Session Three: Week 1

Tuesday

Today was the first day back after a summer break. I was accompanied by two of Shakespeare in Prison’s new co-facilitators: Matthew and Molly. I am deeply grateful to all four of these folks (the other two being Dominique and Sarah) and very excited to share this session’s journey with them. They come from diverse backgrounds but all share a love of learning, social justice, and, of course, Shakespeare. A page on this site with bios of all of the facilitators is in the works, and all of the others will share their thoughts on the blog when they are so moved.

The returning participants were energetic and eager to get going, and their energy was infectious, both to the new participants and the facilitators. This came through even as the “veterans” helped me to explain the goals, guidelines and potential pitfalls of the group – even when we addressed problems we’ve had in the past, we did it with an air of optimism that we can overcome them going forward. The women were glad to hear that I listened to their input at the end of the last session, and we will be working on Romeo & Juliet this time around.

We spent about an hour talking, introducing ourselves and answering questions about the group. There are some joining us who have past experience with Shakespeare and others who have none. We even had a couple of participants who misunderstood what they had signed up for – one thought she was there to see a performance, and another thought it was a poetry group. To their credit, they stuck with it (at least for the day) and had a positive attitude.

We got up, then, and did some physical warm ups. We followed this up with our “ring” exercise, which we do at the beginning and end of each meeting. We played a theatre game to introduce concepts of waiting for your cue, having strong eye contact and paying attention. We converted this game into one for learning names and everyone had a decent handle on those by the time we were done.

I asked the women what they would rather do next: learn an improv game or dip our toes into Shakespeare. They opted to begin work on Romeo’s monologue that begins, “’Tis torture and not mercy…” We read the piece as a group, from punctuation to punctuation. We then discussed what each woman had gotten out of it. Some had already gained a good understanding of the piece, while others were pretty lost, but no one seemed frustrated. We read through the piece again, discussed it some more, and then a couple of women “read it with feeling.” The first was unsure of herself and nearly gave up midway through, but she finished it. The rest of the group immediately commended her for sticking with it and gave her feedback on what was already great about her reading (her pace and articulation were excellent – we could understand every word) – and what could be improved. The second was more confident, and the group gave her constructive criticism as well.

The entire session was very positive, and the women were beaming as they left. And so were the facilitators! It was a great start to the season.

Thursday

Dominique and I arrived today to find the women still upbeat and ready to get started. We began by reviewing the theatre game that we played last time and refreshing ourselves on names. We then played another theatre game that we have played in past sessions. This game got rather competitive, but in a very friendly way. There was a lot of laughter.

We then played an improv game that has to do with teamwork and quick thinking. The women really enjoyed this game and were very free, for the most part, in allowing themselves to let go and be spur-of-the-moment while working toward a goal. This is a great skill to develop not only for theatre, but for many situations in life.

Some of the women had mentioned in the last meeting that they were interested in watching a film version of Romeo & Juliet. I said that I was hesitant to do that because it would put ideas in their heads of how the characters “should” be played, and it might stifle their creativity. They saw my point but wondered if there was a good way to get a basic understanding of the story before delving into the actual text.

It just so happens that I wrote a 20-minute, very irreverent version of Romeo & Juliet for a teen acting class I taught awhile back. I asked if they would be interested in using that as our jumping-off point, and, since they were, I brought it in and we sat in a circle and read it aloud.

Most of the women were very eager to read, and some of them are clearly gravitating toward certain characters already. I was very impressed by one woman who kept volunteering to read even though reading aloud is clearly difficult for her. It speaks volumes about her courage, and it also is a testament to how open and supportive the group has been already.

Reading this truncated version of the play, which is mostly modern language interspersed with actual text, proved to be an effective and efficient way to introduce those who were unfamiliar with the story to its “bare bones” and character elements. I’m very glad it worked out.

One of the women mentioned that she’s always been annoyed by Juliet – she thinks she’s stupid and doesn’t like her. This led to a brief discussion about how we can learn about the people in our lives by dealing with characters who are foreign or unlikable to us, and we can gain empathy for people for whom we wouldn’t normally have it.

We are all feeling energized, inspired and positive. One of the new participants said she has been “bragging” about the group and inspired two more women to add themselves to the waiting list. We are off to a very, very good start.

Seeking volunteers!

Magenta Giraffe Theatre Company seeks volunteers for Shakespeare in Prison program at Women’s Huron Valley Correctional Facility. Magenta Giraffe Theatre Company of Detroit is seeking volunteers for its Shakespeare in Prison program, which will be conducted at Women’s Huron Valley Correctional Facility in Ypsilanti, Michigan, beginning in September 2013 and running for nine months. This program, which is in its third session, is modeled on other successful programs of its kind. Shakespeare in Prison empowers inmates through theatre exercises and Shakespearean text to think creatively, re-examine decisions they’ve made, become more in touch with their emotions, and develop crucial life skills to beused both in and out of prison.

Inmates who volunteer for the Shakespeare in Prison program will work with Shakespearean monologues and scenes, experiencing the empowerment and satisfaction derived from working with this material. There is an idea that only “great actors” can do Shakespeare “right,” and that is absolutely false. Anyone can perform Shakespeare, and everyone has the right to create art as part of being a self-aware and individual human being. Participants will also be given the option of staging a full play by Shakespeare.

Magenta Giraffe is looking for 3-4 volunteers to co-facilitate group meetings. Each volunteer would be expected to attend at least one of two meetings each week. Meeting times and the start date of this session are to be determined.

Required qualifications:

• Experience with theatrical performance, specifically Shakespeare (although volunteers do not need to be “experts”)
• At least one year of teaching experience
• Reliable transportation to and from the facility
• A positive, open-minded attitude and willingness to be flexible
• Regular access to e-mail/internet
• No criminal record
• No family members incarcerated at Women’s Huron Valley Correctional Facility

Preferred qualifications:

• Experience/training in conflict resolution
• Experience working with “high risk” individuals

To apply for a volunteer position with Shakespeare in Prison, please e-mail a cover letter, resume and three professional references to facilitator Frannie Shepherd-Bates at frannie@magentagiraffe.org. The cover letter should detail why the applicant is interested in the position,what makes him/her a good fit for the program, and scheduling availability from September 2013-July 2014. The deadline for this round of applications is August 21, 2013, although interested parties are welcome to contact Frannie at any time. Applicants will be contacted within one week regarding a possible interview for the position.

Women’s Huron Valley Correctional Facility, in Ypsilanti, Michigan, serves as the only prison in Michigan which houses females. The facility provides all reception center processing which includes fourteen housing units for general population prisoners in level I, II, and IV, Residential Substance Abuse Treatment (RSAT), Residential Treatment Program (RTP), Acute Care, Infirmary and Detention. The Shakespeare in Prison program will be an addition to the many other programs the facility offers. Adult Basic Education and General Education Development preparation classes are offered, as well as special education services and pre-release classes.. Vocational training is offered in Auto Mechanics, Building Trades, Business Education Technology, Horticulture, and Custodial Maintenance. Prisoners have access to religious services, faith-based programs, substance abuse treatment, mental health services, family preservation programming, twelve step support meetings,and general library and law library services. Prisoners are provided on-site routine medical and dental care. Pregnant prisoners receive counseling, parenting classes, and child care options.

Shakespeare in Prison has the potential for real change in the community, helping women achieve a sense of self that can help them with their families, their community, and their personal future.

For more information about Magenta Giraffe Theatre Company, please visit www.magentagiraffe.org or call313-408-7269. For more information about Women’s Huron Valley Correctional Facility, please visit www.michigan.gov/corrections.

Wrapping up Session Two

As the second session of Shakespeare in Prison came to a close, the women shone through each performance and had extremely valuable insight into the program, how it's been a positive experience for them, and how it can improve in the future. What was remarkable to witness was, in each of the three performances, how the entire team came together to support each other through mistakes and growth alike. There were times when they sprang to the rescue of someone who needed help with a line or a cue, and times when we sat backstage ecstatic because someone finally "fell into" her part or unexpectedly went on with all of her lines memorized. They told a complicated story in a way that was well understood by most in the audience, and their efforts were applauded and appreciated by everyone who talked to them about the performances after seeing them.

Much more important than the audience's reaction were the feelings of the participants themselves. In our discussions, I tried to steer them away from focusing on the thoughts of others and more on their own experiences. They feel a sense of accomplishment and pride in what they've done, satisfaction with their work, and camaraderie with the team. Some who were stressed going in to the performances are now "sad" that the session is over, and some people who were doubtful about returning in the fall are more enthusiastic about giving it another go.

The women also gave very constructive feedback on what they feel works well about the group and how to improve it going forward. All of their suggestions will be taken into consideration when we come back in the fall.

I would like to take the opportunity to thank the people who made an extra, much-appreciated effort to help keep the program running and/or made loans of materials for the production. Without these wonderful people, the program would not have been nearly so successful.

The Awesome Foundation

John Bogojevich

Bethany Caldarona

Katie Casebolt

Bethany Hedden

Lisa Melinn

Lauren Montgomery

Liz Moore

LoriGoe Nowak

Nick Rowley

Matthew Turner Shelton

Diana Thornton

Water Works Theatre Company

Barbie Amann Weisserman

And, of course, the staff at the facility who have been so supportive all the way through. Many, many thanks.

This blog will likely be pretty quiet for a few months, but we'll be back! Stay tuned...

Second Performance: Nick's Thoughts

Nick Rowley has been following the blog for some time and recently became a member of Magenta Giraffe Theatre Company's board of directors. He attended the second performance of The Tempest and records his thoughts here. Saturday was fascinating for a number of reasons.

When considering the performance itself, I was impressed by how much enthusiasm and energy the participants brought to their roles. There were varying levels of memorization of lines and this, I think, influenced characterization, but this is not unexpected and perfectly fine; the ability of the ensemble to work together far outweighs the differences in individual performance. However, among the individual performances I was very impressed by The Boatswain and the triad of Caliban, Stephano and Trinculo who, individually, embodied their characters in ways that displayed a firm grasp on how they personally conceived them, coupled with strong talents for physical comedy (which came in handy for the section where Prospero conveyed to Miranda the story of how they came by to dwell on the Island, a story which is presented as Dumbshow by the actors who played Stephano and Trinculo as the Duke tells his story) and, as a group, worked with fantastic theatrical cohesion providing delightful comic moments.

However, the thing that struck me most was not the performance per se but rather the sense of happiness and achievement that emanated from all the participants. It could be seen in the slight self-deprecation from Prospero as her friends praised her performance, in the reaction and conversation between Trinculo and members of the audience before and after the performance, in the keenness of the cast to set up and get things going prior to our arrival. It would not be surprising to discover that happiness isn’t in surplus abundance for the participants in the program, but their involvement in it provides that and, moreover, seems to provide a sense of palpable accomplishment. This, beyond all else, is the greatest benefit of the program; it provides growth and success to those who may not have known either to any great degree previously.

The final performance is on Tuesday and the play for the next session is still to be chosen, but I’m really looking forward to hearing about how that performance goes and which play is chosen; no doubt the program will continue to provide fascinating performances and enrichment for its participants.

First Performance: Bethany's Thoughts

Tuesday was the first show for the women. I can safely say that they were all nervous, each to a varying degree. Their nervousness was completely justifiable; most women have not performed in a show and even the most professional actors still experience some pre-show jitters. And, like any show, this one was not without its "snafus." The woman playing Stephano was unable to preform that night, so the woman playing Boatswain (having only rehearsed one of Stephano’s scenes earlier that day) went on in her absence. The women quickly realized that being on stage with an audience is very different from rehearsal. This made for opportunities to discover funnier, more interesting choices – and also worked to increase their nerves. What strikes me most about this program is how much courage it takes for the women to perform, to do something new, to challenge themselves. The woman playing Prospero, when reflecting on the first performance, stated “this is a hard place to be, let alone do this.” The woman playing the Boatswain agreed with her, marking that in this place, their audience is comprised of “hurting women.”

I am extremely proud of these women. They showcased teamwork, collaboration, flexibility, courage, and belief in themselves and their work. I hope that they celebrate their accomplishments, because everything they have done, from simply choosing to be a part of this program, to committing to this project, to learning more about themselves and others, is tremendously important to, I believe, what and why they walked through the theatre door nine months ago.