November 19 & 21, 2024 SIP Blog

November 19, 2024 

“It’s Crazy How the Book Just Speaks to You!”

Tonight’s session began with a flurry of check-ins and updates as we prepared to dive back into Much Ado About Nothing. Our ensemble was lively, reflecting on the recent rehearsal with a professional director, and it was clear her impact lingered.

“I liked how she directed it,” one participant said. “She gave input, solid input. The emotion. I loved it.” Another reflected, “She ripped me out of my comfort zone. I’ve thought about how I would say it for days... I loved it at the end.” The shared consensus was how her presence pushed members further into their roles and, as one put it, “tweaked a little extra out of everyone.”

The night’s reading began in earnest with Act 3, Scene 3. This scene’s humor resonated, especially Dogberry’s contradictions. “Dogberry’s a contradiction!” someone observed, which prompted laughter and agreement. Later, as we moved through Hero’s shaming in Act 4, Scene 1, the mood grew somber.

“It’s timeless,” one ensemble member remarked about the scene. Another added, “I hate that she’s being shamed.” The conversation turned toward Leonato’s absence from the interrogation. “If only he had gone to the interrogation,” someone noted, bringing a reflective close to the night’s work.

November 21, 2024

Our second session of the week was centered on deeper reflections and shared experiences through “the three questions”:

1. What brings you to Shakespeare?

2. What do you want to get from Shakespeare?

3. What gift can you bring to the room?

The answers were as varied as the ensemble itself. One member shared that her father’s love of acting brought her here: “I want to get closer to him.” Another admitted she joined for confidence and stayed because “This is my comfort zone, my family… I stop everything to be here.” The collective gifts ranged from humor and positivity to camaraderie and vulnerability.

A poignant moment came when one participant expressed nervousness about attending consistently. The group rallied around her. “We like you here, we need you here actually,” one said. Another affirmed, “We think about you when you’re not here!” The room’s energy shifted to one of collective support, a reminder of the power of this work to build community.

Later, we revisited the pivotal scene where Beatrice demands Benedick to “Kill Claudio.” Multiple pairs volunteered to read, and one member quipped, “They always focus on them two [Benedick and Beatrice].” This prompted a suggestion to try the scene “Freeze-style,” allowing multiple interpretations.

Afterwards, discussion turned toward Beatrice’s fierce monologue. “Sometimes we women feel like that,” one member said. “We’re basically second-class citizens.” Another joined her, adding in perfect unison, “And nothing has changed!”

We speculated about Shakespeare’s intentions. Was he ahead of his time? Did his own relationships influence his writing? One member suggested, “Maybe his momma was a boss, maybe it’s the type of woman he desired.” Another reflected on Beatrice: “Not too many women were like her. A pioneer.”

November 12 & 14, 2024 SIP Blog

November 12, 2024

“This Is My Silly Place”

As we started the session, members trickled in gradually, chatting as they arrived. Once most members had settled, we started check-ins. Roles were picked for our Thursday session, where we planned to dive into Act 2, Scene 1 of Much Ado About Nothing with the Production Artistic Directors of Detroit Public Theatre. The group unanimously decided to get the scene on its feet rather than simply reading it.

The energy lifted as we began performing in the round. There was laughter about pronouncing “Beatrice” as “Betreece,” and ensemble members playing ladies-in-waiting added humor with their background acting. Someone suggested blocking ideas for the dance, and another tried a British accent for Benedick, sparking even more giggles.

Afterward, we reflected on the scene:
“Good!” someone said immediately.
“Yeah! Yeah! Yeah!” another chimed in.
“Again! Again!” added a third enthusiastically.

The conversation evolved into reflections about working on the show. One member confessed, “I wish I knew the parts more,” to which another responded, “We all feel that way.” A third added, “I’m stuck in the book.”

Talk turned personal as members shared why this program meant so much to them:
“This is getting me out of my comfort zone. I lead in AA, but this is different. I want to be a better person. Time is moving, and I needed to be here to get well.”

Another shared her story:
“I was the fat kid, always made fun of. I found something I like to do sober. I didn’t always stay that way, but coming here sober makes me feel like I’m doing something with my life.”

The group resonated deeply with these sentiments:
“This is my escape from isolation,” one said.
“It’s keeping me sane. AA and this.”
“This is my silly place,” another added with a grin.

As we wrapped up, members reflected on prison reform and second chances:
“Most folks, it’s out of sight, out of mind. You’d never think you’d be here. I’m thankful I have an outdate. People change.”

Before we knew it, it was time to end. We raised the ring together, and left feeling connected and inspired.

November 14, 2024

The night started a little differently, with the three producing artistic directors from Detroit Public Theatre joining us. After checking in and setting up, the room buzzed with excitement and nervous energy as members prepared to work a scene.

We introduced our guests, who quickly eased into the group dynamic. After check-ins, we warmed up with “Queen of the Jungle,” which led to a lot of laughter as we invented new animal sounds to accommodate the larger group.

Courtney Burkett spoke about the “professional” rehearsal process, drawing parallels between what we do in Shakespeare in Prison and what happens in professional theater. This sparked curiosity from ensemble members, who asked about acting opportunities and shared their aspirations.

When we got into the text, the energy shifted to focus and exploration. During Much Ado About Nothing, one member said, “Beatrice always has something crass to say.” Another remarked, “I like this part because I like talking shit.”

We paused often to dissect the characters. On Beatrice, someone shared, “When I first read this, I thought she wasn’t into guys.” Another countered, “I think Beatrice and Benedick were together before.”

As the dialogue unfolded, insights bubbled up:
“Hero is too passive,” someone noted during the masquerade scene.
“Well, when you have friends like Beatrice…” another quipped.

Performing the scene on its feet brought new energy. Two members portraying “ladies-in-waiting” leaned into the humor, with one demanding imaginary items and the other using them behind her back.

When a participant struggled with a devil impression, the group rallied with encouragement, offering suggestions and laughter until she gained confidence. “I need this in my life,” she said when asked how she was feeling.

The session wrapped up with a short run of the masquerade entrance, filled with playful improvisations and energy. As we raised the ring, the excitement for continuing this journey was palpable.

November 5 & 7, 2024 SIP Blog

November 5, 2024

"Emotion, Emotion, Emotion"

We assembled for the session, the group very happy that session was still being held on Election Night. We began with a fan-favorite game from Halloween, the “Restaurant Game,” where participants role-play various character scenarios. Each round saw characters like turkeys, mad scientists, and zombies in different roles, from customer to doctor, sparking plenty of laughs. We followed this with a dancing game, “Demand a Dance,” and soon, everyone was in high spirits, including one member, with some physical limitations, who danced from her chair.

The group’s excitement grew as we transitioned into reading Much Ado About Nothing, picking up from Act 2, Scene 2. Our ensemble, which has been diving deeply into the play’s characters, decided to skip reading the scene and put it on its feet. "It’s the setup!" one member exclaimed after we acted out the scene, recognizing the clever trap Don John and Borachio were setting. This moment sparked a reflective conversation about the gender dynamics in the play, with participants commenting on Hero’s unfair standards compared to Claudio’s freedom: “This just pisses me off. He’s a boy.” Another member shared how she empathizes with Don John, explaining, “It’s the part of me I’m not anymore—the part I’ve left behind.”

Later, we staged Act 2, Scene 3 with a full cast. We set up the stage and trees to hide Benedick and highlighted the dramatics of Claudio, Leonato, and Don Pedro feeding Benedick information. The session ended with a spirited staging of the scene, encouraging dramatic performances and another member helping the group with stage positioning, offering suggestions like “cheat out.” The night ended on a high note, the session humming with energy as we lowered the ring.

November 7, 2024

During check-in, we discussed the upcoming visit of Detroit Public Theatre’s Producing Artistic Directors (PADs). The question of how to structure the session led to a unanimous decision: we wanted a special evening performance. After some deliberation and multiple votes, we chose to stage Act 2, Scene 1, with its iconic dance and mask elements, giving everyone a chance to participate.

The group wanted to wake up a bit before diving in, so we started with “Crazy 8’s,” which was a hit. Following that, we read through Act 3, Scene 1, casting members in the roles of Hero, Ursula, Margaret, and Beatrice. During the scene, one participant joked about Beatrice’s “self-absorbed” nature, adding, “That’s why I like her. We both are—probably the best way to be in prison!” The group laughed and connected over these character traits, with another participant adding, “All it takes is a little nudge,” referring to how quickly Beatrice and Benedick’s feelings change.

The conversation then shifted to deeper reflections on reputation. One member shared how external perceptions shaped her life and led her to prison: “You’re shaming this woman because you’re trash!” She explained, “It’s so sad—based on what others think and other people’s opinions—that ruled my life.” This sparked a candid discussion about the weight of societal expectations, with one member recalling her grandmother’s constant, “What would the neighbor’s think?”

Act 3, Scene 2 stirred a variety of reactions as we discussed Don John’s jealousy. Another participant captured it perfectly: “Misery loves company!” The group also reflected on Dogberry’s antics in Scene 3, a participant comparing him to the Pink Panther.

Toward the end of the evening, we discussed audience engagement—how important it is to “pause for laughter” and to create moments where the audience feels drawn in. One member shared a mantra from her past sales job: “Grab their attention, paint the picture, set the sail.” We ended the session inspired, ready to “step up our game” and bring everything we’ve discussed and rehearsed to life in the coming weeks. As one member said, it’s all about “emotion, emotion, emotion.”

October 29 & 31, 2024 SIP Blog

October 29, 2024

We gathered together for our normal Tuesday session, and the group was excited to keep diving into our show. We launched into Much Ado About Nothing. Starting from Act 1, Scene 3. The discussion took on a deeper tone as the group explored Don John’s motives. “Don John is miserable,” one said. “Revenge,” another suggested. “Make everyone miserable,” someone else added. Together, we agreed to try the scene on our feet, bringing new energy to Don John’s mood shifts. At one point, a facilitator suggested that Don John sit to create obstacles for the others, and we could feel a tangible shift in the room as Don John turned in her chair. This contrast between a “sad Don John” and an “energized, malicious Don John” made the character’s internal struggle palpable.

We moved to Act 2, Scene 1. Beatrice’s complex, spirited personality took center stage. “She doesn’t want to get married,” one member pointed out, with another joking, “Miss me with it!” There was a collective appreciation for her outspoken nature: “She says what she gone say. Kiss her tush,” one participant joked, making everyone laugh. As we delved deeper, someone observed that Beatrice might be hiding insecurities behind her humor. “I’m just like that,” a participant reflected. “Your feelings are not my responsibility.” Another echoed, “I can be brutal.”

We continued to read, reaching the playful dance sequence. “Benedick’s maaaaaaad,” a member exclaimed, commenting on the escalating humor in the scene. Beatrice’s boldness was both admired and examined, with some wondering if she and Benedick shared a hidden history. “Sounds like a scorned woman; that changes everything for me,” someone commented thoughtfully. It was clear that everyone was invested in these characters and their layers. As we concluded, we reflected on the rumor-spreading and matchmaking plans that are central to the play’s plot. The group joked about how quickly characters seemed to fall in love: “It seems if you wink at someone the right way, they’ll get married on Monday.”

October 31, 2024

Halloween brought a playful spirit to our session. We found a small group of members waiting by the auditorium door, and the ensemble quickly fell into a lighthearted, festive mood. While some donned makeup for the holiday, we did “casual” check-ins to keep the relaxed energy going. Multiple members commented on the “good vibe” in the room.

In the spirit of Halloween, we spent the evening playing improvisational games. We started with “Party Quirks,” where one person hosts a party and tries to guess the “quirky” characters that show up. Laughter filled the room as members brought to life characters like a cowboy, Spiderman, and Jason. Then we moved on to “Pancake,” where characters act out a pre-set scene in different genres. The NYC Burger Restaurant scene was a standout, with an ensemble member improvising the line, “I made the Jambalaya, now he’s jumba-lay on the floor,” which got the group roaring. Finally, we tried “Snapshot,” creating frozen scenes while a narrator wove a story around them, offering a blend of humor and creativity.

As we wrapped up, we reflected on how these games bring us into the present moment and connect us to one another. “My thing is acting is more emotion… I try to get the emotion of it,” one participant observed. Improv, they shared, helps them step outside their comfort zones, feel the characters, and react authentically. “If you forget your lines… just keep going,” another added, nodding to the resilience that these games encourage.

We also took time to honor a participant heading home soon. “It’s the most bittersweet thing to see someone go home,” one person expressed. The ensemble shared words of appreciation, with someone saying, “Damn, can I just take you with me?” The room was filled with both celebration and sentiment as we closed the night, giving the departing member a final round of whooshes.

October 15 & 17, 2024 SIP Blog

“It didn’t take much to persuade him!”

The past week working on Much Ado About Nothing with the group has been a fascinating journey through Shakespeare’s intricate layers of humor, relationships, and deception. Every session brings new discoveries amongst the group, and the energy in the room is exciting as we unpack these centuries-old dynamics and “roast battles”.

We started off by getting everyone warmed up with a game of "Pass the Remote." Laughter echoed throughout the space, setting the tone for our session. The group was excited to continue diving into the script and thought it would be best to catch up our new members on what had happened. We dove into Act 2, Scene 2, and the room lit up. The dialogue between Don John and Borachio sparked a lively discussion—the group had much to say about Don John’s manipulation. “What a douche-bag!” someone exclaimed after the reading, while another quipped, “He’s not that bright.” The consensus was clear—Don John might be evil, but Borachio is the brains behind their mischief.

As we continued, Act 2, Scene 3 brought out a fun, modern twist. We read the song in the scene with one of the group beat-boxing, turning the scene into a rap. It felt like Shakespeare himself would have appreciated the rhythm we found in his words. After some playful improvisation, we got into a deep discussion about Benedick’s character. The group was quick to note how easily he falls for the idea that Beatrice loves him. “It didn’t take much to persuade him!” someone observed, while another pointed out, “This is really good!”

We then put Benedick’s soliloquies on their feet. One of the most entertaining moments was when a group member, playing Benedick, decided to interact with an imaginary tree during the eavesdropping scene. She hid behind it, crept forward, and responded to the dialogue in such a playful way that the room erupted in laughter. Her “commitment to the bit” inspired the rest of us, and by the end of the night, everyone was on board with making the tree a permanent fixture of the scene. “We should do that in our play!” an ensemble member said.

A lot of the themes in Much Ado hit close to home for the group, especially the elements of rumor, gossip, and deception. The parallels between the play’s interpersonal drama and what some members have experienced in their own lives spark powerful reflections. One group member pointed out, “That sounds like prison,” as we discussed Claudio’s treatment of Hero. It’s in these moments that this 400-year old work still resonates with the present in ways we didn’t expect.

Act 3, Scene 1 was another highlight. We tried staging it, with three characters gossiping while Benedick hid and tried to listen in. The creativity flowed naturally as everyone played off one another. By the time we wrapped up, there was unanimous agreement that putting these scenes on their feet helped us connect with the text even more deeply.

The last few scenes we tackled were filled with gasps, as Don John’s deception came into full view. Claudio’s betrayal struck a chord with the group, and some members were visibly upset by how the story was unfolding. “I hate Claudio now,” someone said, summing up what many of us were feeling. The conversation that followed was rich and emotional, touching on themes of trust, manipulation, and the complexities of relationships.

As we continue our journey with this play, I’m constantly reminded of how Shakespeare’s work allows us to explore universal truths about human behavior, love, and the consequences of our actions.  Every rehearsal brings us closer to these characters and the story, and, in turn, to each other. We’re not just reading a play, we’re experiencing it—together.

“I Like the Sadness, and Wanting to Be Justified for Being Sad”