April 29th, 2025 SIP Blog

“I Made Sure My Schedule Leaves Tuesdays and Thursdays Open”

April 29

Ensemble members began arriving at the auditorium just after 6 p.m., and we started the evening with a goal: begin the run-through promptly at 6:30. Spirits were high as the group gathered. An ensemble member shared a milestone—she had just finished her academic semester and intentionally built her next class schedule to leave Tuesdays and Thursdays open for Shakespeare. Her dedication was met with congratulations from the group and underscored just how much SIP means to its participants.

At 6:15, we launched into our traditional check-in circle, followed by the opening ring, led by a new ensemble member who was trying it for the first time. She was supported in the ritual by the other ensemble members, reminding her what to say. The ring serves as our grounding ritual—a space to come together, reflect, and begin with intention. After that, we jumped right into the play.

We began a run-through of Much Ado About Nothing, starting with Act 1 and working straight through to the end of Act 4, Scene 1—the emotional turning point in the play where relationships are challenged and loyalties tested. With a few ensemble members absent, facilitators filled in for missing roles. 

Throughout the run, one ensemble member’s dedication to being fully memorized stood out. Though her commitment is inspiring, we noticed that turning pages mid-scene caused a few moments of slowed pacing. The group discussed that while memorization is the goal, fluidity and connection are equally important. This led to a broader reflection on timing—especially in the gossip scenes, where quick pacing and clear shifts between private and “overheard” dialogue are essential for both humor and clarity.

To support the ensemble in refining these moments, we floated the idea of doing a speed-through or Italian run—a rehearsal method where actors run lines at a fast clip, helping with memorization, pacing, and cue pickup. The group agreed to give it a try during Thursday’s session.

We wrapped for the night after the pivotal Benedick and Beatrice scene, and asked the group to:

  • Continue practicing out loud

  • Bring in more suggested cuts

  • Be prepared for Thursday’s speed-through and to finish the final scenes of the play

Facilitators also plan to offer a few cuts to help tighten the pacing as we head into our final run.

We closed the evening with another ring, led by the same ensemble member who opened it, sending us off with the same focus and spirit we started with.

April 22nd & 24th, 2025 SIP Blog

“If I’m Going to Be Here 20 Years, I’m Going to Leave With Something”

April 22

When we arrived just before 6 p.m., the auditorium was already full of energy. The ensemble had begun setting up for the evening, and spirits were high. For the first time in a while, we had a full cast in attendance, which immediately gave the room an extra buzz of excitement.

As we transitioned into our regular check-in and ring—a grounding ritual that opens and closes every session—one ensemble member, who will be starting college courses in May, stepped forward to lead. She shared, “If I’m going to be here 20 years, I’m going to leave with something.” Her words landed deeply with the group, offering a reminder that the work we do together is about far more than putting on a show—it’s about growth, purpose, and reclaiming one’s story.

We began by rehearsing the final two scenes of the play, where the entire cast is onstage. That same ensemble member, known for her comedic timing, had the group laughing as she improvised a short musical riff in character. We made a few strategic adjustments—cutting Antonio from the final scene to ease double casting, and rehearsing the Cupid Shuffle as our final group dance.

After finishing the ending, we went back to the beginning and worked through the first 30 pages of the script. The party scene, already a favorite among the group, now includes a newly added “train” to help motivate character movement and exits. There’s a lot of creativity in the room as the ensemble finds new ways to bring each moment to life.

We also began confirming key upcoming rehearsal dates:

  • Thursday, April 24 – Cut day

  • Tuesday, April 29 – Costume day (tentative)

  • Thursday, May 1 – Full run-through from 6:30 to 8 p.m.

As we wrapped up, I introduced the group to a golden rule in performance: “Bigger, faster, funnier.” We encouraged everyone to pick up cues, act on their line, and project confidently. Fisher-Grant reinforced the importance of practicing out loud. The ensemble closed with a one-word check-out and raised the ring once again, this time led by the same ensemble member who opened us.

April 24

This session was all about cutting the script—an essential part of SIP’s collaborative production process. Shakespeare plays are long, and our goal is to shape the piece into a roughly 90-minute version that’s meaningful and manageable for the ensemble and our audience. That means the group has to make tough decisions together about what stays and what goes.

We set up the room early, circling up as the ensemble trickled in. As they entered, the most common topic of conversation was the heat—spring is definitely arriving. We began with our usual check-in.

We asked for a volunteer who had never led the ring before. While many of the newer members didn’t yet feel confident enough, one participant committed to leading next time. For this evening, Fisher-Grant led the ring and encouraged everyone to observe so they could step up in the future.

Once check-in was complete, we set up two large tables and worked collaboratively around them—scripts open, pens out. One ensemble member, who had an extra copy of a peer’s script, took the lead in suggesting cuts for Benedick. Another participant tried to cut a large portion of her own lines—some of which didn’t make sense to lose—but the conversation around it was productive and respectful. It’s clear the group is becoming more confident in negotiating artistic decisions as a team.

We eventually landed on a working system for cuts and moved through the entire play in one sitting, finishing at 8:05. As always, the ensemble’s focus and willingness to compromise was impressive. We reminded the group that we’re hopeful costumes will arrive by Tuesday, and depending on how that goes, we’ll either time the show then or on Thursday.

Fisher-Grant brought down the ring, and we closed the evening with a shared sense of accomplishment. The ensemble left proud of the work they had done—and eager to see it come to life onstage.

April 15th, 2025 SIP Blog

“It’s Girls’ Night!”

April 15

When I arrived at the auditorium, several ensemble members were already gathered and preparing for the night ahead. As I entered alone—slightly ahead of my co-facilitator, Fisher-Grant—one participant welcomed me with a big smile and a cheerful, “It’s girls’ night!”

Before we got started, ensemble members filled us in on a developing scheduling conflict: some participants are now being asked to choose between attending choir or Shakespeare, which run at the same time. One ensemble member has officially stepped away from the group as a result, while others may still be weighing their options. With this shift in availability, Kyle offered to step into the role of Don Pedro for now, and the group began brainstorming how we might reconfigure casting to keep everything on track.

After our usual check-in and opening ring—rituals that help us settle into the shared work of the evening—we picked up rehearsal with Act 2, Scene 1: the masked ball and dance scene. This is one of the most joyful and chaotic parts of Much Ado About Nothing, and our ensemble brought great energy to it. There was a suggestion from one participant to break up the “soul train line” a bit earlier in the choreography—a fun and unexpected staging idea that we haven’t decided on yet, but may try out in the coming weeks.

The energy stayed high as we moved into the “gossip” scenes—moments where characters are tricked into overhearing staged conversations about love. I jumped in as Ursula opposite one of our ensemble members playing Hero, and we experimented with how Beatrice might sneak and hide behind trees and flats. The laughter from the group told us we were on the right track.

Next, we worked on the Dogberry and Watch scenes, where Shakespeare’s comedic constables try (and often fail) to uncover a villainous plot. We staged the scene with a curtain closure and added a bit of physical humor when Verges got “stuck” in the curtain before her entrance.

As we near our performance, we’re also beginning to think about production logistics. We’ll need to ask about adjusting the stage lights to ensure visibility during our show, and we’re continuing to finalize casting. One ensemble member expressed interest in playing both a watchman and Don John, while another agreed to take on the role of Margaret and will also serve as the messenger. We’ll be doing a full headcount soon to determine where we might still need support, and the group voiced their support for bringing in additional facilitators to cover any smaller roles.

We wrapped up the evening just before 8:00 p.m., pausing to applaud everyone who had stepped into new characters or tried something new for the first time. Before we left, we raised the closing ring—bookending the evening with the same shared intention and community that always brings us back.

April 8th & 10th, 2025 SIP Blog

“We Need to Rehearse the Way We’re Going to Perform”

April 8

Our sessions always begin with a ring—a tradition where we circle up, breathe together, and ground ourselves for the work ahead. This evening’s ring also included a bold request: a participant asked if she could step into the role of Don John, one of the key antagonists in the play. The group supported her enthusiastically, and we assigned several other ensemble members into key roles, including Ursula, Borachio, and Conrade.

We briefly revisited a key goal for the season: keeping the production at about 90 minutes. With that in mind, we encouraged ensemble members to begin thinking about where lines might be cut, and to bring suggestions to upcoming sessions.

We picked up rehearsal at the end of the wedding scene between Benedick and Beatrice. Two ensemble members in these roles have built a great onstage dynamic, and the scene was full of laughter—especially during one attempt to get down on one knee, which resulted in joyful chaos. We rehearsed both in segments and as a full scene, then moved on to the interrogation scene, where additional ensemble members filled in as Seacole, the Sexton, and Leonato. Before running that scene, we gave the actor playing Leonato a brief character summary to help ground the performance in emotional truth, especially in the moments that require grief and intensity. Other ensemble members helped by offering direction and support.

As we neared the end of rehearsal, we cleaned a few critical scenes—especially the moment where Claudio and Don Pedro learn the truth about Hero. One ensemble member’s physical reactions stood out, and we spent time refining the confrontation between Antonio and Don Pedro. Even as we worked with precision, there was still room for play: we closed the evening with a favorite game, Demand a Dance, where actors must quickly invent a dance on cue.


April 10

This rehearsal was packed with activity—so much so that taking detailed notes was nearly impossible between scene work, character coaching, and blocking adjustments. But the energy in the room was undeniable: a real shift had occurred. With our performance fast approaching, the ensemble is fully stepping into what we call “the kick-ass and take-names stage.”

During check-in, a long-time facilitator, Maria, shared that she would be leaving the group at the end of the month. Her announcement was met with emotion from the group—tears and lots of gratitude. One participant turned to the facilitators and said they better “give it back” to Fisher-Grant, making sure he knew just how special Maria’s presence has been to all of us.

We also discussed having temporary facilitators join us closer to performance to fill in small ensemble roles. The group was receptive to this idea, recognizing it as a practical way to ensure the show runs smoothly.

The evening’s rehearsal was driven by a new rallying cry: “We need to rehearse the way we’re going to perform.” We reminded the group that moving forward, entrances, staging, and line memorization would need to be performance-ready. This meant:

  • Getting backstage and anticipating entrances in real-time

  • Using index cards or tools to memorize lines quickly

  • Making script cuts to preserve time and focus

  • Running scenes in full, with no half-measures

Maria took the lead backstage, working with several ensemble members to identify and cut lines in real-time while others rehearsed. This strategy helped keep the momentum going in both rehearsal and text work.

We picked up where we left off in the play and moved through several key scenes. To strengthen the ending, the group decided that Dogberry and Verges will arrest Don John onstage at the end of the show—giving them a reason to be onstage for the final group dance.

We also revisited Act 1, Scene 1. A big focus here was reacting to Beatrice’s sharp humor. One ensemble member really leaned into the moment, landing jokes and responding with flair. Leadership was strong across the board—especially from one ensemble member who admitted during check-in that she wasn’t feeling well, yet still led the group through major scenes.

Another change we made was cutting the character Balthasar and transferring his lines to Dogberry during the party scene. This allowed us to simplify casting and keep the energy streamlined going into the final dance.

By the end of the night, everyone was buzzing. There’s a shared sense of urgency and excitement—nervousness, too, but the good kind. The kind that means we care deeply, and that we’re ready to bring this story to life together.