March 11th & 13th, 2025 SIP Blog

"If it wasn’t for the people who came in late, we wouldn’t have been saved.”

March 11

After check-in, we discussed the SIP website update and what the friends and family page should include. Members gave the following ideas:

• Photos from last year

• Videos

• Clips doing the ring

• Links to the play

• Mentions of characters in the blog instead of names

• Direct quotes from the ensemble – testimonial style

• Overview of a session

• Description of teaching

• Galleries

• Links to the movie

• Other Shakespeare programs

One participant mentioned that their loved ones had checked out the website and it was a big help in determining where we go next.

We briefly discussed costumes and props, realizing that we needed to solidify them soon. A participant suggested a flag for the soldiers. Another participant needed to get her measurements taken.

We picked up with staging at the top of the wedding scene. We restaged it to bring everyone down after a suggestion from a participant to have traditional wedding staging. Another participant suggested wedding music at the top of the scene. There were several other suggestions, particularly from participants about specific characters. As we moved through the scene, one participant reminded another to cheat out. “I did, I did,” the participant retorted. “You can’t, you can’t,” the other joked back.

A participant did great with the energy of Claudio during the scene. We worked it a couple of ways. A participant did a scissor hand motion to Fisher-Grant during the Friar’s monologue. I agreed we could cut it a bit. A participant did well filling in for the Friar. Two participants had a strong scene with lots of movement. Another participant brought it as Dogberry. We finished all of Act Four. A participant suggested ribbon for a no-contact arrest. The group also suggested choir gowns, pen and paper, medals, and vests with hats.

We discussed the missing parts: Seacole, Friar, Balthasar, and Messenger. We voted on opening the callout. Ten said yes, and three said no but were open to it. We agreed to discuss it more on Thursday. 

March 13

After everyone had arrived, we brought down the ring and proceeded with check-ins. It was a light night for check-ins.  Fisher-Grant suggested to the group that before we got into blocking, we should make a decision about opening up the callout. He reminded the group that Tejada and I would both be absent for our performances, emphasizing that if we wanted to have a full cast, we could only count on two facilitators as backups. We then took a quick informal vote, and it was immediately clear that a majority of the ensemble wanted to open up the callout. The conversation then shifted to how many new members we should let in and when. We discussed for a bit, and most members were able to share their thoughts, although a couple of participants were the most vocal. One participant remarked, “My only con is starting over again, catching them up.” Some others agreed, and Tejada and I both emphasized that this might be a difficult point in the process to add new members. However, most members disagreed, saying that we should add people as soon as possible. Another participant remarked, “If it wasn’t for the people who came in late [last year], we wouldn’t have been saved,” which most older members seemed to agree with.

The group then moved on to discussing how many people we should let in. Different members offered different numbers, but most ranged from five to ten. As a group, we counted the five roles currently missing actors and discussed how we could potentially double up or expand roles if needed. Tejada and I confirmed that almost all of the remaining roles, except Friar Francis, could be doubled. Most members still maintained that we should let in at least five members, citing the many other tasks that we would need help with during show week. One participant joked, “We always need someone reliable on music,” taking a dig at me for having missed some of the cues during Midsummer. Another participant also suggested we could have more ladies-in-waiting and more watchmen. We finally decided that we would like to open it up to six more people, and Fisher-Grant told the group that he would send an email about it tomorrow. Another participant was also a team player and was willing to give up one of her doubled roles if we ended up with too many ensemble members for the roles remaining.

We then moved on to blocking for the evening. As we cleaned up the chairs, someone suggested that we do a warmup since we had been sitting for a while. One participant led the group in Crazy 8s and some stretching. We started blocking again on page 79 with Act V, Scene I. Since we didn’t have an actor for Antonio, one participant offered to step in for the beginning. The group was very chatty today, but everyone seemed to be in a good mood. While the actors continued blocking, there were conversations and laughter on the side. The participants on stage also seemed to be very engaged with the material today. We spent quite a bit of time on the first two sections of the scene, getting into the motivation and talking about potential cuts. When we got to the end of the scene with Dogberry, different members had lots of suggestions about the staging. One participant asked for some money or an empty bag she could use as a prop to pay Dogberry, and another suggested that we craft paper shackles for Borachio and Conrade. More than one participant also joined in with another on her final “hee-haw” in this scene—it is quickly becoming a group favorite.

While this blocking was taking place, Tejada was also able to take one participant’s measurements, which are laid out in the handwritten notes. Tejada also spoke with another participant about finding potential opportunities to make cuts to some of Benedick’s lines. She gladly accepted this challenge and even offered a cut later that evening. 

After spending quite a while really digging into that first scene, we moved pretty quickly through the next two. During Act V, Scene II, one participant offered to walk through another’s staging as Margaret while the latter read the lines from her seat in the house. The rest of the scene moved smoothly, and the group really seemed to be in the swing of things. Everyone was in a good mood and having lots of fun, but we still seemed to be very productive. When we got to Act V, Scene III, Tejada suggested that we cut it, and another participant quickly agreed, saying, “It’s clearly pointless, I had no one to talk to.”

We kept this momentum going and got through quite a bit of the final scene in the show. We had to end only two pages before the final curtain because we had run all the way until 8:00. The group still seemed to have high energy and spirits by the end of the day, and we brought up the ring to end the session.

March 4th & 6th, 2025 SIP Blog

“Your Ideas Fuel the Staging”

March 4

It was a solo session for me today. I arrived at the facility around 5:25pm and got to the programs building at 5:45pm. As I headed to the programs building, I got a few comments, “You’re on your own today?” “Where’s your friends?” I was excited to tackle the session solo and got the room set up for the session.

A few members trickled in, and we talked about the weather being rainy, gloomy, and warm. We started check-in shortly after with a smaller group.

We reviewed Act 2, Scene 1, with one member emphasizing that they think it would be a good idea to run that scene often to get the dance down. Lots of people were missing, and others filled in for missing members. The same member and I gave some different staging ideas, and they came over to me often with ideas, which I encouraged them to stop the scene and give to the actors. Another member does a great job with the soliloquies. Someone suggested a guitarist in the orchard scene under Benedick’s monologue. Shortly after, they were called over the PA for some reason and let me know they had to leave after talking to the officers at the desk. They mentioned bunkie drama.

Another member did a great job in their scene with Ursula, performing with great emphasis. The staging was noted as a bit boring, and someone suggested adding a bench in front of the scenes. We were running out of time at this point, so I suggested we revisit the scene on Thursday with some of the suggestions. We ran Act 2, Scene 2 again, and one member guided others through the scene, encouraging their “evil” to come out. The energy in the room was palpable as they encouraged them. I mentioned to the group that it would be good to revisit the garden scene with Benedick and Beatrice again to clarify the staging and that their ideas are what will fuel our staging. The same member was a great example of how the ensemble can make the show better, and I encouraged the group to come with ideas and not be afraid to make changes as we stage. We wrapped a few minutes early with a small group as a few members left early. It was a great night!

March 6

Right after check-in, we talked a bit about getting going on the proposal for the show. This meant that we needed to get a jump on the costumes and props that we needed. We explained that Tejada would be facilitating measurements for the evening, and I would try to get around to everyone to talk through what they wanted for their costumes. Some of the ensemble had ideas about production that might not work. One ensemble member asked for a new vanity and punchbowl for the party scene. Another participant asked for a tea set and suggested that people put costume ideas in their journal. I applauded the idea and encouraged everyone to continue putting other ideas into their journals, but I also pointed out that we couldn’t count on everyone to do that, and it would be easier to have the conversation in real time. We discussed the fact that it would be infinitely easier for the ensemble to provide their own props when possible—there would be less to approve, and it wouldn’t be such a hassle to get them into the play.

One participant mentioned that she had worn a dress last year, and another ensemble member couldn’t believe it. She said it wasn’t that bad considering she had to wear it over state blues. 

At the end of the conversation, I encouraged the group to do a warm-up despite the naysayers and groans from one participant. Another ensemble member had a great idea for a circle-stretch activity—each person does a stretch, the group copies the stretch, and we go around the circle until everyone has led the group in a stretch. Ramadan was called right before the stretching started, and one participant joked, “Saved by the bell!”

Both Tejada and I were pretty distracted with the business of production for most of the night, and the ensemble did most of their rehearsal without assistance from us. Both of us were, at most parts of the evening, unsure even what scene they were working on or what it looked like. It was also pretty loud, and I doubted there was a ton of forward movement in the scene, but everyone was in a good mood. There was a lot of noise throughout the night since at least two conversations (MT with measurements and me with costumes) were happening in the house at all times.

The costume requests were really funny in that they felt like more of a reflection of the actors' personalities rather than something specific to the characters. For example, one participant really wanted Ursula to be fancy and blinged-out, with long gloves, a dress with heels, and a fur stole. Another ensemble member wanted something similar for Beatrice and asked for a blonde wig. I told her probably not, as wigs tend to look terrible unless they are expensive, and it would eat up a lot of the budget. She retorted with several ideas of where to get them cheap and how to make it work. Another participant wanted Leonato to have a “lime green bow tie,” while another said she didn’t care and “wasn’t picky.” Many of the ensemble wanted fedoras, riding boots, etc.

At the end, I said that we should temper our ideas about it being the Civil War—that I thought their ideas for their characters were great, but it would be hard to get "Civil War" from what they had asked for. Also, what they had in mind was much easier than sourcing authentic Civil War-era clothing, so I was supportive of their vision. I had a longer conversation with one participant about the Friar costume and what would be possible—it took a little bit. The SIP experience is about enjoying Shakespeare and supporting the ensemble, not about having high production value. That seemed to land, and seemed energized to continue with the process.

We wrapped up the night with blocking adjustments and plans to revisit challenging scenes next session.

February 25th and 27th, 2025 SIP Blog

“Lies Spread Faster Than the Truth But Have a Shorter Shelf Life”

February 25

Fisher-Grant kicked off a discussion about the show’s concept, focusing on interpretation leading to mood leading to a setting for the show. He introduced a worksheet idea to guide Thursday’s conversation, which the group agreed to use. We discussed what the show is going to look and feel like. One ensemble member suggested corsets and poodle skirts. Another offered to shave a tantra in her head as the Friar.

Fisher-Grant asked about the interpretation of the piece. “What is our play about? What is the message? What do we want the audience to walk away talking about?” One participant responded, “They’re gonna talk about Dogberry and the foolishness.” Another added, “They’re gonna say this is just like prison.” When asked why, the group responded, “Catty,” “Talk shit, fall in love,” “Talk like a crackhead but they love you,” “Say they love you but they talk behind your back.”

Participants debated character interpretations, with one member envisioning Benedick as a matador, leading to a discussion about foam swords. Another suggested setting it in the “Gone With the Wind” era, incorporating dresses and coattails. “I’ll wear a trench coat,” another ensemble member called out.

Fisher-Grant asked, “What does this play mean to you?” Responses varied: “Rich people problems,” “How aristocracy sets up marriages and the hierarchy,” “Lies spread faster than the truth but have a shorter shelf life.” Others added, “Love, scandal, betrayal, soap opera,” “You can’t always base what you think by what others say.” Another noted, “Leonato was so quick to disavow his daughter. He was quick to do homework on Antonio’s message, but not with the allegations of his daughter.”

Discussions about visual elements followed. One member suggested “Opulence, royalty, high-end.” Others chimed in, “Mafia, rubbing hands,” “Fake pinky rings,” and animal masks for the masquerade scene to represent the hierarchy of the animal kingdom. Facial hair was debated, with the challenge of Benedick shaving mid-show leading to creative problem-solving.

To end the session, the group worked through Act 2, Scene 1, with some debating whether to cut an exchange in the dance. Fisher-Grant challenged them to refine it by Thursday. We closed with games: Demand a Dance and Raise the Ring.

February 27

Fisher-Grant passed out a worksheet on theme and context. One ensemble member suggested, “Benedick and Beatrice are actually Adam and Eve with magical friends.” Another likened Much Ado to the 50s, saying, “The way it moves to me… and the way that they court them is very 50s.” While this idea gained enthusiasm, another participant questioned if the language would fit the era, prompting a discussion about modern context in professional Shakespeare.

Another participant proposed a Civil War setting: “I like the Civil War ‘cause it’s brothers against brothers.” She also noted it “would be cheaper for the budget.”

The group brainstormed words and phrases associated with the script:

• “Little kids in school. Where one little boy makes fun of the girl he likes.”

• “Trying to find love can be crazy.”

• “Don’t climb too high or you might fall down. Or learn how to fly.”

• “A lot about pride… about other people’s opinions.”

• “He-said she-said. Don John is manipulative. He’s the guy in school who gets picked on and becomes a villain.”

• “You can never really tell when someone else plants a seed.”

• “Romance can happen anywhere. No love, just jealousy.”

• “Making a mountain out of a molehill.”

• “Believe what you see, not what you hear.”

The group debated setting options. One ensemble member envisioned it as a circus: “One minute you’re in the funhouse, the next you’re on the Ferris wheel.” Another said it felt like flipping through a news channel, leading to ideas of using a banner or a newscaster narrator. Some preferred a “Comedy Central or Real Housewives” vibe, while another wanted it “like SNL… people looking good, outrageously funny with the cast having the time of their lives.”

Returning to the Civil War concept, one member suggested: “When Hero first comes on it’s Civil War. When Hero gets married again, then the era changes.” She envisioned Gone With the Wind-style costumes, with soldiers in “white peasant shirts, riding boots, and a hat,” jackets for formal moments. Another proposed color-coding characters: green for villains, blue and purple for royalty.

A vote was held. The Renaissance setting was eliminated first. The final vote sealed Much Ado About Nothing as a Civil War-era production.

We wrapped up the night with physical games to counterbalance the discussion-heavy session: Whoosh, Wah!, Animal Sounds, and The Counting Game, where the group reached a high score of 36. The session ended with the ring, solidifying excitement for the production’s newly chosen setting.

February 18th and 20th, 2025 SIP Blog

"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.

February 11th and 13th, 2025 SIP Blog

“A Big Giant Messiness Mess of Mess”

February 11

As we started, we took stock of the roles still open: Antonio, Conrade, Borachio, Balthasar, Verges, Seacole, Watchman, Sexton, and Friar Francis. The new members shared how far they had read in the script. One said, "I’m connecting to it. I’ve seen a lot of people conspire," and pointed out the line, "A villany should never be this rich." Another liked Friar Francis’ part, and one member summed up the play as, "a big giant messiness mess of mess."

One member connected deeply with a grief line from Leonato’s monologue. "It relates to my personal life. I’m being positive, but my wife says I don’t get it." Another member advised, "Sometimes you just need to be heard. Sometimes I need advice, sometimes silence is the best advice. Make the positivity her idea." "I’m a fixer," the first member admitted. "Me too!" another added.

The group worked on stage directions and blocking. Members demonstrated different blocking choices while the rest watched from the audience. One suggested we work on stage directions, so I introduced a four-corners game. Most played until we had two winners. Another member suggested projection work, so we did the Tarzan vocal exercise on the edge of the stage, projecting to the back.

We began blocking 1.1, filling in for the Messenger. We brainstormed background actions for Beatrice and Hero—suggestions included crocheting, knitting, and reading. Some members played additional attendants reacting to Beatrice’s jokes. One member had many blocking suggestions, while another encouraged everyone to be louder. A member requested their character be female, and we adapted Leonato to Leonata.

We finished blocking 1.1 but didn’t have time to run it. We planned to leave time at the end of each session for run-throughs. I recorded Tuesday’s blocking while another facilitator would take notes for Thursday. We left feeling energized about the work.

February 13

At the start of session, we set up the circle of chairs, and after check-ins, someone asked to review names. Fisher-Grant planned a name game but first wanted to discuss auditions for the remaining roles.

New members shared their role preferences before we outlined the audition process. Fisher-Grant asked past participants to describe their experiences. One explained slating, performing for a proscenium, and other key aspects. Fisher-Grant filled in the gaps, referencing auditions from earlier in the year. "It [auditioning] got me out of my comfort zone, which was good," one member shared. Another said, "I felt better after I got it over with." A member described rehearsing in her unit, performing her monologue to anyone willing to listen. "You were all over the unit working on it!" someone else said.

The new members decided to use the same audition monologues, and after reviewing them, they agreed they worked. Fisher-Grant asked for volunteers to give an example audition later in the session. One member immediately raised her hand, while another hesitated before also volunteering. Fisher-Grant told her she could go after we played the name game.

The name game had everyone create a physical action and sound to go with their name. The group quickly embraced the activity, adding personal modifications. Laughter filled the room as everyone participated enthusiastically. The game ran longer than expected, but the energy was high.

At 7:15, we moved to the audition example. Before starting, someone asked about "proscenium," which led to a discussion about staging formats. Fisher-Grant explained thrust and round staging, and a member shared her experience watching a black box production. Once everyone had a clearer understanding, we transitioned to the audition demonstration.

One member volunteered first, and another assisted as the reader. The new members followed along in their books, engaged in the process. After applause, another member asked to go again, feeling she hadn’t performed well initially. "I was giggling too much the first time," she admitted. The group encouraged her, and this time she hit strong comedic beats. More applause followed.

With 30 minutes left, we returned to blocking 1.1 since some members had missed Tuesday’s session. The ensemble was highly engaged—if they weren’t onstage, they were following in their scripts or watching closely. One member proposed a new opening moment, which we incorporated. One member, with no lines in this section, took on an unofficial directing role, offering insightful suggestions.

We spent extra time refining the "roast session" and character reactions. By 7:50, we had blocked up to line 193 on page 8. Fisher-Grant suggested running the scene, and though some hesitated, the group went for it. The blocking flowed smoothly.

The session wrapped with a closing circle. Fisher-Grant reminded everyone that repetition builds a show worth being proud of. As we left, the ensemble carried that momentum forward.