“You Just Stand There — I’m Just Acting the Fool Around You”
April 1
We arrived just after 6:00 p.m. to find a few ensemble members already gathering. Anticipating six new members that evening, we had set up extra chairs—bringing our potential group size to nearly twenty participants. Before things officially started, one ensemble member approached Kyle Fisher-Grant (our program director) and said she was feeling unsure about continuing the program... only to reveal it was an “April Fools” joke a few moments later. The joke was so well delivered that both facilitators were briefly convinced.
As others filed in, returning members were eager to hear what play had been selected for the next production. When they learned it would be The Comedy of Errors, there was excitement and curiosity—especially from new participants just beginning their journey with Shakespeare in Prison.
After introductions, a returning ensemble member led our ritual “ring”—a tradition that begins and ends each session with shared space, grounding, and intention. For our new members, we explained that while participation in any given activity is optional, the ring is our one shared commitment for every meeting.
The group asked when costumes would arrive. Kyle shared that we aim to bring costumes in by May, allowing about a month of rehearsal time with them. One ensemble member suggested showing a film version of the play at some point, and we explained with the timing of the show coming up it would be best to watch it after the show wraps up.
While Fisher-Grant took new members through orientation—an overview of SIP’s structure, values, and expectations—the rest of the ensemble got to work. We decided to start from the top of the play and run through as much as we could. In just over an hour, we made it through a third of the show, experimenting with casting, staging, and line interpretation.
There were creative contributions across the board: ensemble members offered blocking ideas, discussed comic timing, and made discoveries about their characters. One participant who was trimming lines from her monologue shared that she prefers to ad lib, although she acknowledged our encouragement to stick closely to the script. She and Esch worked together to find balance in her cuts while honoring the text.
By the end of the night, we had made it to the end of Act 2—no small feat. Another returning member led our closing ring, and we wrapped up after a full, joyful evening of artistic collaboration.
April 3
Before check-ins, a participant quietly asked if she could try out for the role of Don John, one of the villains in Much Ado About Nothing. We encouraged her to try the role during that evening’s rehearsal.
We began the night with introductions and check-ins, which we do at the top of every session. The “ring” was once again explained for our new members—how it begins and ends our time together, and serves as our shared space of reflection and intention.
The ensemble was eager to get to work. Since we had new members, two returning participants took on the task of summarizing the plot of Much Ado. What began as a quick catch-up turned into a full, animated retelling of the entire play, complete with character notes, commentary, and support from facilitators. Watching participants step into leadership and guide newer members was inspiring.
We moved into blocking Act III, Scene 1—an iconic comedic scene in which Hero and Ursula trick Beatrice into overhearing them talk about Benedick’s supposed love for her. A participant immediately volunteered to play Margaret, and another followed her lead as Ursula. The ensemble experimented with hiding and movement, eventually staging the scene so that Beatrice could crawl on the floor and dart behind props while spying. Her physical comedy had everyone laughing, and her dedication to the role was infectious.
We shifted to Scene 3.2 and discussed scenic transitions. One participant suggested using curtain closings between each scene, but the group agreed that we’d save those for Act changes to keep the pacing fluid. Another ensemble member tried out Don John for the first time, fully prepared and eager to dive in. Her interpretation was strong, and the group responded enthusiastically. It’s always exciting when new cast members bring fresh ideas to well-known characters.
Throughout the scenes, ensemble members brought their characters to life with creativity and humor. One participant revived her signature "Don Pedro" strut—complete with a prop cigar (a pen)—and drew big laughs. Another embraced the role of Claudio with dramatic flair, earning chuckles and cheers.
In Scene 3.3, we saw a beautiful moment of support. As one participant stepped onstage, she whispered that she was nervous. Her scene partner—playing Dogberry—noticed immediately, paused mid-monologue, and gently reassured her: “You’re doing great. You just stand there — I’m just acting the fool around you.” It was a touching reminder of the ensemble’s generosity and care for one another.
As the rehearsal progressed, facilitators and ensemble members alike continued to make discoveries in voice, staging, and character. One participant’s realization—“I didn’t know I was an old man!”—sparked a hilarious round of physical choices and old-man voices that had the whole group laughing.
In Scene 4.1, we staged Hero’s dramatic fainting moment. After the first run, only two actors responded. We paused and talked about how every character on stage might react differently. When we ran it again, the ensemble dove in with layered emotional reactions. One actor was especially engaged, responding vocally and physically to every beat in the scene. Another conversation unfolded around Benedick’s choice to stay behind while the other men leave—a subtle, powerful storytelling moment we’ll continue to explore.
We wrapped up by 7:50 and ended the night by introducing the ring ritual to our newest members. A returning ensemble member guided the group through it, and after a lighthearted first try, we ended on a strong second round. The room buzzed with pride, playfulness, and a deepening sense of shared purpose.
