"All I Know Is I Want a Sword."
February 18
As members trickled in, we chatted about the cold, snowy weather. Some discussed their monologues for auditions. During check-in, Fisher-Grant accepted some whooshes, and we had our first-ever group whoosh. We played Crazy 8s, Zip Zap Zop, and Wah, which lifted the group’s spirits. “This cheered me up,” one member admitted after the games.
We reviewed monologue pages for new members—Claudio (63), Beatrice (45), and Benedick (38-39)—and offered time for practice before auditions. Some members read on book, while others had already memorized their pieces. The group was highly engaged, snapping and cheering each other on. One member nailed their Benedick monologue, prompting an uproar and a loud “Bravo!” from the group. Another, auditioning with Claudio’s monologue, received encouragement to take their time on a second read, which led to a more thoughtful performance.
When asked about top role choices, members expressed interest in a variety of parts, from Antonio to Seacole.
We resumed blocking 1.1, incorporating all previous blocking into the script. Two members had great chemistry, naturally bantering in their roles. Another encouraged more movement in their scene work. A moment of logistical clarification arose when someone mentioned that a participant wasn’t allowed to join because they had gone to the library first. Fisher-Grant reminded the group that they couldn’t have two leisurely callouts at the same time.
In 1.2, two members stepped into Leonato and Antonio’s roles, adding strong physicality. Fisher-Grant encouraged them to “break down the hot tea” in the scene and develop their blocking further.
For 1.3, Don John, Conrade, and Borachio worked through their scene. Don John was encouraged to sit and let their misery simmer before finding a shift that propelled them to action. Borachio experimented with a dramatic entrance, which sparked debate about the character’s motivations. The group also discussed whether Leonato’s name was being pronounced correctly.
As we wrapped up for the night, a debate emerged about Don John’s emotional state—was she furious about Claudio stealing “all my glory,” or was her villainy more mischievous? We raised the ring and ended the night on that lingering question.
February 20
After starting the evening with the ring and check-ins, Fisher-Grant proposed the evening’s agenda: auditions, blocking, and a discussion about themes for the production. He also updated the group on the status of the flats—either we’d get new ones, or we’d lose them entirely.
The theme discussion took off immediately. One member envisioned “extravagant, over-the-top stuff,” suggesting big ruffles for Beatrice and shoulder pads and a mustache for Don John. “And a top hat!” another added. Someone else preferred a beret—“for the French element.”
The idea of different eras for different characters sparked enthusiasm, leading to a suggestion that we “time warp” between scenes. This snowballed into futuristic ideas: “I think of The Jetsons,” one member said. “Dogberry should be a robot,” another joked, only to be met with a firm, “Stay in your lane! I know what Dogberry is going to be.”
A Gangster-era setting resurfaced as a popular choice, with discussions of pinstripe suits, fedoras, and suspenders. “I want the big hair, the big dress, the big everything,” one member insisted. Fisher-Grant suggested maintaining a classical theme, which excited members already rehearsing a classical dance. “All I know is I want a sword.”
Logistics came up when members questioned whether they would need to wear state blues under costumes, referencing past performances with different policies.
The group also considered musical elements. “How are we going to do the dance?” one member asked. Two others referenced choreography they had already been working on, while the group decided to experiment with movement during blocking. Tejada encouraged everyone to return with their top two theme ideas next session.
With that, we shifted to auditions. Each audition brought something unique. Some members had fully memorized their monologues and brought in bold choices, like accents and strong physicality. One standout performance had the room erupting into cheers, with one member exclaiming, “What the fuck? That was amazing. Do you know how long I wanted to scream?” Others were visibly nervous but pushed through, finding strength in the support of the ensemble. Even those who hesitated to perform received encouragement and applause.
Once auditions wrapped, Fisher-Grant distributed ballots for casting votes while the group moved on to blocking Act II. A member playing Antonio leaned into physical comedy, using props and getting big laughs. Tejada reminded them to stay funny without pulling focus.
We ended just before Claudio’s monologue on page 21. Fisher-Grant announced the cast list, and the group erupted in celebration. As we closed the ring, excitement buzzed in the air—new members were eager to step into their roles, and the production was beginning to take shape.
