“Can You Imagine Not Knowing Your Husband Had a Twin?” — February 24
This week’s session blended character work, costume experimentation, and plenty of laughter. We began with check-ins and practical updates before diving back into the text. Conversations about tie-dye mishaps turned into collaborative problem-solving, with participants offering creative solutions for keeping color vibrant and bold. The costume process continues to be a collective effort — imaginative, resourceful, and full of personality.
We moved into Act 2, Scene 2, where accents and character choices brought fresh energy to the room. A Southern drawl from Dromio sparked laughter, and when confusion about the scene arose, ensemble members jumped in to explain and clarify. As we discussed Adriana’s predicament, one participant captured the absurdity of Shakespeare’s mistaken identity perfectly: “Can you imagine not knowing your husband had a twin and getting him confused!” The room erupted — it was a reminder of how alive this centuries-old comedy still feels.
As we read through Acts 3 and 4, the ensemble dug deeper into emotional stakes. One participant paused before a speech and said, “This part’s going to make me emotional.” That vulnerability led to meaningful discussion about betrayal, disappointment, and the way Shakespeare’s language mirrors lived experience. Humor remained close by, though — witty asides and playful commentary kept the balance between comedy and heart.
By Act 4, Scene 3, bold interpretive choices took center stage. A participant announced, “I’m gonna make her ghetto,” leaning fully into a dynamic, contemporary take on the Courtesan. The choice sparked laughter and reminded us how interpretation can make classical text feel immediate and personal.
We closed the evening with dance games and music trivia, laughter echoing as we made plans for auditions, final costume decisions, and our first full timed run. Momentum is building — and the ensemble is owning the work more each week.
“The Wakanda Is Wakanda-ing.” — February 26
This session was all about finishing the read-through and sharpening character choices. After check-in, we completed Act 4 and moved into the final act of the play.
Accent work became a joyful focal point. When teased that her Dromio’s accent might not match the other twin, one participant laughed, “The Wakanda is Wakanda-ing.” The room lit up. Rather than seeing accent variation as a problem, the group explored how it could become part of the comedy — perhaps even acknowledged directly in the script. That playful creativity reflects the ensemble’s growing confidence in shaping the story.
In Act 5, Scene 1, we examined the resolution of the play. The group debated whether certain characters should have figured out the twin twist sooner. “They were gonna behead me!” one participant argued passionately, defending Egeon’s confusion. We also discussed whether consequences linger at the end — and whether family truly triumphs. The consensus leaned toward joy. As we reflected, I shared my belief in the power of a happy ending.
Newer members expressed interest in roles and began preparing for auditions. The excitement around stepping into bigger parts is palpable, even when nerves surface. When someone jokingly suggested performing her first forty lines for auditions, groans and laughter filled the room — a reminder that humor keeps us grounded even in moments of anticipation.
We wrapped with games — Buzz, Gibberish Rap, Do Your Dance — and closed in our usual circle. As we head toward auditions and full runs, February has shown us something clearly: this ensemble is not just rehearsing a comedy — they are actively shaping it, questioning it, and making it their own.