“Your Ideas Fuel the Staging”
March 4
It was a solo session for me today. I arrived at the facility around 5:25pm and got to the programs building at 5:45pm. As I headed to the programs building, I got a few comments, “You’re on your own today?” “Where’s your friends?” I was excited to tackle the session solo and got the room set up for the session.
A few members trickled in, and we talked about the weather being rainy, gloomy, and warm. We started check-in shortly after with a smaller group.
We reviewed Act 2, Scene 1, with one member emphasizing that they think it would be a good idea to run that scene often to get the dance down. Lots of people were missing, and others filled in for missing members. The same member and I gave some different staging ideas, and they came over to me often with ideas, which I encouraged them to stop the scene and give to the actors. Another member does a great job with the soliloquies. Someone suggested a guitarist in the orchard scene under Benedick’s monologue. Shortly after, they were called over the PA for some reason and let me know they had to leave after talking to the officers at the desk. They mentioned bunkie drama.
Another member did a great job in their scene with Ursula, performing with great emphasis. The staging was noted as a bit boring, and someone suggested adding a bench in front of the scenes. We were running out of time at this point, so I suggested we revisit the scene on Thursday with some of the suggestions. We ran Act 2, Scene 2 again, and one member guided others through the scene, encouraging their “evil” to come out. The energy in the room was palpable as they encouraged them. I mentioned to the group that it would be good to revisit the garden scene with Benedick and Beatrice again to clarify the staging and that their ideas are what will fuel our staging. The same member was a great example of how the ensemble can make the show better, and I encouraged the group to come with ideas and not be afraid to make changes as we stage. We wrapped a few minutes early with a small group as a few members left early. It was a great night!
March 6
Right after check-in, we talked a bit about getting going on the proposal for the show. This meant that we needed to get a jump on the costumes and props that we needed. We explained that Tejada would be facilitating measurements for the evening, and I would try to get around to everyone to talk through what they wanted for their costumes. Some of the ensemble had ideas about production that might not work. One ensemble member asked for a new vanity and punchbowl for the party scene. Another participant asked for a tea set and suggested that people put costume ideas in their journal. I applauded the idea and encouraged everyone to continue putting other ideas into their journals, but I also pointed out that we couldn’t count on everyone to do that, and it would be easier to have the conversation in real time. We discussed the fact that it would be infinitely easier for the ensemble to provide their own props when possible—there would be less to approve, and it wouldn’t be such a hassle to get them into the play.
One participant mentioned that she had worn a dress last year, and another ensemble member couldn’t believe it. She said it wasn’t that bad considering she had to wear it over state blues.
At the end of the conversation, I encouraged the group to do a warm-up despite the naysayers and groans from one participant. Another ensemble member had a great idea for a circle-stretch activity—each person does a stretch, the group copies the stretch, and we go around the circle until everyone has led the group in a stretch. Ramadan was called right before the stretching started, and one participant joked, “Saved by the bell!”
Both Tejada and I were pretty distracted with the business of production for most of the night, and the ensemble did most of their rehearsal without assistance from us. Both of us were, at most parts of the evening, unsure even what scene they were working on or what it looked like. It was also pretty loud, and I doubted there was a ton of forward movement in the scene, but everyone was in a good mood. There was a lot of noise throughout the night since at least two conversations (MT with measurements and me with costumes) were happening in the house at all times.
The costume requests were really funny in that they felt like more of a reflection of the actors' personalities rather than something specific to the characters. For example, one participant really wanted Ursula to be fancy and blinged-out, with long gloves, a dress with heels, and a fur stole. Another ensemble member wanted something similar for Beatrice and asked for a blonde wig. I told her probably not, as wigs tend to look terrible unless they are expensive, and it would eat up a lot of the budget. She retorted with several ideas of where to get them cheap and how to make it work. Another participant wanted Leonato to have a “lime green bow tie,” while another said she didn’t care and “wasn’t picky.” Many of the ensemble wanted fedoras, riding boots, etc.
At the end, I said that we should temper our ideas about it being the Civil War—that I thought their ideas for their characters were great, but it would be hard to get "Civil War" from what they had asked for. Also, what they had in mind was much easier than sourcing authentic Civil War-era clothing, so I was supportive of their vision. I had a longer conversation with one participant about the Friar costume and what would be possible—it took a little bit. The SIP experience is about enjoying Shakespeare and supporting the ensemble, not about having high production value. That seemed to land, and seemed energized to continue with the process.
We wrapped up the night with blocking adjustments and plans to revisit challenging scenes next session.