“If a Part Is Difficult to Say, Cut It Out.” — March 10
This week’s rehearsal focused on refining the script and strengthening the ensemble’s approach to memorization and performance. After gathering and checking in, the group turned its attention to shaping the pacing of The Comedy of Errors by discussing potential cuts.
The conversation quickly became collaborative. While some sections seemed ripe for trimming, others sparked debate. One ensemble member strongly advocated for keeping the comedic exchanges between Antipholus and Dromio, arguing that those moments are essential to the rhythm of the play. Another participant suggested a compromise: keep the jokes and punchlines, but trim the extra lines around them to keep the pace moving.
As the ensemble continued discussing possible edits, one piece of advice stood out: “If a part is difficult to say, cut it out. Make sure the lines flow for you — you’re the one who has to say it.” The comment reflected the ensemble’s growing confidence in shaping the script so it feels natural and playable.
The conversation also turned toward performance strategies. The group explored memorization techniques, sharing the creative ways they make Shakespeare’s language their own. One ensemble member described how she uses movement to anchor her lines: “When I’m on stage I like to move. I do a movement to remember my lines. I use the stage to my advantage.” Another talked about singing lines to help remember them, joking that if you sing the text, the audience might not even notice a mistake.
The evening ended with the ensemble reflecting on the power of performance and community before closing in the circle. The work ahead is clear: continue tightening the script, deepen memorization, and prepare the show for its next run-through.
“If We Cut All the Comedy, All We Get Is Errors.” — March 12
Two days later, the ensemble gathered again to continue shaping the script and sharpening the language of the play.
We began with a quick warm-up game before returning to the script. The goal for the evening was to revisit potential cuts and clarify pronunciation throughout the text. As the group worked through edits, one participant offered a reminder that captured the spirit of the play: “If we cut all the comedy, all we get is errors.”
That observation sparked a lively discussion about balance. While trimming the script helps streamline the performance, the ensemble recognized that the humor is what makes The Comedy of Errors come alive. Fisher-Grant emphasized that making thoughtful cuts now will help preserve the most important and funniest moments when the show reaches its final shape.
The group also leaned into the physical and vocal energy of the play. As we worked through pronunciation and rhythm, participants experimented with delivery and pacing. The mantra of the evening quickly became one the group has heard often in rehearsal: “Bigger. Faster. Funnier.”
Along the way, moments of humor kept the room lively. When the group encountered the word mountebank in the text and discovered its meaning, one participant laughed and joked, “That’s what brought me here.” The laughter that followed was a reminder that even while working through Shakespeare’s complex language, joy and connection remain at the center of the process.
By the end of the session, the ensemble had worked through a large portion of the script, refining pronunciation and identifying places where the pacing could improve. With each rehearsal, the play grows sharper, clearer, and more dynamic — guided by the ensemble’s commitment to both the comedy and the craft.