokes and laughter. When the audition packets were handed out, someone quipped, “We don’t consider this to be a gift!” and the room erupted. After a brief conversation about the coming weeks—practicing audition pieces, exploring roles, and building confidence—the ensemble moved eagerly into the performance space.
The first scene opened with two participants playing Luciana and Antipholus, running their lines twice and finding more confidence each time. Another group followed with a fast-paced exchange between Dromio and the Courtesan, and soon the stage was alive with motion and laughter. When one actor froze mid-scene, a voice from the house called out, “Move around! Stop standing in one spot!”—drawing good-natured cheers and helping everyone loosen up.
Throughout the evening, performers experimented with rhythm, projection, and physicality. One ensemble member presented the Duke’s monologue, standing tall at the podium while peers offered encouraging notes—“slow down,” “take a breath,” “stand proud.” Another scene drew big laughs when an actor was told to “seduce the audience,” and a friend in the seats pretended to swoon, clapping and laughing along.
There wasn’t much discussion that night because no one wanted to stop performing. One scene after another flowed naturally; people were volunteering before the previous one had even ended. It was clear that the ensemble had leveled up. The nervous excitement of stepping onto the stage for the first time mixed with the joy of seeing each other shine.
As October closed, the Comedy of Errors ensemble stood quite literally on its feet—ready for auditions, brimming with courage, and united in their shared leap forward.