"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.