“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.