Session Four: Week 34

Tuesday

We decided to dive in tonight and begin “stumbling through” the entire show. This is often done in rehearsal processes and is a great way to identify a show’s strengths and weaknesses while solidifying transitions and firming up lines. Although this was challenging, we had a lot of fun with it – those of us who were working without scripts felt very supported by the rest of the ensemble, taking the pressure off and allowing us to relax about not being perfect. We also made some interesting discoveries this way.

We got more than halfway through the play. Some members of the ensemble feel better about this than others; those of us who have been through this process before reassured the newer members that stumble-throughs often take much longer than the play does in the end, and that they’re supposed to be messy.

Our plan moving forward is to finish staging scenes that have recently been recast and then focus on running the entire play as many times as we can so that everyone has an equal opportunity to work lines on their feet. This isn’t always the best approach in a traditional rehearsal process, but our program isn’t traditional in that sense. It’s most important that all members feel as supported and confident as possible, and this particular ensemble is pretty unanimous that what they need to get there is to just keep running the show once we’ve got the kinks worked out.

Thursday

We began today by working the brief scene between Grumio and Curtis prior to Petruchio and Kate arriving at his house. The woman who was playing Curtis and the Pedant recently got into a program that is taking up a lot of her time, so she gave the role of Curtis to a newer member of the group. That meant that the scene needed to be revisited to catch her up. This went smoothly, and she and I had a lot of fun playing off of each other. I’m excited to see where these characters’ relationship goes!

We then settled in to work lines with one ensemble member who is having a hard time finding time to work on them outside of the group. We made sure she knew that we were there for her, gave her some ideas of how to approach people she lives with to help her, and then worked through a scene that was giving her some trouble. Within a short amount of time, with our encouragement, she had nearly a page memorized. She teared up, saying, “I’m going to cry. You guys are just helping me so much.” She knows now that she is able to memorize; and on top of that, she knows we’re here to do whatever we can to support her.

Although it has been frustrating in some ways that our attendance on Thursday afternoons has been light, it has also allowed for moments like this that have been helpful for the people are have been there. Any opportunity we have to work together on something, we take it. This is a very tenacious ensemble.

Friday

We recently asked if the facility could provide us with additional rehearsal time, and we were thrilled that we were given permission to rehearse the final four Fridays leading up to our first performance. This extra time is not being taken lightly: all but one member of our group were present tonight, ready to work and driven to make the most of the rehearsal.

We addressed the scenes that were shaky or unworked, which happened to be all in a row. We began with Act IV Scene I, after the part of it that was worked on Thursday, and set the stage combat and more refined blocking that we wanted. The women who were not in the scene paid close attention and helped us figure it out. Although I only become a member of the cast to fill gaps left by people who leave the group, in a way it’s a good thing when I’m taken out of the mix as one of the “directors” – with me on stage, asking the ensemble to take the lead on direction, they proved to be extremely insightful, encouraging, and even nit-picky about details they deemed important.

Our Petruchio had some growth tonight, as we servants asked her to give us a reason to be afraid of her! As I wrote earlier in the blog, she approaches Petruchio with a lot of warmth – she comes from the heart – but in this scene, it’s important that she put some of that aside and play his game. She proved willing to do so, and the scene took off. It was very exciting.

We then moved on to the next scene. In this, Lucentio and Bianca had been dancing during some dialogue between Tranio and Hortensio. This, however, proved too distracting, as they were swing dancing and the music would be necessarily loud and fast-paced. We couldn’t focus on the dialogue, which is important. We asked them to adjust their dance to something more “lyrical” and goofy, and we think that that will work.

This added rehearsal was a very productive one. Having this much extra time together is already proving to be a boon to us.

Session Four: Week 33

Tuesday

One of our ensemble members recently wrote a play, which she subsequently was given permission to produce at the prison. Although we facilitators are not able to attend the performance, we were ecstatic to hear that it was very well received last week by its first audience. We were also told that the playwright calmly went on in place of a cast member who couldn’t at the last minute, and that she was wonderful in the role. She was beaming from all of the positive feedback, and so proud. We’re proud of her, too!

We worked on the final two scenes of the play tonight, and we discovered some very fun ways of staging them. Unfortunately we had to stop our work on Act V Scene I before we really wanted to, as a few members of the group had to leave, and, though it wasn’t their fault, it was quite frustrating to the ensemble. We rallied, though, and did some solid work on Act V Scene II.

We still have questions about the best way to stage the scene, but we were able to do some pretty deep character work on Petruchio and Katharina. “My heart feels what my character feels,” said the woman playing Petruchio. It’s a new feeling for some of them to be as vulnerable as they need to make themselves while playing these characters. “We put up walls to protect ourselves,” said one woman, “But we’re really hurting ourselves.” We just keep working to support one another as we take on our individual challenges.

Thursday

As usual, there was light attendance today. We took some time as a smaller group to discuss some ways in which we want to change the group in the fall. Some great ideas were brought up that, pending approval by the facility, should help to strengthen us next year, making for more cohesion of the group early on and helping us to do better, deeper work. That’s what we all want.

We also worked on Petruchio’s post-wedding monologue, in which he asserts his ownership of Katharina. This piece can be interpreted many ways, and our Petruchio is weighing all of her options. She is an actress who approaches everything from the heart, so that’s how her Petruchio is working so far. How much is a game, we wondered together? How much is sincere? How much is a response to her, and how much is a response to the other men? We worked to clarify the meaning of every word and phrase, and now our Petruchio will work to find what rings most true to her.

Session Four: Week 32

Tuesday

Today we were excited to welcome a camera crew to our group. They are filming a project that will be posted online, and you can be sure that I will share it here when it’s ready! Our group, though nervous, really brought it for this meeting – we got a lot accomplished and felt very good about our work.

To begin with, I have to take it back to last Tuesday, and a situation that I did not record in that entry. Our Baptista has been wanting to work on the scene between her character, Bianca, and Katharina for a few weeks, and we’ve kept putting it off for various reasons. Last Tuesday, we were all set to work it when our Bianca raised a concern – with the previous woman who played that role, the blocking was developed to include her being dragged on the floor by her ankles. This woman wanted to work around that part of the scene, as she’d just had her hair done. The other women in the scene (and a few who are not in it) were impatient with this, and the conversation quickly devolved to a place that was not constructive – I would characterize it as bickering. No one wanted that, but the vibe in the room was such that it was better to leave it for the time being and hope to resolve it later.

This Tuesday, our Baptista began the session by stating that she had thought about that situation, and that she realized that she and our Kate had been unfair to our Bianca. “That’s how we did the scene with [the previous actress],” she said, “But we never asked you how you felt about it. Maybe you want to do it a different way.” She apologized for being inconsiderate and jumping on her and asked if they could work the scene, possibly in a new way. This self-started conflict resolution on her part is huge – not only is it a skill we hope to develop together as an ensemble, but it’s something she’s personally been working on since she first joined the group two and a half years ago.

We did exactly that – we reworked the scene in a way that makes our Bianca more comfortable and actually makes the scene funnier and more active. And then we just kept going. It’s a long scene, and we found that we were able to just barrel through it – and it mostly works! And then we kept going after that into the next scene, which we refined and got to a place where it’s working well, too.

The cherry on top was a quite reticent group member stepping in as the servant and completely stealing the scene with just one line. We all dissolved into laughter and applause when that happened. I hope that she can internalize how effective she was and use that experience to give her more confidence going forward – we’ve all known all along how great she is with this material, and we’ve been hoping for a moment like this.

Thursday

Written by Vanessa

It was a special session today, Shakespeare's birthday. Class started with only one person who isn't officially a member of the cast but attends the sessions when she can, though work duties call her away early. I get excited by the idea of someone showing up even if it's only for a few moments to check in - it shows how sacred this program is to this group. Every session I attend I feel the sense of honor and integrity the group brings with them into our rehearsals. It is really remarkable and it continues to humble and inspire me. I am a relatively new facilitator and this is my first blog post. I sometimes feel myself just in awe and not saying much in our sessions. I don't need to! For once I am speechless while I watch this group uncover new ideas and make strong clear choices that make me have a-ha! moments all over the place. It never fails when I ask them, "What just happened in this scene?"... all of them will have their own short and sweet analysis. Hearing their perspective is my favorite part of the day. Using their own words to describe what's going on in each scene shows they are doing their homework and striving toward translating it on the stage for audiences to enjoy. The process of putting up a show is a beautiful thing and they get it. Seeing the ladies progress in getting off book is making it more real that soon they will perform and showcase all the hard work they've put in and I'm ecstatic for them.

I've been told Thursday meetings are lighter because of the daytime schedule and how it corresponds with other activities, and today was one of those lighter days. However, it didn't stop us from diving in and working.   I heard about the success of Tuesday's session - they had blocked and worked up to around page 30! I requested three of the women show me the tail end of Act 2 Scene 1 (rumor had it that some hilarious moments had been born). There was a bit of resistance because they felt they had already worked that scene so much - but of course I begged and they obliged me. Although they weren't quite off book - they knew what they were saying and were comfortable enough to make strong, clear choices that had me laughing from start to finish. The three of them had a great sense of ensemble - one facilitator even said it was reminiscent of the Marx Brothers. Just a few tweaks had to be made for the physical comedy to work smoothly. Once some ideas were tossed around by all team members - they listened and tried it and beautiful magic occurred. A "bit" was born! And now they have a solid scene. Even though they weren't quite excited to work something they had gone over a few times, they knew their hard work paid off.   Once they solidified body placement, some good old slapstick comedy shined through and they learned (and I was also reminded) that repetition equals success and it was beautiful to watch. I can't wait for opening night when they hear the audience roar with laughter.

Curiosity is golden when it comes to Shakespeare and this group is never lacking of that. Someone asked, "Tell me something no one knows about Shakespeare" and a few facilitators gave some facts off the top of their heads - and this is when we had a group tribute of: SHAKESPEARE'S BIRTHDAY – someone led us into song and we all joined in. It was a great moment of thanking the man who brought us all together.

I'm honored that this team let me in so late into their efforts. I learned today that this group has been working on this project since October and I find their dedication to be the most inspiring thing in my life right now. I feel like they have welcomed me with open hearts and minds, which is exactly what good artists do, and that's who they are. I was pretty excited to get my official badge before walking into the session today, to have tangible proof of my being a part of this team. But the truth is, I didn't need a badge for it to be official. From day one, they took me in and we all have been striving toward goals together ever since. I have so much to give to my other projects thanks to the inspiring injections I get from these ladies every week.

Session Four: Week 31

Tuesday

We were pleased today to welcome back two members of the group who had had scheduling conflicts but worked them out. Both of these women were in the group in its first session and provide great perspective on the work this ensemble is doing, not to mention wonderful individual contributions. It’s good to have them back.

We tried splitting up into two groups with mixed success. The group in the back of the auditorium made good progress on a very funny scene, but that meant that they were often so loud that those of us in the front of the room couldn’t hear each other! We didn’t want to try to decide which scene was “more important” (the answer truly is neither), so we muddled through it.

Kyle worked with that group in the back, while I worked with the others. We worked on the “seduction” scene between Katharina and Petruchio, clarifying the meanings of certain lines and working to make the scene a sparring or chess match – since we are limited in what we can do physically, we need to be creative, but this actually proved to be less of a challenge than we thought it would be. The woman playing Kate is very thinking-centered, and that’s the way she’s playing her character – which we all think is completely accurate to the text. We’ve been discussing for months that the reason she goes with Petruchio at all is because, in this scene, he proves himself to be her intellectual equal. To that end, we just need to work the scene to be sure that all of the barbs land each way. It works.

We continued on with the scene and discovered a funny bit in which Gremio and Tranio shove each other around a bit as they vie for Baptista’s permission to marry Bianca. The ideas flew among the ensemble, and the groundwork of the scene has been established.

Thursday

We took time today to run lines and do detailed scene work. We were very proud of one ensemble member who, despite nagging self-doubt about being able to read/understand Shakespeare and memorize lines, has her lines nearly memorized, and they are nearly word perfect. We were very vocal about our excitement – this is a big accomplishment for her, and one we’ve been encouraging her to be open to since we began in September.

We returned to Act II Scene I, specifically the end of the scene featuring Baptista, Gremio, and Tranio. We got into more detailed work on the scene. Although our Gremio was very tired, she kept plugging away, not wanting our time together to be wasted.

We ran into some challenges with the word “argosy.” For one thing, the ensemble realized that no matter how our actors play that word, our audience may not get its meaning. For another, our Gremio is consistently mispronouncing it. Rather than give up on this part of the scene, though, we arrived at two solutions, both of which add to the scene enormously: First, we decided to embrace the mispronunciation, as Tranio can follow it up by pointedly pronouncing it correctly. Second, our Gremio is going to pull a cartoonish picture of a boat out of her pocket to show Tranio and Baptista, and then the audience; Tranio will then take out a bigger picture of the same boat and show that off.

I love these solutions because they were arrived at in the spirit of teamwork and effective communication, both of which are skills we all hope our ensemble will improve during their time in the group. Additionally, rather than finding a solution that might have made our Gremio feel badly about stumbling over such a foreign word, we found a way to take that “mistake” and build on it rather than condemn it. That’s a really important part of what we do.

Session Four: Week 30

Tuesday

Written by Kyle

This is was the first day that I had facilitated the program as the solo facilitator; I had to lean heavily on the senior members of the company for some of the procedural elements of the rehearsal. I think it was a nice way to let them shine a bit, and to flex their leadership muscles. We started the session by finishing the film version of the show; we made a special effort to note what the actors who were not speaking were doing while onstage - how did they engage in the scene without having lines? At the end of the film, one of the company noted how few actors the film version actually employed. She said that she was a little worried about the scene when Petruchio and Kate reach his home because we didn’t have enough actors to play the servants; when she saw it in the movie version, however, she noticed they only had two actors - they were just highly energized and could make it work. She said it was inspiring, and that she was excited to try it like they had done in the movie.

After the movie and a small discussion we moved on the warm-up. It was nice to be there on my own because I could start to introduce some warm-up activities they hadn’t tried before. So we ended up working on our voices a little bit by ‘Tarzan-ing’ our voices along the apron of the stage. They seemed to like that exercise and like mixing up their routine. After a few tongue twisters I started to teach them the beginning of ‘Modern Major General’ from Gilbert and Sullivan’s Pirates of Penzance- a classic staple of so many people’s early theatre experiences. For me, those are the types of traditions are essential in the prison. They are the traditions that have transcended so many generations and cultures, and participation allows for a little nugget of that transcendence. It’s what my theatre teachers did with me, their teachers with them, and so on. The women get to become a part of a theatre tradition bigger than all of us, despite the necessary separateness of walls and fences that defines the prison life.

Once we started working on the show, we worked the famous scene when Kate and Petruchio first meet. The company was all engaged in the scene, and we collectively brainstormed how we could stage it in a way that made sense of the word play, was funny, and didn’t involve a ton of physical violence - easier said than done! One particularly nice learning moment came with the actor playing Kate: she asked me if she should ‘maybe be a little flirty’ with Petruchio. I said I didn’t know and that it was up to her. I pointed out that Kate does nothing but tell Petruchio how terrible he is, and even has several lines that say that she is leaving, and yet the scene is several pages long; so there is a pretty big contradiction with what the character says and does that she, as the actor, needs to reconcile. We chatted for another minute or so before she cut me off to give me the best answer she possibly could: “I think I just need to try it once or twice and see how it goes.” Spoken like a true actor!

Thursday

Written by Lauren

We had a very small group today. We started out running a scene that one of the women suggested. It had been blocked before, but we hadn't touched on it in a while, so it was worth revisiting. We read through it a couple of times and cleared up some of the confusion in the language. When I asked if they wanted to put it on its feet, the women suggested we move on since we were missing so many people, including people for that scene. It was suggested that we run lines.

We started at the beginning, and I was so pleased to see that two of the women were already almost off book for the first few scenes! Not only that, but they both were putting so much characterization into their line readings. At one point we got into a discussion about who one woman should have been talking to. While this discussion started to become frustrating since everyone had a different opinion, it was great to see that everyone was so passionate about the script and had such educated things to say to back up their viewpoints. When we left the discussion, we decided that the choice is ultimately up to the woman playing the character, so she decided to think about it on her own and get back to us.

We read through about the first half of the script. Even though it was a small group and we didn't get very physical, we all left feeling accomplished and really good about how the play is shaping up!