Session Six: Week 22

Tuesday

Written by Frannie

Before we began tonight, one of our ensemble members came to me for a private conversation. She feels like she’s been wasting the ensemble’s time because she hasn’t been participating very much. She has been focused on introspection and learning about herself recently, having been reunited with a family member with whom she hasn’t had much contact in years. She loves Shakespeare and doesn’t really want to leave the group, but she is concerned that she’s getting in the way. I reassured her that she isn’t in the way at all – that there have been participants in the past who have literally sat in the back of the auditorium doing crossword puzzles, and that that was a problem, but that her being more quiet and reflective has not been brought to my attention by anyone as troublesome. I promised to tell her if it gets to be a problem and reminded her that everyone is in the group for different reasons, to accomplish different things. It’s okay if she hangs back for a while.

I also had a one-on-one conversation with another ensemble member who is concerned that much of her part was cut from the script. She was wondering if she could add anything back in. I reminded her that all cuts have been made in the interest of streamlining the play – we need to perform it in 90 minutes or less – and that if she’s going to add anything back in, it needs to be brief, and she needs to be able to make a case for why we need it. I also reassured her that these cuts were not personal – that they were made in the best interests of the team. I encouraged her to find some other small roles to fill, and also to volunteer to fill in when people are absent. This will make it easier, if someone leaves the group, for her to jump in and replace that person in a larger role. I encouraged her to be the first to volunteer in that instance. She seemed to be relieved by our conversation.

We worked on a scene between Richard and Buckingham, making cuts as we went. We got a little distracted talking about other Shakespeare plays, but this was fruitful in that we do need to explore our options for next season. There was also some confusion about the play’s timeline, which led to a brief discussion about making fiction out of the history and how the two don’t always match up.

Friday

Written by Kyle

I began Friday night having a longer conversation with one of our newer members who has spent the majority of her child’s life incarcerated.  It was incredibly frank for such a spur of the moment conversation.  She said that motherhood has been a double edged sword; on one hand going to prison changed her life and she has been clean ever since, but on the other hand she worries what toll her incarceration has in her child’s life.  It is a constant ray of sunshine that also seems to cast shadow of pain at the same time.  This is my third season, and, especially once we begin rehearsals, it can be tempting to forget that this isn’t an ordinary theatre troupe; we get working on the production, we laugh, have inside jokes, and sometimes it can seem so commonplace to my experience working in theatre. Tonight I was really reminded just what is happening not too far below the surface of any given rehearsal.

After check in and warmups, we started to work on Act 1 Scene 4, in which Edwards learns of his brother Clarence’s death.  It’s a difficult scene because there are lots of people on stage who have compelling backstories and conflict, but that are secondary to the central conflict of Edward learning of the death.  It made for difficult staging, which tends to be the ensemble’s weakest link anyway.  There was a lot of discussion as to just how sick Edward needs to be; if she is too sick to stand, how can we put the needed movement in the scene to make it move along?  If not, what other kinds of sickness can King Edward display that makes her condition clear?  It was getting disproportionately heated for such a seemingly small matter, and some people felt like their suggestions were not being heeded; we had to stress that it is ultimately up to the actor playing King Edward to make the final decision, and we moved on to the next scene.  The actor playing Richard was having somewhat of a difficult night - there was definitely something off, and she seemed a little short tempered.  I pulled her aside and asked if something was wrong. I think she may have apologized twenty times.  She was having issues with a family member and didn’t realize she was being as short as she was. It was really positive, and I’m glad I talked to her about it. We only had a little bit of time to work on Queen Elizabeth and the Duchess's scene, in which they learn of King Edward's death, but I had a pet idea for staging that the ensemble was kind enough to humor me and try.  It’s always a delicate balance trying to be an ensemble member myself and a facilitator.  I want to have ideas, but I want to facilitate their ideas as well; unfortunately tonight, the former won out.  We didn’t finish the scene, but I was glad we worked right up to 8:30.

Session Six: Week 21

Written by Kyle

Tuesday

This week I started the evening talking to one of the newer members of the group about Shakespeare’s verse; we don’t always get to take a deep dive into the intricacies of his verse. It can get dry and too academic for many in the group.  So I always jump at the chance to ‘nerd out’ when I see one of the ensemble members willing to go there with me.  It turned into a much longer conversation, though, about the philosophy of the group.  It was an interesting conversation. She was craving some more heavy-handed direction, which we intentionally avoid because the group strives to be non-hierarchical.  I reiterated that it is an ideal to which we will always fall short, and that it can make the process seem more laborious at times; ultimately, though, the extra effort is worth the sense of ownership that a communal process fosters.  I appreciated the frankness of the conversation and the perspective of a newcomer to the group.  One of the highlights of the check-in was when one of the ensemble members told the group that she will be seeing her son for the first time in two and a half years; that this is a direct result of the positive changes that she has made to her life, and that SIP was a big part of that.

We had a fairly well attended session at the outset so we elected to skip a scene or two and begin with Act 1 Scene 3, in which old Queen Margaret crashes the party.  The ensemble oscillates between creating some truly compelling acting work (by anyone’s standards) and learning the basics of stagecraft: where does one stand on stage, how to counter your scene partner with your movement, if you are a messenger with only a line or two where do you stand that’s out of the way, etc.  These are all commonplace discussions that happen just about every couple of minutes in these first rehearsals.  It’s encouraging to see the newer members challenge the group to acknowledge royalty, suggest cuts to a scene, and identify possible inconsistencies in the text.  This scene is packed with a fair amount of back history, and it's difficult to not get bogged down; you can easily spend all your time talking and not actually get around to rehearsing.  Once the scene got going we had some really powerful stuff from our Margaret and Richard; both actors could have easily held their own in a university setting or professional actor training program.  It was also great to have Sarah in attendance tonight. Her point of view is always so authoritative and inspires such discernment from the ensemble.  It’s pretty amazing, actually, the caliber of acting that is happening so early in the process.  At a certain point, though, the actors began to lose the thread of the scene, and we had to sit and hammer things out reading in a circle.

We’ve been having an issue with conflicts and the ensemble leaving early. It’s been happening all along, but it plays out a little differently now that we are in rehearsals.  I hope it is something that we can address in the coming sessions; although there is a part of me that enjoys working with the actors in a more intimate group, ultimately it becomes the same collaborative question that came up in private conversation at the start of the session.  Great work was accomplished by the members who stayed, but it felt somewhat lost because so much of the ensemble had left early.

Friday

Today we had the update from our ensemble member who was reunited with her son.  These things never quite go the way you’d think, and the story she told was no exception.  She said it was a start, though, and it was wonderful to see the whole group share in her joy.

During the latter part of the check in, one of the other ensemble members brought up the attendance policy and how everyone had bailed before the end of the session on Tuesday.  It was really well said, and without rancor or judgment; I was really impressed by how well she navigated potential conflict with good natured poise, all without walking backwards on her position.  It did drive home just how many people have legitimate conflicts. It felt like people were skipping out early on Tuesday, but I’m rethinking that assessment.  A large number of our group have other approved commitments, and I imagine it will be something we revisit several times before the performances this summer.

After the warm-up we worked the famous scene in which Richard courts Lady Anne.  It’s a truly challenging scene, and it is nice to have two veterans from the group be at the helm.  Unfortunately, it's a two-hander, and quite long at that, so much of the group were not rehearsing their scenes tonight; everyone was really good about following the scene and contributing ideas where they could.  The actor playing Richard has really taken it on herself to play and experiment in her scenes.  I’ve not seen this kind of freedom from her in seasons past. She’s always been a committed actor and taken direction well, but I’ve never quite had the feeling like she might do anything at any moment.  It’s exhilarating to watch her play - she walked right up to one of the servants and flicked her in the face.  It happened so organically, and there were many more moments just like it; every couple of lines Richard would give a look to the audience letting us know what she really thought of the scene.  It seemed like there were a hundred little eye rolls, winks, and inside jokes she started with the audience.  I’m really not sure when it sunk in that she could have as much fun experimenting in the scene, but if tonight’s rehearsal is anything to go by, she has learned the lesson well.

Session Six: Week 20

Tuesday

Written by Matt

Tonight many women seemed to be feeling strained, and their comments at check-in touched on moments in the last week that have made them feel on edge or melancholy. Two talked about how many of their friends are in segregation or stuck in their bunks on sanctions. One longtime member said that her brother had been in a car accident, and that she was feeling acutely “how fast life can change.” Between the dark cloud hanging over the group and the oppressive heat in the theatre space, most women didn’t seem especially excited to move around, but one woman who has emerged as a leader led us all through a vigorous physical warmup that left everyone energized, if a little sweaty.

The rest of this session was taken up with work on the opening monologue. This sort of intensive work on a single woman’s scene can be taxing (or boring!) for other participants, who mostly sit around, but today, every member of the ensemble was actively invested in Richard’s success. After a rough initial read-through with Richard standing in the middle of a circle of ensemble-members, we discussed Richard’s deformity and how it should manifest onstage. A facilitator jumped in to say that perhaps we should leave aside the staging of Richard’s deformity—whatever it turns out to be—until we all have a better sense of the more essential parts of his role (his desires, his worldview, his motivations). On a second performance, the permission to abandon the limp seemed to free Richard. She was more expansive, funnier, and sharper. We all laughed out loud at her impish delivery of some of Richard’s snarky lines. Little, inspired flourishes started to come through in this iteration; Richard, in declaring that “I am determined to prove a villain,” toppled the chair in front of her with a flick of the wrist and a little smirk.

After this second time through, the women talked about how they had used the “Imaginary Bodies” exercise from a previous session to mold their characters already. Four or five women chimed in to say that they had learned about their characters through this technique. The group decided to let Richard run through the entire first scene, this time on stage, with the ensemble in the audience. Richard really let loose this time through, moving through the aisles and coming to individual audience members in the front two rows during the two monologues in the scene. The effect was to deepen Richard’s glee at planning and plotting. A member commented that “I really love Richard coming down to us.”
Before leaving, we talked briefly about Richard’s view of women, especially because this first scene leads into I.ii, the argument with—and wooing of--Anne. “Women,” said our Richard, “are just puppets and toys.” The group nodded silently in agreement.

Friday

Written by Frannie

Before we began, I had a private conversation with our Richard. She has been really concerned about Richard’s deformity and resistant to working with it. She views Richard as a “sexy badass,” and that’s not an incorrect interpretation. She and I had miscommunicated about the deformity – she thought I was prescribing for her what it is, which was not my intention. I explained to her that it’s important to the character that something be physically wrong with him – he mentions it in the first few lines of the play – but that we can work on exactly what it is. I also made sure she understood that this deformity does not have to be a weakness – that many people with disabilities or physical deformities are extremely strong and charismatic, so she does not have to let go of her interpretation of the character. She was reassured, and we are now on the same page.

Many of our ensemble members had to leave early tonight, but fortunately we were left with most of the women who are in Act One, scene four, in which Clarence tells of his nightmare and is then murdered by two mercenaries. Our Brakenbury was one of the people who had to leave early, so a woman who lives in her unit stood in for her, taking notes that she would then pass on. One of the women who was in the group last year reminded all of us that some of our interpretation of the scene needs to be left for when the actual Brakenbury is present.

Our Clarence then mentioned that we hadn’t done our physical Six Directions warm up, and said that it helped her so much she really wanted to do it. I said that I would do it with her, and then everyone else joined in.

We went through the scene once. It didn’t seem quite right. We explored the relationship between Brakenbury (whom we have merged with the Keeper in this scene, and so is the “officer”) and Clarence, who is the prisoner. “He has compassion for me. He’s really listening,” said our Clarence. The woman standing in for Brakenbury said, though, that as the officer she felt odd about letting Clarence touch her or sitting on a bench with her. “You’re royalty,” said one of the women to Clarence. “You’re a good dude, and he doesn’t like seeing you in this position. But he’s gotta do his job.” Another woman said, “We have officers who are good and compassionate, but they wouldn’t come sit in the dayroom and eat with us.”

The woman playing Clarence then emotionally said that she wanted Brakenbury to have compassion for Clarence because she is so sick of dealing with officers who have no empathy for the prisoners under their watch. I pointed out that this is a great instinct and one that she can use, even if our interpretation is that there is no physical contact – that the desire for contact can be the obstacle to her character’s objective and help to motivate how upset she is. We reminded her, too, that some of this needs to be left up to the woman actually playing Brakenbury, and a woman who knows that ensemble member well pointed out that she has OCD and likely would not want to be touched in any case. That seems to have decided things – we like to gently push people out of their comfort zones in terms of participation, but we absolutely do not want to push on something like that.

We tried changing up the staging of the scene a bit, so that our Clarence would direct more of her monologues outward toward the audience, leaving Brakenbury a bit distant from her. This proved to be a bit of an emotional gut punch, as she sank to her knees to pray, and Brakenbury then gently came over to sit with her as she went to sleep. It was extremely effective.

The Murderers then entered. They had decided previously that the First Murderer is the brains, and the Second Murderer is the muscle, and that he is flamboyant. Without us noticing, they had altered how they were wearing their uniforms to reflect this – the First Murderer wore her over-shirt open and walked with a swagger, and the Second Murderer pulled her pants up under her ribcage and walked leading with her pelvis.

I don’t think any of us realized how FUNNY this scene is until they began to interact with each other. I don’t even know that it’s generally staged that way, but what they were doing was completely motivated by the text and worked beautifully. We talked about how what the Second Murderer’s objective changes in this scene – from wanting to get out of doing the murder to remembering the reward and re-committing to the action. At one point the First Murderer accidentally said, “The Gluke of Gloucester,” and we all burst out laughing.

It was a really fun, uplifting evening.

Session Six: Week 19

Tuesday

Tonight began with a discussion of what we might be able to do with our time, as we are still waiting for our rehearsal scripts to be approved.

A longtime ensemble member suggested that we try paraphrasing our way through some scenes to get more meaning out of them. I welcomed her to lead the exercise, but in practice it proved to be too soon in our process for this to work – we just don’t know the material well enough yet to mark through it like that. This was frustrating, but we will revisit the exercise down the line.

We then decided to work some monologues even without the cuts. Our Richard asked to work on “Was ever woman in this humor wooed…” Her first instinct was to try to make us laugh and to showcase her arrogance, and this was fun, but we asked her to go deeper with it – to make us worship her brilliance rather than just making us laugh. This made the piece absolutely sing – she was clearly having fun with it, which is absolutely appropriate, and we loved it, too. She is also beginning to explore Richard’s “deformity” – she wants him to be strong and sexy, but we pointed out that he talks repeatedly about being deformed, so she needs to find a way in to something along those lines. This will be a challenging balance to strike, but I’m confident that she will find a solution that works for her.

Our Richmond then worked her speech to the troops. She is very strong in this piece, but we wanted her to go for more specificity. When she did it a second time, we interrupted her occasionally, asking for clarity on things like, “WHO will welcome us home?” This led to a much more detailed interpretation.

We continued to talk about ways of finding detail in these long monologues – our Richard is feeling challenged by the soliloquy that follows the ghosts’ visits – finding movement when thoughts change and not simply wandering around the stage. We will continue to explore this!

As the group worked, one woman turned to me and said, “Sometimes I feel like I’m in the twilight zone. Everything seems so strange. But I’m starting to feel comfortable here [in SIP]. I always laugh. But it’s just being in prison… I guess it’s good. It means I’m not getting used to it.”

Friday

Tonight the ensemble member who is acting as our dramaturg arrived with materials she’d gathered about various historical aspects of the play. She had specifically pulled an article called “Anne Neville: Victim?” for the woman playing Anne, since she’s expressed a lot of conflict about how she should interpret the character. Our Anne was excited and grateful for the resource, and the woman who provided it beamed. What a thrill that working on this play in particular has provided this role to someone who is so enthusiastic about it – she really loves being a resource for the group and is working hard to provide whatever information she can as we work through the play.

As we gathered, I sat and chatted with an ensemble member who, upon seeing our Richard pass by, jokingly said, “Hey there, Dick.” “That’s King Dick to you,” she responded with her nose in the air.

The group seemed listless, as we still do not have our rehearsal scripts, so I launched us into some more exploration of Chekhov technique, this time Imaginary Centers. In brief, the idea is that any character’s energy comes from one of three centers at any given time – thinking (mainly the head), feeling (mainly the heart), or willing (mainly the pelvis). There are images associated with those centers – a stick with thinking, a veil with feeling, and a ball with willing. We spent the majority of our time exploring and experimenting with those centers and those images, which involved full body explorations and lots of movement.

Several women connected more to their willing than to their thinking centers. Kyle reflected that, when he was a ball, he was more eager to interact with people. One woman said, “I feel like I’m a super ball – each type connected to a different part of my personality.” She mentioned that, when we channeled a ping pong ball, she felt connected to the part of her that has been abused. Kyle volunteered that he felt the opposite as a ping pong ball – free and easy. This technique is very subjective!

When another woman reflected that she did not enjoy exploring the feeling center, saying “it’s just too much,” that led us into a conversation about where our own personal dominant centers are. We are a diverse bunch - answers ranged throughout the three centers, with some noting a conflict between two, such as feeling and thinking. One woman said, "I'm a bouncy ball being hit with a baseball bat, covered by a veil." I always love when we think outside of the box!

We had done a lot of moving around, and everyone was tired, so when one woman asked how exactly we use this in our rehearsal process, I asked the group if they would like me to demonstrate, and they said yes. I asked them to give me one image at a time with which to explore the first four lines of our play, and we went through at least ten, maybe more – I was having fun and lost count! Using different images changes the quality of performance, and that came through even as we stumbled on images that didn’t work as well for those lines – or at least they didn’t for me. Our Richard gave an image that didn’t work for me a try, and it worked great for her! Musing over her character, she said, “I have to have will to conquer and take over, but I also want to give you a little bit of my veil.”

The group was tired – it was warm in the room, and we’d been very active – so we agreed to leave early. Nearly everyone agreed that these tools will be valuable to them in their exploration of the play – our Anne in particular was enthusiastic about what this will do for her process. She is a feeling-centered person and believes that playing Anne primarily through her willing center will be her “way in.”

I’m very glad that these techniques are proving to be interesting and helpful for the group. I try to avoid making our program into an acting class, but I’ve always found these tools to be valuable, and while we’re waiting to be able to work with our actual scripts, this has been an enjoyable way to spend our time.

Session Six: Week 18

Tuesday

We spent tonight playing improv games, since our rehearsal script isn’t yet ready and some group members pointed out that it’s been awhile since we’ve done improv. It’s important for us to continue to sharpen those skills so that we can react constructively when things go “haywire” in performance. We had a lot of fun!

During one of the games, the woman playing Richard came over to me. “I tried not to do it, I really tried,” she said, “But Richard III was on TV, and I watched it. And… I don’t know if I can really say this… But I didn’t like the Richard in the movie. I think I can play him better. Can I say that?” I replied that of course she can! I asked her why she felt that way. “The guy in the movie played him with no feelings. Just evil. I don’t want to play a character like that. I think he has feelings.”

An inmate who is not in our group came in and handed me an ensemble member’s book, saying that she wanted me to be able to make the cuts even though she couldn’t be present because of another program. It was good to be able to make those cuts rather than waiting another few days!

We wrapped up by saying good bye to an ensemble member who is going home in a couple of days. We are excited for her and will be rooting her on as she makes her transition.

Friday

Tonight when I arrived, one of the women shared with me that she’s been referencing part of the Shakespeare Behind Bars documentary lately – in one scene, a man admits to a particularly heinous crime and then expresses his wish that he be judged on the totality of his life, and not solely by the worst thing he’s ever done. This woman has been quoting that in order to stem judgment and bullying in her unit. It resonates for her – as someone who was heavily involved in drugs, there were things that she witnessed people doing upon which she sat in judgment… but later engaged in those activities herself. She said that it’s hard not to judge someone who’s done something that you consider to be the worst possible thing, until you’ve done it yourself. And then you must work on forgiving yourself. “I’m not that person anymore,” she said.

The energy in the room as we all gathered was extremely low. One of the lifers in our group shared during check in that the days have lost meaning for her – she forgot about Christmas Eve, and the change in the year isn’t hitting her at all. This negativity, which is completely understandable, hung heavy in the room. Since we still don’t have our rehearsal script, I suggested that we delve into the acting techniques that we’ve been dancing around – I’ve personally always felt healed and energized through work with Chekhov technique, and I hoped that we could arouse some of that tonight when it was so sorely needed.

After an energetic warm up, we began to work with something called “imaginary body.” In essence, the imaginary body can be imagined, shaped, and then “worn” like a costume, changing the way an actor moves and interacts with people and objects around them. We experimented with changing different parts of the body (i.e., you are extremely tall/short, you have an extremely long neck, you have hands made of glass), and then I welcomed everyone to “sculpt” an imaginary body for their characters out of the air, then stepping in and moving throughout the space. The group was game for this and the mood began to lighten considerably.

I then moved around the room asking, “Who are you?” and “What do you want?” with each person responding absolutely appropriately from her character’s perspective. We then came up with full body gestures expressing that want.

This took some time, and we gathered in a circle to reflect. The consensus was that these were useful exercises. A longtime ensemble member said, “It helped me get into my character more than in previous years, sooner.” She also shared that she loved the warm up exercise, as it activated her energy and made her feel more connected to her body. The woman playing the Duchess discovered that, “even though she’s eighty, she’s going to be a vibrant eighty.” The woman playing Richard said, “I got to put the traits I want him to have on him. He’s handsome. He’s gorgeous.”

The woman playing Anne then shared, “It made me realize I don’t feel comfortable with Anne… I don’t feel comfortable with her values. I don’t know what this woman wants – to maintain her lifestyle? Or does she want love…?” Another woman who had seen a version of our play on TV shared that, in that version, it was clear that Anne didn’t have a choice in her actions because Richard was the Lord Protector.

“I’m so excited about this year,” said another woman. “I know that when I go on stage I can be this Clarence who I’ve created.”

“It helped me look at her outside of the text, as a person, not just words on paper,” said one woman.

“Before today,” shared another woman, “I knew who I was playing but never really thought about it. When you asked what I wanted it really clicked for me: I do not want to die, and that’s what I want through the whole play.”

The woman playing the Duchess, said, “The Duchess might just want the bloodshed to stop, but in the meantime, I want my son to be cursed.”

The woman playing Buckingham said, “Thinking about what my character wants helps me think about why he wants the things that he wants. He wants stuff, reputation, power… He wants reputation, validation, recognition. He has a lot, but he wants more. He’s calculating and greedy.” A woman who was in the group last year jokingly quoted from Othello, saying, “Reputation, reputation, reputation!” We talked about all of our different interpretations of Buckingham – what she expressed is very different from the views of some of the women who view him as true and loyal, just having chosen the one person to whom to be loyal.

The room felt much lighter as we departed. As usual, this acting technique had served to buoy the entire group. I am very glad that we’ve chosen to delve in like this.