“I’m the Duke and I run this.” - March 31
This session marked a turning point — both in decision-making and in the depth of the work.
We welcomed Burkett into the space, and the ensemble immediately leaned into the opportunity to learn from a new perspective. After grounding ourselves in check-in and the ring, we moved into one of the most anticipated moments of the season: the final vote for our next production.
With thoughtful consideration and conversation, the ensemble selected King Lear. While there were mixed emotions, the decision reflected the group’s willingness to take on a challenge — a story that demands emotional depth, clarity, and ensemble strength.
From there, we got right to work.
Burkett led the group through the given circumstances of Act 1, Scene 1, helping actors anchor themselves in the world of the play. What followed was a powerful moment of growth. As one participant stepped into the role, Burkett encouraged her to connect action to language — to let the words live in the body. Slowly, the performance shifted. Energy rose. The ensemble responded with cheers as the work became fuller, more embodied, and more alive.
We continued into Act 5, Scene 1, exploring staging and refining movement. The introduction of V-blocking helped clarify relationships and focus the storytelling, giving the scene a stronger visual and emotional shape.
The session held a balance of big-picture decisions and detailed craft. By the end of the night, the ensemble had not only chosen their next show, but had already begun stepping into the world of the current one — physically, vocally, and collectively.
We closed in the circle, carrying forward both the weight and the excitement of what’s to come.
“I want to do the gravedigger scene.” - April 2
This session was rooted in joy, collaboration, and the kind of play that reminds us why we do this work.
After a longer check-in filled with warmth and connection, the ensemble shifted focus to preparing for the upcoming Volunteer Appreciation Event. What began as a logistical conversation quickly became a creative one, as participants imagined what they wanted to share.
“I want to do the gravedigger scene,” one ensemble member said — and just like that, the room had direction.
The group rallied around the idea, pairing it with the final scene from Hamlet and exploring how to shape the material within a short performance window. They requested both the No Fear and original text, eager to understand and perform the language with clarity and confidence.
Even as we navigated the practical challenges — limited time, shifting group size — the ensemble stayed solution-oriented, thinking ahead and ensuring that whatever version of the group showed up, the work would still be strong.
We then returned to Comedy of Errors, running Act 3, Scene 1 twice. Each pass brought more clarity. We refined staging, explored how to communicate space using minimal elements, and leaned into storytelling choices that made the scene legible and dynamic.
There were moments of adjustment and honesty — particularly around elements we won’t be able to include — but even those moments were met with care and collective support. The work continued.
We ended the night the way we often do: in play. Queen of the Jungle brought laughter into the room, reinforcing the ensemble’s connection to one another.
We closed in the circle, grounded in connection, creativity, and the steady momentum of the work ahead.