“This Time You Got to Own Your Character.” — March 3
This week’s session was all about stepping into roles with confidence. After gathering and checking in, we moved quickly into auditions for the remaining parts in The Comedy of Errors. With most roles already filled, the focus was on giving participants the chance to explore characters and try bold choices in front of the ensemble.
One by one, participants stepped forward to audition. Some came in prepared and ready, while others battled nerves as they delivered their monologues. Still, each actor brought something unique to the room. One performance earned a roaring round of applause for the clear choices and energy behind it. Another participant joked “Good lord!” mid-monologue while navigating the complexity of Egeon’s speech, prompting laughter and supportive encouragement from the group.
Facilitator Liv Morris offered thoughtful feedback throughout, encouraging performers to stay grounded in their bodies and bring greater specificity to their choices. At one point, the group reflected on the length of a speech in the show, with a participant joking, “We need to cut that down. Even I got lost in that.” The conversation sparked a larger discussion about balancing Shakespeare’s storytelling with pacing that keeps an audience engaged.
Facilitators Sam Aupperlee, Liv Morris, and Sophia Esch also jumped into the audition round, offering readings alongside the ensemble to keep the momentum moving. The room was full of laughter when one participant delivered the Duke from behind the podium in a playful voice that completely transformed the moment.
After auditions, we checked in about how everyone felt. Some participants shared that nerves were their biggest challenge, especially when thinking about memorization. We reminded the group that while memorization is encouraged, the real goal is to deepen connection with the text and the character.
One ensemble member captured the spirit of the evening perfectly: “It was exciting the first time. This time you got to own your character.”
We closed the session with games — Gibberish Rap, Fairytale storytelling, and the Counting Game — before ending the night by raising the ring together.
“The Arrest Scene Is Big, Fast, and Funny.” — March 5
the ensemble gathered again to run through the show and start shaping the rhythm of the performance. The goal for the evening was simple: get the play on its feet and see where the story moves quickly and where it needs tightening.
We began the run right on schedule, with Sophia Esch stepping in to play the Duke. As the scenes unfolded, the ensemble’s growth was immediately visible. One participant’s work earned snaps of appreciation from another, highlighting the supportive culture that has formed within the group.
Throughout the run, the ensemble offered thoughtful observations. Some conversations centered on pacing — particularly the long storytelling speeches that set up the play’s backstory. While a few ensemble members wondered if certain sections might lose audience attention, the group ultimately recognized how important those moments are for grounding the narrative.
Meanwhile, the comedy of the play continued to shine. Several scenes crackled with energy, especially the arrest sequence. The ensemble leaned fully into the physical humor and fast pacing, creating a moment that felt electric. As we watched the scene unfold, it became clear that this section represents exactly what the show can be at its best: bold, playful, and full of life.
Actors also experimented with accents, reactions, and physical beats. Some scenes sparked conversations about blocking and timing, while others revealed just how funny Shakespeare’s chaos can be when performers commit to the absurdity.
By the end of the run, we had made it through most of the play and identified several places where small cuts could help streamline the performance. The ensemble agreed that tightening the script will help maintain momentum and keep the audience engaged.
Before closing the evening, the group voted on whether they wanted to watch a film version of the play together as part of their preparation. The decision was unanimous: they’re excited to rewatch another interpretation and compare it with the choices they’ve been developing.
With auditions complete and the show beginning to take shape, the ensemble is now focused on refining the rhythm of the play — sharpening the comedy, clarifying the storytelling, and continuing to build the joyful chaos that makes The Comedy of Errors so much fun to perform.