“You Gotta Have a Hook.” - May 12
The ensemble entered rehearsal with high energy and lots of conversation, ranging from Mother’s Day reflections to music, rap, and performance ideas for the future summer project. One participant shared a rap with the group, encouraged by another ensemble member, sparking a conversation about how every future summer show should include a rap battle. “You gotta have a hook,” one ensemble member joked as the room filled with laughter and creativity.
After check-ins and the ring, the group jumped quickly into a full run of The Comedy of Errors. Facilitators and ensemble members filled in missing roles to keep the pace moving. The energy throughout the room stayed high, with several participants bringing strong comedic instincts and playful experimentation into the work. One participant especially embraced trying different accents throughout the rehearsal, bringing spontaneity and joy into the room.
The rehearsal also focused heavily on logistics and transitions. Props were mapped out for entrances and exits, including the money bag, ring, sheets, swords, and paper placements. As the ensemble continued refining pacing, the group completed the run in exactly ninety minutes, an exciting milestone as performances approach. The night closed with notes on projection and enunciation and a shared sense that the production is continuing to sharpen and grow stronger together.
“Only Up From Here.” - May 14
The evening began with preparations for props and art supplies as the ensemble continued building the visual world of The Comedy of Errors. Santillan and I worked on gathering materials while the ensemble checked in and prepared for another rehearsal focused on transitions, movement, and pacing.
As the group worked through scene changes, members collaborated on entrances, exits, and backstage responsibilities. Conversations drifted between props, paper mâché techniques, and life beyond the rehearsal room. One participant reflected, “Sometimes I’m like… I can’t believe I’m in prison, only up from here. This is as low as I want to go.” Another participant shared that she is becoming certified as a recovery coach and hopes to teach recovery work in the future, highlighting the ways growth and transformation continue alongside the artistic process.
The rehearsal centered heavily on transitions and staging logistics. The ensemble assigned movements for scene changes and carefully worked through where chairs, benches, podiums, and other pieces would move throughout the show. In the back of the room, ensemble members and facilitators continued building and organizing props while the rest of the cast refined Act 5, Scene 1.
Fisher-Grant and I worked closely with performers on using the audience more intentionally within the space. During one monologue coaching moment, a participant asked, “So move around?” Fisher-Grant responded, “No, just use the space to make your point!” It became one of many reminders that the ensemble is continuing to deepen not only the technical side of the production, but also the clarity and confidence behind every performance choice.
The night closed with the counting game, the ring, and another step forward toward opening performances.