“If I’m Going to Be Here 20 Years, I’m Going to Leave With Something”
April 22
When we arrived just before 6 p.m., the auditorium was already full of energy. The ensemble had begun setting up for the evening, and spirits were high. For the first time in a while, we had a full cast in attendance, which immediately gave the room an extra buzz of excitement.
As we transitioned into our regular check-in and ring—a grounding ritual that opens and closes every session—one ensemble member, who will be starting college courses in May, stepped forward to lead. She shared, “If I’m going to be here 20 years, I’m going to leave with something.” Her words landed deeply with the group, offering a reminder that the work we do together is about far more than putting on a show—it’s about growth, purpose, and reclaiming one’s story.
We began by rehearsing the final two scenes of the play, where the entire cast is onstage. That same ensemble member, known for her comedic timing, had the group laughing as she improvised a short musical riff in character. We made a few strategic adjustments—cutting Antonio from the final scene to ease double casting, and rehearsing the Cupid Shuffle as our final group dance.
After finishing the ending, we went back to the beginning and worked through the first 30 pages of the script. The party scene, already a favorite among the group, now includes a newly added “train” to help motivate character movement and exits. There’s a lot of creativity in the room as the ensemble finds new ways to bring each moment to life.
We also began confirming key upcoming rehearsal dates:
Thursday, April 24 – Cut day
Tuesday, April 29 – Costume day (tentative)
Thursday, May 1 – Full run-through from 6:30 to 8 p.m.
As we wrapped up, I introduced the group to a golden rule in performance: “Bigger, faster, funnier.” We encouraged everyone to pick up cues, act on their line, and project confidently. Fisher-Grant reinforced the importance of practicing out loud. The ensemble closed with a one-word check-out and raised the ring once again, this time led by the same ensemble member who opened us.
April 24
This session was all about cutting the script—an essential part of SIP’s collaborative production process. Shakespeare plays are long, and our goal is to shape the piece into a roughly 90-minute version that’s meaningful and manageable for the ensemble and our audience. That means the group has to make tough decisions together about what stays and what goes.
We set up the room early, circling up as the ensemble trickled in. As they entered, the most common topic of conversation was the heat—spring is definitely arriving. We began with our usual check-in.
We asked for a volunteer who had never led the ring before. While many of the newer members didn’t yet feel confident enough, one participant committed to leading next time. For this evening, Fisher-Grant led the ring and encouraged everyone to observe so they could step up in the future.
Once check-in was complete, we set up two large tables and worked collaboratively around them—scripts open, pens out. One ensemble member, who had an extra copy of a peer’s script, took the lead in suggesting cuts for Benedick. Another participant tried to cut a large portion of her own lines—some of which didn’t make sense to lose—but the conversation around it was productive and respectful. It’s clear the group is becoming more confident in negotiating artistic decisions as a team.
We eventually landed on a working system for cuts and moved through the entire play in one sitting, finishing at 8:05. As always, the ensemble’s focus and willingness to compromise was impressive. We reminded the group that we’re hopeful costumes will arrive by Tuesday, and depending on how that goes, we’ll either time the show then or on Thursday.
Fisher-Grant brought down the ring, and we closed the evening with a shared sense of accomplishment. The ensemble left proud of the work they had done—and eager to see it come to life onstage.