September 9th and 11th, 2025

“This Is the Tragic Part of the Comedy”

The Comedy of Errors books arrived this week, and the group dove straight in. The story begins with Egeon, a weary father from Syracuse who faces execution in Ephesus unless he can pay a ransom. As he explains to the Duke, years earlier, his family was torn apart in a storm at sea—his wife and one son drifting away with one servant, while he and the other son survived. The absurdity and sadness struck the ensemble all at once. “Antipholus rhymes with Syphilis,” someone joked, breaking the tension. Another observed, “This is the tragic part of the comedy,” recognizing Shakespeare’s ability to layer grief beneath laughter.

By the end of Act 1, everyone was hooked. “It’s the illogical part that makes it work,” someone said. The group marveled that both twins—and their servants—share the same names. “He’s basically setting them up for failure!” one participant laughed. But even as the group played with the humor, the conversation turned toward empathy. “It’s the tragic part of the comedy,” one repeated. “He’s just trying to find his family.”

Thursday brought a very different kind of energy. Reading Act 2.1, the ensemble encountered Adriana and Luciana—the play’s central women—locked in a debate about love and loyalty. Adriana is furious that her husband seems to neglect her; Luciana, her sister, insists that wives should be patient and obedient. What followed in the room mirrored the play itself: “I don’t want to be in Shakespeare’s day,” one participant said. “If I can’t have liberties and be seen and not heard—I don’t think so.” Another countered, “My husband leads the house. My opinion is respected, but he leads the house.” Then, voices piled on: “Never depend on a man.” “I run this shit!” “Ain’t nobody gonna run me.”

The debate got lively and loud, full of conviction and laughter. “If it is done properly, respect goes both ways,” someone concluded. Another added, “It has to be equal.” What could have been a centuries-old conversation about gender became a living exchange about equality and autonomy in the here and now. When the group returned to Adriana’s speech, one participant said softly, “She is so defeated. I don’t know if a sunny look from him would repair her.” The group nodded, understanding that even in a farce, Shakespeare’s women still are complicated and contain hidden depths.

New Season -- September 2nd and September 4th

“We’re More Than Just Our Worst Mistake”

The first week of the new season opened with warmth, laughter, and a powerful sense of community. The ensemble began by reflecting on the summer’s project—what it meant to create, to perform, and to be seen. “Thank you so much for this,” one participant said. “This is the only part of my week where I don’t feel like I’m in prison.” Another added, “It unlocked creativity in people they didn’t even know they had.” For others, it was about self-recognition: “We brought laughter, hope, and tears to this place,” someone shared. “We got to give back to the community within these walls.”

As people spoke, the air filled with laughter and appreciation. Several reflected on how the work had changed them. “I learned that I don’t hate writing,” one said, to cheers from the group. Another confessed, “I have a new addiction—to the stage!” Someone else said simply, “This program helps us change. Some people didn’t have this in their life at home.” The ensemble’s reflections weren’t only about what they’d accomplished—they were about rediscovering who they could be when given space, trust, and creative purpose.

By Thursday, that same spirit of play returned in full. The group leapt into monologues from Romeo and Juliet, Macbeth, and As You Like It, experimenting with accents, volume, and humor. The room erupted when someone compared dramatic irony to a horror movie, shouting, “Bitch, don’t go upstairs—he’s in the bathroom!” to everyone’s laughter.

Before closing, the ensemble talked through what was coming next: The Comedy of Errors, one of Shakespeare’s earliest and wildest plays. With two sets of identical twins, separated by shipwreck and chaos, the story’s misunderstandings spiral into slapstick before ending in reunion. 

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.