January 7th and 9th, 2025 SIP Blog

"I Have an Adrenaline Rush Right Now"

January 7

We arrived at the facility around 5:25 PM and made our way into the programs building just after 5:50 PM. As we set up the room, participants trickled in slowly. With the small group that had arrived, we chatted about how a librarian had shown us where the lights were in the auditorium and how we wanted more lights for our June show.

We started check-in and talked about auditions, asking everyone what roles they were interested in. After that, we played two games: the Machine Game and Vignettes. For the Vignettes, participants directed scenes from The Lion King, Home Alone, and Much Ado About Nothing.

When we turned to scene work, someone suggested we start from the beginning with Act 1, Scene 1 of Much Ado About Nothing. We cast the scene with Leonato, Messenger, Hero, Beatrice, Don Pedro, Claudio, Benedick, and Don John. We focused on Beatrice’s roasts of Benedick and their back-and-forth battle. One participant was inspired by Beatrice’s attitude and said, “I like her attitude,” putting herself down for the role.

Later, someone suggested we jump to Act 5, Scene 1 to work on Leonato’s monologue. One participant performed it twice, and we encouraged her to make Antonio “shut up.” A second participant tried the monologue next, and afterward, she said, “I have an adrenaline rush right now. I’m nervous.” Another participant gave it a shot, and then an ensemble member stepped in right before the session ended. We raised the ring and adjourned for the evening.

January 9

During check-in, we explained the casting process. We suggested narrowing the audition options to three monologues:

• Benedick (pg. 92)

• Beatrice (pg. 104)

• Claudio (pg. 152)

We encouraged everyone to pick one of the three options, curious to see how this streamlined approach would work. After deciding on the monologues, we explored a Dogberry scene from Act 4, Scene 2 to generate interest in those roles. The cast included Sexton, Dogberry, Verges, two Watchmen, and Borachio.

Later, we shifted focus to the audition sides. One participant asked us to demonstrate Claudio’s monologue, and another followed. She struggled with giggles, which reminded us of an ensemble member who used to do the same thing. That member gave us a knowing look, as if to say, “I’ve been there.” We suggested incorporating nervous laughter into Claudio’s character, but another participant disagreed. We told her the giggles were a good sign, like jump-starting a car—it’s a step toward something great.

Participants took turns with the Claudio monologue, experimenting with pacing and physicality. One participant said phrases like “rotten orange” and “luxurious bed” really hit home for her. Another noted, “Claudio is not guilty—this is rage.”

We demonstrated Beatrice’s monologue from Act 3, Scene 1, and then participants took turns trying it. One ensemble member told a participant how much she had “opened up” since joining the program, and the participant said, “It’s easier to play a girl.”

We ended with Benedick’s monologue. An ensemble member demonstrated it but wasn’t happy with her performance. She said she preferred the “drop-in” style rehearsal we’d done before. Another participant jumped in to try it just before we closed for the evening.

The energy was building by the end of the session, and the discussions about the characters and their motivations felt electric. We’re looking forward to seeing how this group continues to grow, especially with auditions happening next week.

December 10th & 12th, 2024 SIP Blog

"Everyone Does Good Because It’s Their Interpretation"

December 10

We arrived at the facility around 5:25 pm, and after clearing security, made our way to the programs building. The group entered the auditorium, setting up chairs and chatting as we got settled. Once everyone gathered, we decided to put Act 3 Scene 3 of Much Ado About Nothing on its feet.

At first, there was some confusion about the staging, with a lot of marching happening throughout the scene. One person suggested that the three characters listening should line up while Dogberry paced back and forth, lecturing them. The group adjusted the blocking, and Dogberry was played with a booming, exaggerated voice that got everyone laughing.

Afterward, we asked for thoughts. “I need work,” said the person playing Dogberry. “I need to know his character more. Get more words wrong, make it funnier, and have more facial expressions. Dogberry wants to be the best he can be and find a constable.” Someone else suggested that Dogberry might be striving to earn respect in the scene.

We ran the scene again with a different group. One person brought physical comedy to their role, bouncing up and down to be chosen and using a Southern accent. Afterward, the person playing Dogberry reflected, “I didn’t feel good playing him. He’s super animated. I didn’t do him justice. That was so off.” The group encouraged her to step out of her comfort zone. “Don’t compare yourself,” someone said. Another added, “They’re shining their light, you shine yours.” One participant smiled, “Don’t be afraid to get goofy.” We all agreed that the ensemble games are great tools for finding that goofiness.

One participant connected Seacole’s enthusiasm to her military days: “Seacole is overanxious. I was picturing some of my troops when they were young.”

Later, we moved on to Act 3 Scene 4, where the group explored the playful banter between the women. Afterward, one person commented, “That was fun!” Another added, “By my troth, you guys were great,” and the group chuckled at the phrase. We discussed the dynamic between Hero and Margaret, with one participant suggesting Margaret is “the trashy friend,” while others disagreed, noting the interpretation could go either way depending on the actor.

Before the night ended, we ran another scene, focusing on Benedick’s soliloquy and giving some others the opportunity to try new roles. The group worked on finding the contrast between Claudio’s past disposition and how he acts now that he’s in love. The group also played with suggestions to treat the group’s attempts to “prank” Benedick like a mischievous phone call.

December 12

It was bitterly cold, but we arrived early enough to set up before the group joined us. After check-in, one participant shared that she’d been working on Benedick’s soliloquy (Act 2 Scene 3) on her own. “I’ve been rehearsing it at lunch with my bunkies.” Another added, “My bunkie reads with me. She may not join, but she definitely wants to come see the show!”

The participant bravely stepped up and delivered the monologue. “I felt better than before,” she reflected, though she was frustrated about not knowing all the words. The group rallied behind her, encouraging her to slow down and move her body more to bring the text to life. After a couple of runs, she incorporated feedback with grace and skill, and the group praised her for her effort.

Another participant decided to try a different Benedick soliloquy from the same scene. “I feel great about it,” she said afterward. “I’ve read it so many times, it’s easier to gauge this and that. And if you mess up, the audience doesn’t know!”

Another participant stepped up to try the earlier soliloquy, showing how a different interpretation can bring new energy to the same piece. “It felt powerful,” she said afterward. Others gave it a try as well, with one participant admitting, “I’m kinda nervous—it’s fun until I start stuttering!” The group reassured her, encouraging her to “own it.” Someone pointed out that her interpretation of Benedick was gentler, which was refreshing. This led to a discussion about Benedick’s ideal woman and how Beatrice, though sharp, doesn’t lose her temper. “I had the man I wanted and that landed me in prison,” one participant reflected. “Now I’m here and found what I needed.”

The group explored the soliloquy together, sharing notes and trying new ideas. One participant emphasized, “Everyone does good because it’s their interpretation,” a sentiment that resonated deeply as we continued to see unique takes on the same text.

We ended the night with a lighthearted game of “Queen of the Jungle”, laughter echoing through the room as we packed up the space.

December 3rd & 5th, 2025 SIP Blog

12.3 &12.5 Blog Post

“I Can Feel It Start to Blossom”

December 3:

We kicked things off with a spirited round of Pass the Remote, a game that filled the room with laughter and set a lively tone. From there, we jumped into scene work. It was emphasized that this pre-casting period is all about experimentation: “Get things up on their feet that we haven’t tried.”

We tackled the intense 4.1 scene twice that evening, exploring how to stage it in proscenium and then in a circle. Watching the group embody these characters was electrifying. Reflections afterward highlighted the complexity of the characters: “I think Claudio feels like he’s been wronged, so he’s wronging Hero. He’s hurt. He’s trying to justify his actions. He doesn’t think he’s wrong.” Another participant poured themselves into Hero’s heartbreak, crying through much of the scene, while others were encouraged to bring more fire to their delivery: “Bring more energy!”

Afterward, one member admitted that figuring out how to react in-character was tricky: “How do I react to the situation?” Another brought a new layer to the scene by suggesting a handkerchief for Hero, thoughtfully connecting it to the character's emotional state.

December 5:

The group’s energy shone through as we dove into scene 3.1. A playful suggestion led to a delightful twist: Southern accents for Hero, Margaret, Ursula, and Beatrice. The laughter that followed filled the room with joy, and it was clear how freeing this exploration was for the group.

“It took me back to my acting days,” shared one participant, reminiscing about a Southern character they played years ago. Another reflected on stepping out of their usual character choices: “Whoever takes these parts, they have to take this challenge.”

As we revisited the scene with a new cast, the group dug deeper into movement and character objectives. Guidance about playing “hide and seek with a small kid” sparked fresh creativity, leading to more dynamic interactions. Encouragement to “get hyped with it” brought out bolder energy in the scene.

The reflections after the scene were just as rich as the performances. One participant, exploring Hero’s depth, noted, “I stumbled hard… but it’s a good learning scene.” When asked, “What do we want people to take away from our production?” The responses were powerful.

One person focused on clarity: “The more we understand it, the more they’ll understand it.” Another highlighted the humor, saying, “Shakespeare wanted laughter. He has this sarcasm about him.” Others delved into deeper themes, reflecting on relationships and the messiness of human interaction. “It’s so relatable to everyday life here… The manipulation,” said one participant, tying the play’s themes to the group’s own experiences. Every session, the play blossoms a little more, and with it, so does the ensemble.

November 26, 2024 SIP Blog

November 26, 2024

"You Had to Make a Spectacle Because of Your Insecurities"

Our session began with warmth and shared stories, as one participant proudly passed around photos of her son and her recent graduation, where she discovered she had graduated with honors. The group celebrated her accomplishment with admiration, creating a wonderful moment of collective joy. Once we settled, the ensemble decided to finish reading Much Ado About Nothing after a quick review of the previous scenes. Claudio’s treatment of Hero in 4.1 sparked immediate discussion, with one member exclaiming, “I mean, [Claudio] really drags her down!” This frustration set the tone for a night of sharp critiques and lively debate.

As we read through Act 5, the group took turns embodying the characters, pausing frequently to unpack their choices. Don Pedro’s seemingly off-topic line about Benedick and Beatrice left many puzzled, with one participant bluntly saying, “I don’t like it.” Later, Borachio’s confession prompted varying interpretations. While some believed his remorse was genuine—“He wants to be punished… He has a conscience”—others felt his guilt only surfaced because Hero was thought to be dead. The group’s creativity shone during a lighthearted brainstorming session on how to represent Borachio’s imprisonment, with ideas ranging from paper chains to costume suggestions.

The most passionate discussions arose around Claudio and Leonato’s responses to the unfolding events. Many were outraged by their behavior, with one participant saying, “You’re supposed to have faith in your woman!” Another added, “You had to make a spectacle because of your insecurities.” This led to some of the most colorful critiques of the evening, with one voice declaring, “[Claudio] needs to get his insecurities in check. He’s a baby. She’s going to marry a baby.” These raw, unfiltered reactions reflected the group’s deep engagement with the play and its themes.

The ensemble also found humor and self-awareness in Shakespeare’s writing, particularly during Benedick’s monologue about poetry, which some believed was Shakespeare poking fun at himself. A serious moment arose as we discussed the “Ethiope” line in the final scene. The explanation of its historical context sparked reflection, and while no decisions were made about its inclusion, it was clear the language carried a significant weight.

As the session came to a close, the group expressed enthusiasm about putting the play on its feet. “It’s going to be a lot of fun,” one member said, embodying the collective excitement despite lingering frustrations with some characters. With the script now fully read, the ensemble looks forward to bringing Much Ado About Nothing to life, blending their passion, creativity, and critical insights into what promises to be a memorable production.

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.”