February 10th and 12th

“We get creative in here.” - February 10

The evening began with casual conversation and laughter as the group settled in together, swapping stories about inventive cooking and everyday creativity. One participant summed it up best: “We get creative in here.” That spirit of ingenuity carried throughout the session as the ensemble moved from conversation into rehearsal.

We shared updates about upcoming plans, including welcoming new ensemble members and preparing for the next phase of rehearsal. The group eagerly brainstormed roles that new members might take on, demonstrating generosity and openness in making space for newcomers. Costume ideas also flowed freely, with participants imagining bold colors, statement pieces, and playful additions that will bring the world of the show to life.

A highlight of the evening was the introduction of a new ensemble exercise focused on communication and consent. Through playful rounds of Simon Says, participants explored what it feels like to say no, to offer alternatives, and to collaborate in shaping shared choices. Reflections afterward revealed thoughtful insights about agency and openness, reinforcing how rehearsal spaces can support both artistic and personal growth.

From there, the group returned to blocking, bringing strong energy and commitment to scene work. Performers embraced bold character choices and playful accents, and laughter rippled through the room as new ideas were tested. Ensemble members supported one another with feedback and encouragement, helping scenes grow stronger and more dynamic.

The night wrapped with games, improv, and the raising of the ring—a ritual that continues to mark the end of each session with unity and purpose. The sense of connection and shared momentum was clear as everyone headed out, ready to continue building the show together.

“I wanted to try something different.” - February 12

This session was especially exciting as new ensemble members joined the group for the first time. As introductions began, one participant shared simply, “I wanted to try something different,” capturing the courage and curiosity that new members bring into the room.

Conversations quickly turned to why people choose to participate, with both new and returning members sharing their motivations for joining the ensemble. Stories of stepping outside comfort zones, seeking creative challenges, and finding connection through theatre created a welcoming atmosphere for everyone present.

To help new members get oriented, the group revisited the story of the play, introduced characters, and shared insights about the production process. Veteran ensemble members enthusiastically helped newcomers understand the show, demonstrating how the group supports each other through every stage of rehearsal.

The evening also included playful name games and rap-based wordplay, giving everyone a chance to loosen up and connect through humor and rhythm. Costume conversations continued as participants envisioned their characters’ looks, and measurements were taken to prepare for upcoming costume work.

The session concluded with group games and the familiar ritual of raising the ring together—a moment that welcomed new members into the ensemble while reinforcing the sense of shared purpose that keeps the work moving forward.

With new voices joining the process and rehearsal momentum building, the ensemble continues to grow both artistically and as a community.

February 3rd and 5th

“We’re in the 60s and 70s, songs are great.” - February 3

This session was filled with creativity, humor, and big-picture dreaming about what comes next for the ensemble. As we gathered and checked in, we talked about the remainder of the season and the exciting work ahead - finishing blocking, welcoming new ensemble members, and eventually choosing next year’s production. The conversation quickly turned imaginative as participants began brainstorming ways to shape the show in ways that felt true to them.

The group discussed how timing runs might help tighten the script and joked about cutting lines, rearranging moments, and even adding music. The idea of incorporating songs or rap elements sparked enthusiasm, and several participants imagined future productions that blend Shakespeare with original musical or spoken-word storytelling. Conversations about projects like Hip Hop Hamlet inspired everyone to think about how their own creative voices might shape future work together.

As rehearsal began, laughter flowed easily. Playful moments emerged as scenes were restaged, with participants experimenting with character choices, adding humorous touches, and supporting one another’s performances. Improvised moments - like shared reading glasses becoming part of a comic exchange - showed how the ensemble continually discovers new bits of storytelling through collaboration.

Scene work continued with strong performances and generous peer feedback, with participants encouraging one another to explore bigger emotional stakes and clearer character intentions. The energy remained high as rehearsal transitioned into dance practice, with the group suggesting songs and moving together through familiar dances, filling the room with music, laughter, and joy.

The evening ended on a light, playful note, reminding us that even in the middle of rehearsal challenges, laughter and shared movement remain central to the ensemble’s creative process.

“You must wear boots.” - February 5

This session opened with lively conversation and a return to one of the ensemble’s favorite topics: costumes. As measurements were gathered, participants shared ideas about how facilitators and background performers might look onstage. Suggestions ranged from jumpsuits and military-style hats to boots and tie-dye shirts, all contributing to a vibrant visual world for the production. Participants eagerly described their own costume wishes as well, imagining hats, colorful ascots, and playful details that fit the show’s energetic spirit.

Rehearsal then moved into scene work, with participants diving into Act 2, Scene 2. Performers explored new choices, refining blocking and experimenting with comedic timing. Facilitators encouraged performers to heighten humor and connection, and the group supported one another in finding moments that felt playful and alive.

Even when rehearsal energy dipped, the ensemble found ways to bring levity back into the room. One performer burst into a scene with such bold physical comedy that laughter spread instantly through the group, resetting the mood and reminding everyone of the joy at the heart of the process.

As rehearsal wound down, the group shifted into games, playing rounds of Late for Work and reconnecting through play. The laughter and movement closed the evening on a strong note, reinforcing how much this work depends not only on performance skills but on trust, humor, and ensemble connection.

January 27th and 29th

“Acceptance is my answer.” — January 27

This session began with warm conversation and a sense of ease as the group gathered and checked in together. To deepen our exploration of The Comedy of Errors, I posed a question connected to my Exit Project: What does mistaken identity and being misunderstood mean to you? The conversation that followed was thoughtful, vulnerable, and deeply reflective.

Participants shared powerful stories about identity, perception, and growth—about being labeled, misunderstood, and learning to reclaim their own narratives. Many spoke about the importance of acceptance, self-awareness, and emotional honesty. One participant reflected on how recognizing and naming her identity helps her stay on track in her recovery, while another shared how being misunderstood throughout her life shaped her desire to be seen and acknowledged. Others spoke about family, parenting, gender expectations, and the complexity of being judged by a single story.

The group also discussed femininity, masculinity, and sexuality, highlighting how stereotypes shape expectations and how self-expression can be a form of resistance and healing. The conversation underscored how Comedy of Errors—a play built on mistaken identity—offers a rich framework for examining how we see ourselves and how others see us.

After the discussion, we transitioned into movement with Crazy 8s and then returned to rehearsal, picking up Act 4, Scene 4. The group worked through stage combat moments and character interactions, experimenting with blocking and filling in roles as needed. We discussed prop needs for the scene and began planning how to support the physical storytelling moving forward.

The evening balanced deep reflection with collaborative practice—affirming how ensemble dialogue and rehearsal can inform and enrich one another.

“She wants to be a disco queen with a crown.” — January 29

This session opened with lighthearted conversation and celebration—one participant shared that it was her birthday and that she wanted to play Pancake, setting a playful tone for the evening. We checked in as a group and discussed upcoming plans for the production, including opening the callout for new ensemble members and how many new participants to invite into the process.

We then moved into rehearsal for Act 5, Scene 1, where I took measurements to support costume planning. The group continued imagining the visual world of the show, with participants sharing bold costume ideas—pink looks, disco-inspired outfits, crowns, and sequined jumpsuits—leaning into the vibrant, playful aesthetic of the production.

After rehearsal, we played Queen of the Jungle and Pancake, filling the room with laughter and movement. The games offered a joyful close to the evening, reinforcing the ensemble’s sense of community, play, and shared momentum as we head toward performance.

January 20th and 22nd

“Laughter is medicine for the soul.” - January 20

Our ensemble gathered this week for a joyful and thoughtful rehearsal filled with reflection, humor, and creative discovery. During check-in, participants shared why they were excited to take on The Comedy of Errors—and what comedy means to them in this moment of their lives.

One participant shared, “We can let loose and be ourselves. It’s such a serious world—so I find every chance to have fun.” Another added, “I thrive better in comedy. I gotta get past this part to go on to tragic roles. My goal is to act.”

The group reflected deeply on laughter and joy, with one participant beautifully summarizing, “Laughter is medicine for the soul.” Another shared, “Shakespeare is my happiness. You bring us happiness. It lets you forget for just a minute the reality you’re in.”

After sharing jokes and stories—sparking waves of laughter—we dove back into blocking Act 3, Scene 1 and beyond. Ensemble members stepped into new roles, supported one another through staging, and brought strong energy and confidence to the work. Participants experimented with movement, dance, and character choices, building momentum toward a vibrant, playful production.

The day closed with continued collaboration, curiosity, and a shared commitment to making people laugh—onstage and off.

“You threw me off ‘cause you’re playing a woman!” “You’re playing a man!” - January 22

Rehearsal continued with creativity, collaboration, and an infectious sense of play. Ensemble members shared their love of reading, creativity, and learning, and celebrated one another with kindness and care. We checked in as a group, shared updates, and celebrated milestones together.

We began the session with warm-ups and movement exercises, followed by focused blocking on Act 3, Scene 2. Participants worked together to deepen objectives, add physicality, and explore audience engagement. When we tried a new chase exercise to energize the scene, the response was immediate and joyful.

“That was fun!” one participant exclaimed, while another added, “I loved it!” The ensemble decided to keep the exercise as part of the staging, embracing movement and play as key storytelling tools.

We continued into Act 4, Scene 2, refining character choices and comedic beats. Participants applied notes with enthusiasm, fought for objectives, and celebrated each other’s breakthroughs. Improvisation, accents, and playful experimentation kept the room buzzing with laughter—especially during a spirited exchange about cross-gender casting that had the whole ensemble laughing.

We wrapped the session with a group game and plenty of joy, ending with connection, humor, and a shared sense of accomplishment.

January 13th and 15th

“I need to act.” — January 13

The energy in the room was vibrant from the very start. As the group settled in together, there was an immediate sense of anticipation and playfulness—people were eager to move, to imagine, and to create. One participant captured the spirit of the evening perfectly, declaring, “I need to act. I gotta get some energy out.” That sense of urgency and joy carried us through the session.

Much of our time together was devoted to dreaming up the world of Comedy of Errors through costume. The room buzzed with ideas: rainbow tie-dye robes, platform shoes, flower crowns, bell bottoms, fluffy collars, vests, and even a “Cat in the Hat”–style hat. Aupperlee sparked a lively conversation about circular glasses, and soon the group was riffing together about how to bring a 1960s/70s aesthetic to life. Creativity was contagious—participants built on one another’s suggestions, imagining bead curtains for doors, tie-dyed backdrops, and playful, colorful silhouettes that would help tell the story.

There was also a beautiful blend of humor and collaboration. Laughter rippled through the room when one participant confidently began her monologue—only to forget a few words—but the moment felt supportive rather than embarrassing. Everyone cheered each other on.

We moved from design into practice, warming up together before diving into Act 3, Scene 1. Morris encouraged performers to take up more space, filling the room with bigger, bolder presence. The group experimented with staging using music stands as doors, discovering what might work onstage. Even as we wrapped up, the creativity continued—one participant taught the ensemble a hustle dance they hope to use at the end of the show.

The evening left us excited about what’s to come: a production rooted in imagination, play, and collective joy.

“Laughing helps the soul.” — January 15

Our session centered on reflection, connection, and the healing power of laughter. As we gathered, we returned to the question that will guide part of my master’s thesis: What drew you to Comedy of Errors? The responses were thoughtful, heartfelt, and often funny.

Several participants spoke about how rare joy can feel in their daily lives—and how essential it is. One shared simply, “Laughing helps the soul.” Others reflected on how comedy brings lightness, community, and something to look forward to. Many expressed how meaningful it is to be part of a Shakespeare production, recalling past experiences where theatre made them feel “like they were outside” or sparked their imagination in vivid ways.

Fisher-Grant guided the conversation with warmth and curiosity, inviting stories about past SIP performances, including Much Ado About Nothing, and Twelfth Night. Participants spoke with pride about handmade props, inventive costumes, and the way small “mistakes” onstage only made the work feel more human and alive.

We also talked openly about roles in the upcoming production. While there were playful debates, the tone remained supportive and generous—several participants even offered to step back so others could have opportunities. Fisher-Grant encouraged everyone to practice boldly and use their full voices, reminding the group that their sound and presence matter.

The session ended on a lighthearted note. After joking about who might be “Queen of the Jungle,” the group chose to play a dance game together, filling the room with movement, laughter, and camaraderie before we wrapped up for the evening.