March 25th & 27th, 2025 SIP Blog

“Laughter is Good for My Soul”

March 25

After check-in, one participant led us in the ring—a tradition where we gather in a circle to open and close each session—and then we turned our focus to reviewing play options for next season. 

We reviewed a packet summarizing possible plays for next year. There was a lot of thoughtful discussion about the plays’ styles, themes, and lengths. When someone asked what “verse” meant, facilitator Kyle Fisher-Grant explained that many of Shakespeare’s plays are written in poetry-like language versus plain text. One participant expressed concern that cutting longer plays could harm their integrity, while another said, “I want to do something funny.”

There was strong interest in Romeo and Juliet and The Winter’s Tale, but participants also considered Hamlet, King Lear, Antony and Cleopatra, The Comedy of Errors, As You Like It, and Richard III. A participant mentioned how she finds inspiration from silent films she sees on the prison’s internal TV station, suggesting it as a way to study character development without relying on dialogue.

We then worked on Act 4, Scene 2 of Much Ado About Nothing. With some cast members absent, ensemble members filled in for missing roles. We focused especially on the comic interplay between Dogberry and Verges. A participant who needed help reading her lines without glasses used a "drop-in" exercise—where a facilitator fed her her lines a sentence at a time. Her spirited delivery of “you’re an ass!” was so loud and commanding that the energy of the room completely shifted—we knew the scene had landed.

We closed the night with another participant leading the ring, ending the session full of laughter and momentum.

March 27

When everyone had arrived, we began with check-in and dove straight into finalizing our play selection for next season. We passed around the handout again and asked everyone to share one or two plays they were drawn to and why. Here’s a sample of what the ensemble shared:

• A Winter’s Tale: “Sounds fun... Laughter is good for my soul. It would be good to lighten up the atmosphere in here.”

• Romeo and Juliet: “We haven’t had a tragedy since 2018—and it’s a story everybody knows.”

• King Lear and Antony and Cleopatra: "For this woman to have that much power over a man! It flips society’s expectations."

• Comedy of Errors: highlighted for its fast pacing and humor.

• Richard III, As You Like It, and Hamlet also received some love.

There were debates about whether to choose a tragedy or a comedy. One ensemble member asked if we could “veer off from weddings” since so many plays end that way. Others pointed out concerns about cast size, especially with larger plays like Romeo and Juliet.

To refocus, we asked: “What do we want to give to the rest of the people in this prison? What do people want to see?” This sparked lively conversation about the importance of laughter, energy, and catharsis. Some emphasized the healing power of comedy in an environment filled with sadness. Others argued that tragedy can offer powerful, relatable emotions and shouldn’t be dismissed.

Ultimately, after much back-and-forth, we voted—and The Comedy of Errors emerged as the surprise winner! A shorter, fast-paced, hilarious show that feels like the perfect fit for both the ensemble and the audiences they want to reach.

With our decision made, we spent the rest of the evening jumping into Act 1, Scene 1 of Much Ado About Nothing. After a warm-up of Crazy 8s, we experimented with different ways to approach the text, including modern paraphrasing for easier understanding. Ensemble members worked hard, improvising, translating, and building a dynamic Benedick-Beatrice relationship that is really starting to sparkle.

One ensemble member’s character choices for Don Pedro stole the show, earning big laughs. We ended the night playing a new game called "Runway," where each actor walks across the stage as themselves, then transforms into their character. It was goofy, energetic, and joyfully embraced by the whole group.

By the time we checked out with the ring, the ensemble left still laughing—carrying that playful, collaborative spirit with them.

March 18th & 20th, 2025 SIP Blog

“My stomach hurts, I’ve been laughing too hard!”

March 18

After checking in, we spent time brainstorming a new name for our upcoming summer project. In the past, we referred to our summer work as Inside/Out, but since that’s also the title of a Pixar movie, we decided it was time for a fresh name. Some great suggestions were thrown out: “SIPISO” (pronounced “Sippy-so”), standing for Shakespeare in Prison Inside and Out, and “Shakespeare Beyond the Gate.” Ultimately, we settled on Shakespeare and Beyond—a title that reflects our goals to expand both artistically and personally through this work.

Moving forward, we turned our focus to selecting next season’s play. Ensemble members suggested several options:

• Hamlet

• Antony and Cleopatra

• The Comedy of Errors

• Julius Caesar

• A Winter’s Tale

• Romeo and Juliet

There was interest in both comedy and tragedy, but A Winter’s Tale stood out because of its blend of serious themes and comic relief, and its storyline of reconciliation—a meaningful theme for many of our participants who are involved in 12-step recovery programs.

After the discussion, we got on our feet with a warm-up called Crazy 8’s. One ensemble member asked to work on one of Benedick’s monologues from Much Ado About Nothing using a “drop-in” technique, a method where facilitators feed the lines to the actor and the ensemble member repeats them. She was energized by the exercise and excited to practice it again.

The group continued working on Beatrice and Benedick’s scene from Act 4, Scene 1. We explored Benedick’s decision to challenge Claudio and how Beatrice’s exit could be staged to raise the emotional stakes. We also rehearsed the comedic Dogberry scene, helping one ensemble member break down her line as the Sexton and find more dynamic stage movement. We wrapped up the evening with a game of Dr. Know-It-All—a group improv game that builds teamwork and quick thinking.

March 20

We started the session and distributed a handout summarizing several plays we’re considering for next season. Facilitator Fisher-Grant emphasized that these were brief summaries and couldn’t capture the full complexity of Shakespeare’s works.

The ensemble discussed their favorites, including strong support for Romeo and Juliet, A Winter’s Tale, and Hamlet. One ensemble member raised an important point about play length: how much would we have to cut from a longer script, and would it compromise the play’s integrity? Another member playfully begged for us to pick “Silly Hamlet”—a nickname the group uses for the idea of doing a creatively playful or exaggerated production of Hamlet. Ultimately, we agreed to wait until next week to make a final decision so that everyone would have time to review the options and participate fully in the vote.

Afterward, we shifted into rehearsal, focusing on Act V, Scene IV of Much Ado About Nothing, which we hadn’t fully blocked yet. Tejada (one of our facilitators) jumped in to read Friar Francis. Others filled in for Hero and the Messenger. The ensemble was in a playful, silly mood, grabbing prop flowers to use as veils and exaggerating their characters' actions for comedic effect. One ensemble member's loud and animated delivery of the line "Another Hero?!" brought the house down with laughter and applause.

While the group was clearly having fun, we also worked through some more challenging moments. For example, during Hero's final monologue, an ensemble member initially felt unsure, saying, “That felt weird. Was that weird?” But after running the scene a few more times, the group regained their confidence and kept experimenting with their characters.

After a full run of the scene without stopping, the group’s energy was still high but starting to scatter. Some ensemble members discussed potential script cuts, while others helped each other fine-tune their final monologues. Recognizing that the ensemble still had a lot of “silly” energy to burn off, we decided to play a game of Hitchhiker - Hitchhiker is an improv game where players create scenes with increasingly bizarre or funny characters joining a car ride. It’s a favorite for building ensemble trust and letting go of self-consciousness.

The game was a hit. Highlights included improvised scenes about a pregnancy, some funny accents, and lots of laughter that left ensemble members clutching their stomachs. It was wonderful to see the group taking creative risks and just enjoying being together.

We played Hitchhiker right up until 7:55 p.m., when we gathered the circle and closed the night with gratitude and joy.

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.