“A Big Giant Messiness Mess of Mess”
February 11
As we started, we took stock of the roles still open: Antonio, Conrade, Borachio, Balthasar, Verges, Seacole, Watchman, Sexton, and Friar Francis. The new members shared how far they had read in the script. One said, "I’m connecting to it. I’ve seen a lot of people conspire," and pointed out the line, "A villany should never be this rich." Another liked Friar Francis’ part, and one member summed up the play as, "a big giant messiness mess of mess."
One member connected deeply with a grief line from Leonato’s monologue. "It relates to my personal life. I’m being positive, but my wife says I don’t get it." Another member advised, "Sometimes you just need to be heard. Sometimes I need advice, sometimes silence is the best advice. Make the positivity her idea." "I’m a fixer," the first member admitted. "Me too!" another added.
The group worked on stage directions and blocking. Members demonstrated different blocking choices while the rest watched from the audience. One suggested we work on stage directions, so I introduced a four-corners game. Most played until we had two winners. Another member suggested projection work, so we did the Tarzan vocal exercise on the edge of the stage, projecting to the back.
We began blocking 1.1, filling in for the Messenger. We brainstormed background actions for Beatrice and Hero—suggestions included crocheting, knitting, and reading. Some members played additional attendants reacting to Beatrice’s jokes. One member had many blocking suggestions, while another encouraged everyone to be louder. A member requested their character be female, and we adapted Leonato to Leonata.
We finished blocking 1.1 but didn’t have time to run it. We planned to leave time at the end of each session for run-throughs. I recorded Tuesday’s blocking while another facilitator would take notes for Thursday. We left feeling energized about the work.
February 13
At the start of session, we set up the circle of chairs, and after check-ins, someone asked to review names. Fisher-Grant planned a name game but first wanted to discuss auditions for the remaining roles.
New members shared their role preferences before we outlined the audition process. Fisher-Grant asked past participants to describe their experiences. One explained slating, performing for a proscenium, and other key aspects. Fisher-Grant filled in the gaps, referencing auditions from earlier in the year. "It [auditioning] got me out of my comfort zone, which was good," one member shared. Another said, "I felt better after I got it over with." A member described rehearsing in her unit, performing her monologue to anyone willing to listen. "You were all over the unit working on it!" someone else said.
The new members decided to use the same audition monologues, and after reviewing them, they agreed they worked. Fisher-Grant asked for volunteers to give an example audition later in the session. One member immediately raised her hand, while another hesitated before also volunteering. Fisher-Grant told her she could go after we played the name game.
The name game had everyone create a physical action and sound to go with their name. The group quickly embraced the activity, adding personal modifications. Laughter filled the room as everyone participated enthusiastically. The game ran longer than expected, but the energy was high.
At 7:15, we moved to the audition example. Before starting, someone asked about "proscenium," which led to a discussion about staging formats. Fisher-Grant explained thrust and round staging, and a member shared her experience watching a black box production. Once everyone had a clearer understanding, we transitioned to the audition demonstration.
One member volunteered first, and another assisted as the reader. The new members followed along in their books, engaged in the process. After applause, another member asked to go again, feeling she hadn’t performed well initially. "I was giggling too much the first time," she admitted. The group encouraged her, and this time she hit strong comedic beats. More applause followed.
With 30 minutes left, we returned to blocking 1.1 since some members had missed Tuesday’s session. The ensemble was highly engaged—if they weren’t onstage, they were following in their scripts or watching closely. One member proposed a new opening moment, which we incorporated. One member, with no lines in this section, took on an unofficial directing role, offering insightful suggestions.
We spent extra time refining the "roast session" and character reactions. By 7:50, we had blocked up to line 193 on page 8. Fisher-Grant suggested running the scene, and though some hesitated, the group went for it. The blocking flowed smoothly.
The session wrapped with a closing circle. Fisher-Grant reminded everyone that repetition builds a show worth being proud of. As we left, the ensemble carried that momentum forward.