January 28th and 30th, 2025 SIP Blog

"By My Troth, She is Sick"

January 28

We started the evening by gathering and chatting as a group. The group discussed how another member had transitioned into a different program and could no longer participate. Some felt that the other program provided more opportunities, while others disagreed. “This gives us a platform to get involved on the outside with theatre,” one member said. Another agreed, adding, “This is a good healthy habit to offset the bad habits.”

A role needed to be reassigned, with one participant requesting Don John. Another mentioned they would confirm their role at the next session. We began reading and continued for almost the entire session. One participant brought a fun Southern voice to Dogberry, which led others to follow suit. The group discussed how to distinguish the watchmen as police, suggesting the use of sashes. Another participant received support while reading Margaret, and after finishing the scene, another member asked if she wanted to hear it again. They read it together, which was found to be helpful.

We explored phrases like “by my troth,” equating it to “on God.” A joke emerged: “By my troth, she is sick.” During the wedding scene, everyone was “Eh-ohing.”

We finished with Benedick and Beatrice’s scene and discussed its meaning. One participant thought Beatrice was overreacting and they should just elope. Another quipped, “Hoes before Bros.”

We ended the evening with Demand a Dance, with everyone participating in some way. One member raised the ring, signaling the close of the session.

January 30

At the top of the session, we set up chairs and chatted as more people arrived. After bringing down the ring, we got right into reading since we were close to finishing the play. Casting assignments were distributed, and the reading began. Before the scene started, one participant leaned over and promised to bring back their Southern accent for Dogberry. As soon as they began, it was clear they had thought about this beforehand: they delivered a dramatic Southern accent with a thoughtful stutter. The group loved it, laughing throughout. Another participant followed suit with a nearly perfect Southern accent.

As we reached the final scenes, the excitement in the room grew. There were side comments, but all were connected to the script. When we got to the second wedding, someone called out, “This is entrapment!” which got a great laugh. Another participant’s delivery of “Another Hero?” also got a strong reaction. As Benedick and Beatrice finally confessed their love, one participant broke character to say, “Ugh, I love this.” Another enthusiastically responded, “This is the best part!” A suggestion was made to play “When Doves Cry” at the wedding, which was met with approval.

After finishing the script, some members left while the rest stayed to discuss the show’s vision and design elements. One participant was excited to share the idea of setting the play in the Roaring ‘20s, which sparked discussion about costumes and sets. Others debated whether characters should carry swords, with some arguing it would detract from the aesthetic. Another suggested a “gangster theme—Al Capone vibe.”

Talk turned to the masquerade scenes and the different types of masks that could be used. The group leaned towards stick masks for ease of use. Another participant noted that the men in the play should be “put together,” while Dogberry should have an exaggerated, comedic look. Someone envisioned Dogberry in a short jacket with long tails, socks over pants, and a monocle.

When discussing the set, ideas ranged from a traditional 1920s look to a futuristic “Jetsons” theme. Ultimately, the group agreed that simplifying set changes would be ideal. One participant suggested using the eavesdropping scenes as opportunities to shift the stage and “decorate for the wedding.” “The audience will love it,” they said. Another responded, “And if they don’t, who cares?” which resonated with the group.

Before closing, the facilitators informed the group of performance date changes. Since the auditorium was unavailable on the original date, members suggested alternative performance days, agreeing to book a classroom on one of the original dates for rehearsal and discussion.

The session ended with excitement about the production and a clear vision taking shape.

January 21st & 23rd, 2025 SIP Blog

"There Were a Thousand Beatrices and a Thousand Different Ways to Do It"

January 21

The temperature, with the wind chill, was in the negative numbers tonight. I didn’t get back to the programs building until about 6:25, and we started check-in. I challenged the group to start without us going forward if we got jammed up at the door. 

It was a very relaxed night, so I took the opportunity to talk to the group about the audition process. One participant immediately expressed how much they enjoyed it, appreciating the “formality and the uniformity—everyone got a chance [to do their thing]. There were a thousand Beatrices and a thousand different ways to do it.” Another participant said they found it less pressure to audition in the space we used because “everyone was so far away.” Another agreed, saying, “In the circle, everyone is so close and in your face.” One participant remarked that it “looked professional, [like in a movie]… it was empowering!” Another added that it “took us out of our comfort zones.” The general consensus was that we should do it again next year, though one participant joked, “Yes! But I hope I’m not around to see it!”

Some participants wished they could have chosen their own monologues. One said, “If you wanted to be Don John, you [should have gotten to read for Don John].” However, as they discussed, another acknowledged that the pre-selected pieces were good for those who didn’t know what to do. Another participant pointed out that many characters didn’t have monologues and would have required scene work, which is harder to do in one night. Despite this, some still wished they could have chosen their own pieces, and a few read scenes or monologues outside the selection.

Discussion shifted to summer programming, with many expressing concerns about writing. “I’m not much of a writer,” one participant admitted, and others echoed the sentiment. I reassured them that there would be guidance and prompts to help. One participant was especially enthusiastic, sharing a detailed account of a similar project they had done in the past. Another asked if they could still participate in the regular season if they didn’t do the summer project. That would need discussion, but likely not, as the goal is to extend programming year-round. The group was enthusiastic about the prospect, particularly the idea of alumni performing their work on the outside.

Turning to Much Ado About Nothing, one participant said, “I was thinking about what my character looked like…” with a wry smile. Another envisioned Benedick with a “floppy hat with a long feather.” The group discussed setting, with suggestions ranging from the Roaring ‘20s with flapper dresses to the Victorian era with “big poofy dresses.” One suggested the Renaissance as a classic choice, while another proposed the 1950s with poodle skirts. I reminded them that the men in the play are militaristic, which would need consideration. They asked again if they could watch the movie.

One participant was determined to secure a Shakespeare souvenir, something that had been denied the previous year. They insisted I include it in my proposal earlier this time. I said I was more focused on getting the set pieces painted, but they were not having it. “I will try,” I said, and we moved on.

We then read Much Ado, covering 1.1 through 1.3. Some participants had to sub into roles, and one struggled significantly with reading. Every two-syllable word required prompting, but no one commented—they simply helped, word by word. Eventually, it became clear that we were going to finish the scene no matter how long it took. Inside, I felt emotional, but I didn’t show it. At the end of the scene, everyone snapped for them without saying much else. It was a beautiful and unexpected way to finish the night.

January 23

We arrived at the facility a few minutes after 5:15 and got to the auditorium around 6:00. Many ensemble members were already waiting, and we quickly set up, handing out scripts as people arrived.

Ensemble members teased the facilitators about how professional the script looked compared to last year’s. One participant exclaimed, “You didn’t do this, did you? It looks so professional!” The group laughed, but there was genuine excitement in the air. One participant seemed upset and hesitant to engage, later asking about the casting system and whether they could challenge for a role. The facilitator explained that the current casting was set, but there were still great roles available. This seemed to comfort them slightly.

After discussing the callout process, we began reading. Participants eagerly took on roles, with some jumping at every opportunity to read. One participant, despite struggling emotionally, found comfort in the process, growing more engaged as the reading continued. By the end, they were even ad-libbing.

Discussion followed, with ensemble members excited about certain performances and ideas for staging. One suggested having characters eavesdrop visibly onstage. Another proposed having Claudio and Benedick’s scene take place near a tree to tie into the dialogue. The group also revisited the movie, eager to watch it once approved.

We continued reading, stopping at the end of Act II. One participant humorously announced, “And that was Much Ado About Nothing,” prompting laughter. They were clearly beginning to enjoy the process.

As we wrapped up, a few participants stayed behind to discuss casting and upcoming plans. One shared their excitement about writing for the summer program, whispering multiple times throughout the session about how much they were looking forward to it. Another, playing Dogberry, excitedly theorized that Dogberry might be a reincarnation of Bottom from A Midsummer Night’s Dream. They were especially eager for their “ass monologue.”

It was a productive and energizing session, setting the stage for what’s to come.

January 14th & 16th, 2025 SIP Blog

"The Encouragement Goes a Long Way"

January 14

We arrived at the facility just after 5:20 p.m., got into the Programs building early, and reorganized the bin before setting up the room. Ensemble members trickled in, chatting as they arrived. One participant, wearing makeup, expressed disappointment, thinking auditions were that night. The group was glad for the extra practice time and decided to audition on stage instead of in the circle.

One participant was the first to try the Beatrice monologue. A facilitator suggested they take a beat and connect with us before starting. We introduced the concept of a "moment before," and we discussed not apologizing when forgetting lines. Another participant went next, taking the beat well. A third participant followed, remarking afterward, “I can’t remember jack squat, I was going too fast.” Another member shared a memorization strategy: writing out lines, cutting them up, and practicing with friends in the day room. “Those are some tough bitches,” they said.

Another ensemble member tried the Benedick monologue, struggling with the lines at first. We encouraged them to use the book and have fun. When they did, they delivered a great performance. Another member, working on Beatrice, said, “It felt good because I’ve been practicing. I was intimidated by the words, but once I got it, I got it.” They credited another participant for helping them, saying, “They got me out of my room after 1:30.”

The group discussed the ripple effect of the program. “Everybody knows what SIP is,” one said. Others chimed in: “Can I join?” and “The encouragement goes a long way.” 

Another ensemble member performed Benedick but was hard to hear. The group encouraged them to be louder and slow down. Another participant tried Claudio, initially nervous, but improved when paired with a partner acting as Hero. Another member, performing Beatrice again, declared, “When I come back on Thursday, I’ll know it by heart.”

One participant, after trying Claudio, said, “I didn’t like it. I want to do Benedick.” They performed Benedick’s monologue, sharing, “I like the anger from Claudio and the cockiness of Benedick; it’s more my personality.” The group reassured them: “Once you get into your zone, you can do anything.”

We ended the session by raising the ring, feeling energized by the progress.

January 16

The freezing cold couldn’t dampen the group’s energy. Nervous excitement filled the auditorium as ensemble members practiced their pieces. One member was especially supportive, snapping and encouraging others.

An ensemble member kicked off auditions, introducing themselves formally before performing Beatrice’s monologue off book. Though they struggled with lines, they powered through without calling for help. Another participant followed, also off book, nervous but composed. A third member read Beatrice’s monologue, using a tree as a prop to hide behind, aligning with the script’s context. “They have really come out of their shell in this program!”

Another participant performed Benedick, opting for a half-closed curtain. Though they stumbled, they stayed committed, finishing with an outro instead of an intro. Another ensemble member performed Benedick on book, speaking quickly but using the stage effectively. Another participant, on book for Beatrice, said they had been “practicing for days!” Another member, performing Beatrice, started with a giggle break behind the curtain. “Let me get my giggles out!” they said before delivering a sassy, confident performance.

One participant, initially hesitant, performed Claudio. “I don’t need nobody!” they said, declining a partner on stage. Another member, ever the pro, performed with ease, owning the stage and working the text. Inspired by them, another participant tried the same speech, supported by the group’s guidance.

Finally, another member, despite health struggles, performed Dogberry’s “ass” speech with over-the-top humor, leaving everyone laughing.

Facilitators joined in with monologues of their own. One tried to claim they weren’t prepared, prompting a participant to call out, “Neither did I!”

Two ensemble members decided to perform a Beatrice and Benedick exchange, with others filling in as Leonato and Don Pedro. Afterward, the group completed the ballot process for casting. While waiting for results, they played Crazy Eights and the Counting Game, struggling to get past five but enjoying themselves.

When the cast list was revealed, one participant was the only one who didn’t receive their top choices. They chose Borachio without complaint. Another member opted to switch from Don Pedro to Ursula, and the first participant took Don Pedro.

We left feeling accomplished and excited for what’s next.

January 7th and 9th, 2025 SIP Blog

"I Have an Adrenaline Rush Right Now"

January 7

We arrived at the facility around 5:25 PM and made our way into the programs building just after 5:50 PM. As we set up the room, participants trickled in slowly. With the small group that had arrived, we chatted about how a librarian had shown us where the lights were in the auditorium and how we wanted more lights for our June show.

We started check-in and talked about auditions, asking everyone what roles they were interested in. After that, we played two games: the Machine Game and Vignettes. For the Vignettes, participants directed scenes from The Lion King, Home Alone, and Much Ado About Nothing.

When we turned to scene work, someone suggested we start from the beginning with Act 1, Scene 1 of Much Ado About Nothing. We cast the scene with Leonato, Messenger, Hero, Beatrice, Don Pedro, Claudio, Benedick, and Don John. We focused on Beatrice’s roasts of Benedick and their back-and-forth battle. One participant was inspired by Beatrice’s attitude and said, “I like her attitude,” putting herself down for the role.

Later, someone suggested we jump to Act 5, Scene 1 to work on Leonato’s monologue. One participant performed it twice, and we encouraged her to make Antonio “shut up.” A second participant tried the monologue next, and afterward, she said, “I have an adrenaline rush right now. I’m nervous.” Another participant gave it a shot, and then an ensemble member stepped in right before the session ended. We raised the ring and adjourned for the evening.

January 9

During check-in, we explained the casting process. We suggested narrowing the audition options to three monologues:

• Benedick (pg. 92)

• Beatrice (pg. 104)

• Claudio (pg. 152)

We encouraged everyone to pick one of the three options, curious to see how this streamlined approach would work. After deciding on the monologues, we explored a Dogberry scene from Act 4, Scene 2 to generate interest in those roles. The cast included Sexton, Dogberry, Verges, two Watchmen, and Borachio.

Later, we shifted focus to the audition sides. One participant asked us to demonstrate Claudio’s monologue, and another followed. She struggled with giggles, which reminded us of an ensemble member who used to do the same thing. That member gave us a knowing look, as if to say, “I’ve been there.” We suggested incorporating nervous laughter into Claudio’s character, but another participant disagreed. We told her the giggles were a good sign, like jump-starting a car—it’s a step toward something great.

Participants took turns with the Claudio monologue, experimenting with pacing and physicality. One participant said phrases like “rotten orange” and “luxurious bed” really hit home for her. Another noted, “Claudio is not guilty—this is rage.”

We demonstrated Beatrice’s monologue from Act 3, Scene 1, and then participants took turns trying it. One ensemble member told a participant how much she had “opened up” since joining the program, and the participant said, “It’s easier to play a girl.”

We ended with Benedick’s monologue. An ensemble member demonstrated it but wasn’t happy with her performance. She said she preferred the “drop-in” style rehearsal we’d done before. Another participant jumped in to try it just before we closed for the evening.

The energy was building by the end of the session, and the discussions about the characters and their motivations felt electric. We’re looking forward to seeing how this group continues to grow, especially with auditions happening next week.

December 10th & 12th, 2024 SIP Blog

"Everyone Does Good Because It’s Their Interpretation"

December 10

We arrived at the facility around 5:25 pm, and after clearing security, made our way to the programs building. The group entered the auditorium, setting up chairs and chatting as we got settled. Once everyone gathered, we decided to put Act 3 Scene 3 of Much Ado About Nothing on its feet.

At first, there was some confusion about the staging, with a lot of marching happening throughout the scene. One person suggested that the three characters listening should line up while Dogberry paced back and forth, lecturing them. The group adjusted the blocking, and Dogberry was played with a booming, exaggerated voice that got everyone laughing.

Afterward, we asked for thoughts. “I need work,” said the person playing Dogberry. “I need to know his character more. Get more words wrong, make it funnier, and have more facial expressions. Dogberry wants to be the best he can be and find a constable.” Someone else suggested that Dogberry might be striving to earn respect in the scene.

We ran the scene again with a different group. One person brought physical comedy to their role, bouncing up and down to be chosen and using a Southern accent. Afterward, the person playing Dogberry reflected, “I didn’t feel good playing him. He’s super animated. I didn’t do him justice. That was so off.” The group encouraged her to step out of her comfort zone. “Don’t compare yourself,” someone said. Another added, “They’re shining their light, you shine yours.” One participant smiled, “Don’t be afraid to get goofy.” We all agreed that the ensemble games are great tools for finding that goofiness.

One participant connected Seacole’s enthusiasm to her military days: “Seacole is overanxious. I was picturing some of my troops when they were young.”

Later, we moved on to Act 3 Scene 4, where the group explored the playful banter between the women. Afterward, one person commented, “That was fun!” Another added, “By my troth, you guys were great,” and the group chuckled at the phrase. We discussed the dynamic between Hero and Margaret, with one participant suggesting Margaret is “the trashy friend,” while others disagreed, noting the interpretation could go either way depending on the actor.

Before the night ended, we ran another scene, focusing on Benedick’s soliloquy and giving some others the opportunity to try new roles. The group worked on finding the contrast between Claudio’s past disposition and how he acts now that he’s in love. The group also played with suggestions to treat the group’s attempts to “prank” Benedick like a mischievous phone call.

December 12

It was bitterly cold, but we arrived early enough to set up before the group joined us. After check-in, one participant shared that she’d been working on Benedick’s soliloquy (Act 2 Scene 3) on her own. “I’ve been rehearsing it at lunch with my bunkies.” Another added, “My bunkie reads with me. She may not join, but she definitely wants to come see the show!”

The participant bravely stepped up and delivered the monologue. “I felt better than before,” she reflected, though she was frustrated about not knowing all the words. The group rallied behind her, encouraging her to slow down and move her body more to bring the text to life. After a couple of runs, she incorporated feedback with grace and skill, and the group praised her for her effort.

Another participant decided to try a different Benedick soliloquy from the same scene. “I feel great about it,” she said afterward. “I’ve read it so many times, it’s easier to gauge this and that. And if you mess up, the audience doesn’t know!”

Another participant stepped up to try the earlier soliloquy, showing how a different interpretation can bring new energy to the same piece. “It felt powerful,” she said afterward. Others gave it a try as well, with one participant admitting, “I’m kinda nervous—it’s fun until I start stuttering!” The group reassured her, encouraging her to “own it.” Someone pointed out that her interpretation of Benedick was gentler, which was refreshing. This led to a discussion about Benedick’s ideal woman and how Beatrice, though sharp, doesn’t lose her temper. “I had the man I wanted and that landed me in prison,” one participant reflected. “Now I’m here and found what I needed.”

The group explored the soliloquy together, sharing notes and trying new ideas. One participant emphasized, “Everyone does good because it’s their interpretation,” a sentiment that resonated deeply as we continued to see unique takes on the same text.

We ended the night with a lighthearted game of “Queen of the Jungle”, laughter echoing through the room as we packed up the space.