Season Eleven: Weeks 22-24

WEEK TWENTY TWO

Tuesday / June 13 / 2023
Written by Kyle Fisher-Grant

Tonight was a great night. We are moving right along with the play and integrating the new members into the ensemble. We started out with one ensemble member performing “Oh what a rogue and peasant slave am I…” from Act Two. She has been working on it for a few weeks and slowly making her way through the monologue. We were able to give her some notes to work with and are now encouraging her to start memorizing more of the speech.

We moved on to working with Act One, Scene Three, in which Ophelia is lectured by her older brother Laertes, who is lectured by their father Polonius, who then lectures Ophelia after Laertes’ exit. There is a lot of talking in this scene and not much listening, and it can be really interesting to dive into. Immediately after putting the scene on its feet, the ensemble discussed how sad it was now that they know the rest of the play. “Ophelia got the business in this scene!” said one member. We went on to discuss how Ophelia gets handed off by all the men in the play who need her to do their bidding. “There are no other females in the play other than Gertrude,” mused one woman. “[Ophelia] doesn’t have a mom. Maybe if Gertrude took her under her wing more, things would turn out better.”

We moved on to the next two scenes, which seem to run together in a way that it makes it feel like they are the same scene. We started out reading, but in just a few minutes the readers were up on their feet acting out the scene. The woman playing Claudius/the ghost wasn’t feeling well, so we tried to stage the scene with her offstage doing a “voice over.” We had a great time exploring the text and experimenting with different ways of telling the story.

Friday / June 16 / 2023
Written by Kyle Fisher-Grant

Another great night at the Valley with the Shakespeare group. We started the night with one ensemble member reading two essays that she wrote. The first was about the inconsistencies in the text with Hamlet’s age, and the second was about Ophelia. They were both really well put together and it was interesting to hear her take on Ophelia in this new way. She brought up the small number of female characters in the play and the inevitability of comparison between them. She contrasted Ophelia’s madness with Hamlet’s and questioned Hamlet’s faux-madness in comparison with Ophelia’s actual madness. It was a really smart essay and we were happy to hear it. When pressed about what class she wrote that for, she said she didn’t write it for a class or a grade. She’s getting really into the text and wanted to write the essays.

We went on to work through staging Act One, Scene Five, which is both challenging and really fun. It’s challenging because there is the ghost, a location change as Hamlet pursues the ghost, and the ghost interacting with the character from on and off stage– it is fun for all the same reasons!

The line that ghost speaks off stage is “Swear!” and he says it several times.  This time around, we wanted the “Swear” lines to ramp up each time he said them, so we involved the whole ensemble and they all shouted “Swear!” on the last line. It was a great way to incorporate all of the newer members and get them participating.

WEEK TWENTY THREE

Tuesday / June 20 / 2023
Written by Kyle Fisher-Grant

Today was largely about continuing on through the text for our newer members that have not yet finished the play. We read through and discussed most of the beginning of Act Two. Much of the discussion revolved around Polonius and his incessant spying. This starts in the beginning of the play, and there was a clear difference between those who had read the entire play and those who were reading it for the first time. For the first-timers, his behavior didn’t seem all that egregious in these early stages, but the rest of the ensemble saw a clear pattern of behavior that starts early and ends in his death. “This is what gets him killed,” said one member. “Let the spying begin,” said another. “Nothing in this play is taken at face value,” said another.

We moved on to the next scene, one of the longest in the play, and one that needs to be broken up over a couple of sessions. In this scene, Hamlet runs intellectual circles around Rosencrantz and Guildenstern –who have also been sent to spy– and debates the nature of reality. One of my favorite lines in the whole Shakespearean canon is said in this exchange: “There is nothing good or bad but thinking makes it so.” This line prompted a really profound conversation. One member said, kind of out of the blue, “I wake up on an island every day.” I asked what she meant, and she said, “Fantasy Island!” She said that we all have choices about how we are going to live and approach the world. “I’ve been here for twenty years, but my family call me to cheer them up—they’re the ones in prison.” Another member responded, “We connected just now. I needed to hear that.”

Friday / June 23 / 2023
Written by Kyle Fisher-Grant

Tonight was a really great night; one of those special nights when the session picks up momentum and careens towards eight o’clock before anyone knows it. Check-in began with one ensemble member saying how much she loves SIP, and that she feels like we are a “family” and isn’t used to having people care about her like she feels it in the group. Several more agreed, saying things like, “SIP was one of the only places that I feel joy.” We’ve heard those things in previous seasons, but it never gets old, and we encourage that kind of vulnerability as much as we can. 

I challenged the group at the end of the check-in to start working on their scenes. They have gotten in a mindset that work happens in the unit and they present that work to the group as a finished product, but they are working towards bringing whatever they have and working it while in session. It’s a different mindset, but one that gives us a lot more to do while the group is meeting.

Next we decided to play some games. I love it when we start the evening with games, as the group really warms up and is more willing to jump in later—as was the case with tonight's session!

For the rest of the night, we worked on three different scenes and were able to really get into all of them in a really profound way. We started with Act Four, Scene Two, which features “the boys” as the ensemble have been calling Rosencrantz and Guildenstern. Next, we moved on to Act Three, Scene Four, in which Hamlet confronts Gertrude and accidentally kills Polonius. We finished with a newer member of the group deciding she wanted to try the “To be or not to be…” speech. She tried it several times, working to take notes to get more comfortable with the text. We finished the night with one of our long-time members, who doesn’t always feel comfortable volunteering, signing up to do a scene next week. There was a real sense of momentum tonight, and we all left the session feeling great.

WEEK TWENTY FOUR

Tuesday / June 27 / 2023
Written by Kyle Fisher-Grant

Much of tonight’s session was a continuation of last Friday’s work, and the ensemble made progress identifying the scenes they want to perform when the time comes. 

The ensemble member who worked on “To be or not to be…” on Friday really wanted to return to it and had been working on it all weekend. We tried it a few different ways and challenged her to make some decisions about what she wanted to do with the audience. We talked about how in Shakespeare’s day there wasn’t much of a “fourth wall” or separation from the audience. The relationship with the audience would’ve felt more like stand-up comedy, vaudeville, or a talent show: there is an acknowledgement that the audience is there, and it is woven into the text. This is hard to do because all of those examples are comedic, so it can be tough to shift to something dramatic in nature. But we tried it several ways and really let our actor try it out for herself. It was great to hear the ensemble's reactions. “I could really feel it more,” said one, and the actor said she felt like “a weight had been lifted” after she finished performing.

Friday / June 30 / 2023
Written by Maria Tejada

It’s been a minute since we got back into reading the play, so we all agreed to jump back into Act Two, Scene Two, in which Hamlet starts messing with Polonius and his “buddies,” Rosencrantz and Guildenstern. A few ensemble members particularly enjoy those characters, so we were happy to have a chance to play with a fun scene. After briefly chatting about what it would be like to start incorporating backdrops, props, and costumes into a performance and summarizing the previous scenes, we started to read in the circle. When Polonius said, “Though this be madness, yet there is method in it,” the woman reading Rosencrantz said, “That’s my favorite line.” 

We quickly decided that we wanted to play with some characterization on our feet. I suggested to our Rosencrantz and Guildenstern to really go big with a “frat boy” character, as we had all decided that they were not actually close with Hamlet but were trying to get information for the king, while he was just trying to gauge what information they knew. “I feel like Rosencrantz is the smarter-ish,” said the woman playing him. “Does that make you want to be in front more?” another woman watching the scene asked. Rosencrantz agreed, and they adjusted the blocking to incorporate the change in attitude, strengthening the scene and relationships between characters. 

When we got to Hamlet’s “Oh, what a rogue and peasant slave am I” soliloquy, another woman volunteered to read the speech from her chair. When she finished, she said that she liked it and it didn’t seem to be as long as she thought (at first, she had refused to read the entire speech since it was so long) and that there were a few spots where she could change her attitude. We asked her to read it again to hear these attitude changes, and you could feel the difference as her energy built as she worked her way through the soliloquy. “When Shakespeare makes a list, you build madder and madder…and you did that,” one woman said, referring to something that was discussed on Tuesday.

A different woman, who is aways game to jump in and take on a challenge, volunteered to try the speech next. She raced through it like a horse out of the stable, building with unbridled energy and hardly taking a breath. “Slow down!” one woman enthusiastically implored. Hamlet looked at us, confused, and said, “I thought I was supposed to read fast,” which prompted a wonderful conversation about keeping energy through each thought but using pauses and breath for Hamlet to have realizations and work through his indecision. You could see a light switch on behind her eyes as everyone collaborated on how to make the speech better.   

We finished the evening with a short round of storytelling, a game called “Fortunately, Unfortunately” in which players go around the circle telling a story one sentence at a time, alternating between fortunately and unfortunately. It was quite a dramatic story, beginning with a man who had torn a hole in his pants, to calling the police and ending up in prison. Even though the story ended in tragedy, we were laughing and smiling as we put the ring up on another wonderful session.

Season Eleven: Weeks 19-21

WEEK NINETEEN

Tuesday / May 23 / 2023
Written by Kyle Fisher-Grant

Tonight we welcomed some new participants to the ensemble. Whenever new members are added there can be a feeling of unease; we go to great lengths to establish a sense of safety in the room and new folks, by virtue of being “newbies,” need a few sessions to be brought into that culture. This is inevitable and there is really only one way through—so we got down to business!

The group was very warm and welcoming to the new members as we worked our way through the welcome packet, and existing ensemble members played a leadership role in the onboarding process. I only spoke up in a few key spots; otherwise, the rest of the ensemble led most of the evening, and they had some really wonderful things to say about being members of SIP. One member remarked, “When I first came here, I was dragged here in February. I wasn’t going to meet new people. Now I talk to new people, and it opened me up to talk to new people and new things.” Another great exchange happened between a new member and a few existing members:

“It's a good energy here,” said the new member.
“We LOVE this group,” said an existing member.
“With a passion!” said another.
“And we’re not just doing that because you’re here either,” said yet another member.

Most importantly, at the conclusion of the packet a few ensemble members were eager to perform some of their favorite scenes. We started with the gravedigger scene, which, with their “country accents,” is quickly becoming an ensemble favorite. Next they performed act three, scene three: the back-to-back soliloquies by Claudius and Hamlet. The woman playing Claudius explained to the new members that “there is so much passion. This is what draws me. He wants to repent but he can’t let go of why he did it … I’ve had that moment of prayer about what I want and wondering if they’re just words. This speech made me love this character.” 

This brought the evening to a close, and we left feeling like we had really given the new members a good example of just what SIP is all about.

Friday / May 26 / 2023
Written by Kyle Fisher-Grant

Tonight was a very unexpected and interesting night. In addition to welcoming a few more new members to the ensemble, several of our pre-covid “veteran” members rejoined. It was amazing to see them and welcome them back into the group. I wondered what they might think of things because, despite the important philosophical elements of the program having remained as they were, the logistics of this ensemble are quite different as we figure out SIP’s “new normal.” We aren’t working with our pre-covid nine-month season timeline, we’ll be working through the summer without a break, and, although we are definitely going to perform at some point, we don’t yet have a performance on the calendar; these things, in turn, affect our sense of what we “need to get done” during a given session, among other things. It’s not that I thought they would be averse to these changes, nor did I think it would be any kind of struggle; but things are different than they were a few years ago, and the vets will need to do some adjusting. It was just wonderful to see them again, and we all were excited to continue our work.

Most of the night was spent on the three questions, which we try to do within the first couple nights of new members’ joining. I took a few minutes to meet with the veteran members separately for a little re-orientation session, while the rest of the ensemble began to dive into the text. All questions were answered to the best of my ability, and we ended with a challenge to join the new ensemble and meet them where they are. So, in short order, we rejoined the rest of the group and joined them in reading act one, scene one, of Hamlet.

WEEK TWENTY

Tuesday / May 30 / 2023
Written by Kyle Fisher-Grant

Tonight we continued toward our goal of working our way through the play, beginning to end, with the new members. This time, the plan is to spend the majority of our time “on our feet,” meaning acting out the scene rather than reading while seated. If I had to pinpoint the biggest challenge so far for new members, it is developing a knack for blocking and stage movement. As with most beginning actors, there is a tendency to stand in one place and read the lines—essentially, reading the play as we did before, except now while standing. 

The other challenge is to learn a sense of theatricality with staging. The natural instinct for the ensemble members, and really anyone I’ve worked with new to theatre, is to stand a realistic distance away from their scene partner and stay there until the end of the scene, similar to how a conversation would occur in real life. We are looking at stage movement in three ways:

1. Distance from your scene partner reads very differently to the audience, despite its not feeling “natural” to you as an actor.

2. Blocking is part of the storytelling, and symbolic connections can be made by an actor's placement on stage.

3. Acting is a full-body experience, and we need to try to exist fully in the space, and fully in our bodies. It’s exciting but difficult to explain without anything to reference; that being said, when they “get it” the effect is electric.

This is largely what we worked on tonight. We inched our way through act one, scene one, and struggled to think our way through how we could stage the story of Hamlet. There were lots of great ideas, most of which centered around the ghost and how he would be presented. It was great to hear the ideas, some of which were fantastical and involved harnesses and flying the ghost in, some of which were as simple as dropping our ideas of what a ghost was (outstretched hands, howling boos, etc.) in favor of what would tell the story best.

Friday / June 2 / 2023
Written by Kyle Fisher-Grant

Every so often in SIP, there comes a time when a game night is in order. They’re impossible to anticipate, and sometimes, like this past Friday, just kind of unfold in real time. We start by acknowledging that the ensemble is feeling a bit blasè on a specific day– today being a hot summer Friday night. We play a game to loosen up a bit, we play for a bit longer than we think, and the members of the group start laughing despite themselves. Next, we ask the question “Do we want to read or play another game?” and before the words hit the air, someone has suggested another game. We play that game and still, we think, we have time to get through a scene. It happens again, and we are playing the next game. The ensemble then gets really into a game, maybe laughing a ton or perhaps getting uncharacteristically competitive. Somewhere in there, a realization sets in that Shakespeare will not be discussed tonight. Maybe we fool ourselves for a bit that that’s not going to be the case, but eventually we settle into the fact that we need to play games, and then we lean into it and keep playing. By eight o’clock our faces hurt from smiling, our sides hurt a bit from laughing, and we put the ring up and decide to really get to work next time.

Friday was such a night—it was well deserved and much needed. Also, with so many new members in the ensemble, it was a great way to bring them into what SIP is all about.

WEEK TWENTY ONE

Tuesday / June 6 / 2023
Written by Kyle Fisher-Grant

We had more new members tonight, just as we have during the last couple of sessions. As I’ve said before, there is always a bit of adjusting that happens when there are new members in the group, and this will most likely continue for a little while longer.

We started the night with a performance from one of our newer members who had been practicing a scene with another member in their unit. They decided to perform act four, scene one, where Laertes witnesses Opehlia’s unraveling. It’s a difficult scene for professionals and amateurs alike, and is typically avoided by the ensemble because Ophelia sings. We always begin by explaining that Ophelia’s singing doesn’t need to be good—it's part of her insanity, and it can even seem more realistic if the singing is not very good. Only one or two members have been willing to try playing Ophelia in this scene, so it was a pleasant surprise when one of our new members gave it a shot. She did a great job and clearly has some background in singing. Everyone applauded. It was a great way to start the evening.

We ended up working on act one, scene one, again, but this time it was led by one of the group’s veterans. She did a great job nudging the ensemble, and we even tried the scene in proscenium, a leap in staging this ensemble hadn’t yet taken. It was exciting for everyone, and immediately a few members became instant “directors.” The conversation continued to revolve around how the ghost was going to be presented and perceived by the other characters. This merited a lot of discussion, and when the deliberation had become extensive we eventually decided to just perform it “wrong” and fix it later. It went great, and, although there were some notes for the actors on how we could stage it more effectively, we ended the scene after one run and moved on for the night. We finished the night with a game requested by a newcomer and left feeling great about our work.

Friday / June 9 / 2023
Written by Kyle Fisher-Grant

Tonight there was a performance by the dance group in the auditorium, so we met in one of the classrooms in the programs building. Being in the classroom always gives a little different feel to the night and makes us work in a bit of a different way, which can be kind of nice, especially when adding new members to the group, as it really eases the pressure of “being on stage.” 

We started the night with one ensemble member performing her favorite piece, a Hamlet soliloquy from act two, scene two, that begins, “Oh what a rogue and peasant slave am I…” She said she only had the first couple of lines down, so we just worked on what she had, beginning with her focus: was she talking to herself or to the audience? We tried it both ways, and she seemed to like talking to the audience better. As we dug into her character, she stopped and asked, “What is my body saying?” (meaning, is the way she was moving reflective of what the character was saying?) We talked about her shuffling her feet a bit, and seeming too casual to truly reflect what Hamlet is saying about himself and his decisions. 

We finished the night with act one, scene two, which introduces Hamlet, Getrude, and Claudius (whom one new member has re-named “Uncle Daddy”). When we work through scenes, members are encouraged to tag in and out when they want to take over the part. Many people got up to perform this way, including two newer members for whom it was their first time performing. We could really see them starting to “get” the Shakespearean language, and starting to dig into SIP.

It was a great night!

Season Eleven: Weeks 17-18

WEEK SEVENTEEN
Tuesday / May 9 / 2023
Written by Kyle

Tonight we tried a traditional SIP exercise that was completely new to this ensemble: the Six Directions, which is part of Michael Chekhov’s acting technique. It is a very physical exercise, and is really helpful for engaging the body. It requires commitment and doesn’t leave much room for half measures, which was tough for some ensemble members. After we completed the exercise, we debriefed a bit, and the ensemble had some good things to say. One member said this would be helpful in “those really physical scenes. I really wanted to cling to the chair, but I got to fill the whole space.”

We moved on to reading Hamlet, heading toward the very end and the climax of the play. Tonight, we read the “gravedigger scene,” in which Hamlet discovers that Ophelia has died, and then comes to blows with Laertes. The scene starts with some much needed comic relief. “Hamlet is really killing the vibe … He’s an overthinker!” said one member. The scene then takes a metaphysical turn, with Hamlet delivering the famous “Alas, poor Yorick…”  speech. It struck one member, who said, “No matter how great you are, you live, you die, and you’re buried and you’re back to dust. Alexander the Great is on the bottom of your shoe…” Another member said, “He’s just being dime-store philosophical. There are way better things to think about than your childhood babysitter. Maybe wonder WHY Ophelia killed herself!” The scene includes a funeral and calls pretty specifically for a trap door to be used for the burial plot. We talked a bit about how we might stage this in the WHV auditorium, with no trap door. There were a lot of really good ideas, and it was exciting to brainstorm about Hamlet as a real theatrical performance performed by the ensemble, and not just words on a page that we talk about.

Friday / May 12 / 2023
Written by Maria

It was ladies’ night tonight! Since most of the facilitators were busy with the Unabashed Ask for Cash Bash at Detroit Public Theatre, it was just me and a small group of ensemble members. There were some great conversations and discoveries that happened on Tuesday that I needed to experience for myself. 

One of the women was so excited talking about character choices for the gravediggers in Act 5 Scene 1 that I insisted they read the scene. The first Gravedigger got out two or three words before I burst into laughter—her accent was so funny! She said that she was inspired by the two old guys from the Muppets after seeing photos of Robin Williams and Billy Crystal in one of her Shakespeare editions. They excitedly told me that these two gravediggers were drunk and had silly accents that made the scene funny. The rest of the ensemble agreed that it was one that everyone really enjoyed. The group unanimously decided  that the two women have to continue to develop those characters and accents, finding time to slow down so the audience can understand what’s going on in the scene. Once they get up on their feet and play with some of the physicality of the gravediggers, the scene will get that much better and easier to follow.  

We also continued brainstorming ideas for staging the rest of the scene in a way that the whole audience could see what’s going on. There were concerns about being on the floor bent over, and about how to represent the dead Ophelia. Although we didn’t come to any conclusions tonight, it was great to see them work through the staging challenges that every director must consider. 

We closed out our session with some discussion about some of the roles they are drawn to. There weren’t too many surprises! When one said, “I don’t want to say too soon, but maybe Claudius,” another jumped in with, “Yeah, that’s your person,” since she has routinely volunteered to read for Claudius in scenes. It’s hard to believe that we’re almost done reading the play, but I can tell that they are all ready to begin the next phase of things as we play with staging and dive into embodying the characters. The next few weeks are going to be very exciting!

WEEK EIGHTEEN
Tuesday / May 16 / 2023
Written by Kyle

This was a really positive night, and I’m glad we took an evening to get on the same page as an ensemble. Last Friday was a smaller group, and I had been at the DPT Unabashed Ask for Cash Bash, so there was a little bit of catching up that we needed to do. Additionally, we were quickly approaching the end of the play, and we needed to discuss expectations and goals for the next phase of the season. “This is SIP 2.0,” I said, and explained that in previous years we worked from September to June, and that after finishing the play it was full speed ahead toward performances. That isn’t the case this time around, so we have more time to devote to exploring the play. We also needed to open the waiting list and add members to the group, as some members have left the ensemble and a few members will be paroled over the summer. 

Adding ensemble members is not always as easy as it might seem. It takes at least two sessions to go through orientation and our traditional three questions (What brings you to Shakespeare? What do you hope to get out of the experience? What is the gift that you bring?). Great care is taken to establish a culture of respect, community, vulnerability, and safety, and the thought of new members who don’t know the ensemble’s established culture can be anxiety-inducing for the group. So it was necessary to take an evening to talk a bit about what we could expect, what we wanted to look out for, and how exactly we should incorporate the new members. I reminded them that at the outset of this season, there was only one member who had been in the group before, and the culture was still established with our current ensemble—and this time around, there will be almost ten more people who will be able to establish our safe space. As one member put it: “I feel comfortable with everyone here. People who take the time to think about things other than prison… When I have a terrible day, I realize it's a Shakespeare day and I’m like, ‘Thank you, Jesus!’”

After that discussion, we turned our attention to loosely planning our work over the summer. I said that we have not worked during the summer in a long time at this facility, and we have the time to continue to explore the play. Some members expressed relief that we have so much time before performing; one said, “It takes me a while to learn the lines, and I don’t want to look like an idiot.” We will perform when we feel like we are ready to perform. We decided that we would work through the text with the new members, mostly on our feet, and that we would bring in new members the Tuesday after we finish the play.

We finished the night reading the first part of Act 5, Scene 2. This the the final scene, and the one in which ninety percent of the action takes place. We read all of the text up to the big finale and readied ourselves to finish the play on Friday.

Friday / May 19 / 2023
Written by KFG

One decision that came out of Tuesday’s discussion was to have the current ensemble finish the play before we bring in new members. This was not totally a logistical decision. There is just something about completing the play—the journey of Hamlet that we all began together—as an ensemble that has always been meaningful, and definitely is for this ensemble. I didn’t really realize that would be the case, but it absolutely was one of the group’s most important stipulations. So there was a real sense of impending calamity for all the characters that we couldn’t wait to see through—together.

As mentioned in an earlier post, there is a group of ensemble members who do not read ahead, only during our sessions, and it was a special joy to see their reactions to the climax and resolution of the play. There were gasps, and some “no way”s when each character met their demise. One member said of Rosencrantz and Guildenstern, “I’m a little sad about [them]. I’ve got attached to them!” Another member said, “They just kill these people, and that’s the play?!?” Another remarked, “How many times is Hamlet going to say that he’s dying?”

A big topic of the night was the reconciliation of Laertes and Hamlet right before their deaths. One member said that it was a reversal of the whole play for her: “King Hamlet was never free of it, and so he had to haunt the castle. Laertes is saying, ‘I have no hard feelings with you, you have no hard feelings with me.’” And so these two characters get to experience a freedom the older generation never does. This discussion led to a round of storytelling from the ensemble about reconciliations they had tried to make, have made, have yet to make, or cannot make. It was a really vulnerable night for many of the members. One remarked, “Since [a loved one] died, it's a whole new life. Now I’m playing a different role, and I’m able to put on new shoes in my life. … Every day I’m sober, I’m making amends.” Another member responded, “I’m not good at making amends. I need to make amends to myself.” 

The other big topics of the evening were Horatio and Fortinbras. “I think it's so funny that everyone is dead, and Fortinbras just walks in,” said one. Another followed up with, “Horatio should kill Fortinbras and become king—there’s still some poison left!” We ended with some ideas about staging, the predominant one being that Hamlet join his father as a ghost to finish the play.

We finished the night with a sense of accomplishment, and we all gave each other a round of applause. There was a real feeling that we had completed something, and a real pride for our ensemble.

Season Eleven: Weeks 12-16

WEEK TWELVE

Tuesday / April  11 / 2023
Written by KFG

We started the night with one ensemble member speaking about how much the program has meant to her so far. It was a great way to start the evening, and we jumped into the work in short order. We’ve gotten into a good rhythm of starting each evening with performances that the ensemble has been working on in their units. 

This evening began with five different performances from the group, including one member who had never performed before. We’ve been encouraging (and sometimes outright goading!) her to perform for a few weeks, and she has had the same answer: “Too much stage fright.” So it was really exciting to see such an active and dedicated member start to explore this aspect of the program. She said, “Believe it or not, I felt pretty good. I was freaked out, but I wanted to stay with it. … The more I read, the better I feel, and I’m breaking out of my shell.” A few ensemble members got a scene up on their feet that they had not yet rehearsed. That may not sound like much, but sometimes it can be very difficult for the ensemble members to even read aloud because of embarrassment. To be on their feet with no rehearsal—just trying a character on for size—was really indicative of the sense of safety we have cultivated. 

We continued on with Hamlet and read through Act one, scene four: the big one that everyone in the group has been anxious to read. It’s the scene where Hamlet confronts his mother Gertrude, and is so forceful in his confrontation that the ghost returns to keep Hamlet in check. Additionally, it is the scene in which the first blood of the play is drawn, when Hamlet kills Polonius. The idea of Claudius being the villain of the play because he has killed Hamlet’s father, and now Hamlet killing the father of Laertes and Ophelia, was a big point of discussion. The idea that Hamlet has become the thing he hates loomed large in the group. One person said, “Hamlet is turning Laeretes into Hamlet by killing his father!” Some pointed out that it was an accident: “How many people are here because of being caught in the heat of the moment?” One ensemble member responded, “That’s why I’m here, because of two minutes of my life.” So the scene really seemed to land, and the gravity of Hamlet’s situation was not lost on the ensemble. 

Another big point of discussion was the return of the ghost, and why it is that Gertrude cannot see him. The guards and Horatio can all see him in the first scenes of the play, so why is he now invisible to Gertrude? There were a flood of theories and we had a great time picking them apart. 

We ended the night with a challenge: to start framing the conversation around what each character wants in each scene. It is one of the big questions in modern acting and immediately seemed to activate the group. In the last 15 min of the night no doubt. “He wants love and acceptance!” said one woman. “He wants Gertrude to know his pain,” said another. Other comments included: “He wants to know if Gertrude was part of the murder”; “She wants to shut him out so she doesn’t have to deal with him”; and “She wants to protect him.” It was like a rapid fire lightning round on a game show—we facilitators could barely write down all the responses, they were coming so fast. It seems like the challenge has been accepted.

Friday / April  14 / 2023

Tonight was another great night in the ensemble. The check-ins have all been very thoughtful and vulnerable, and the group's cohesion is apparent during those first fifteen minutes. Afterward, we jumped right into reading the play, and tonight's selection seemed to fly by. There were several small scenes that ran back-to-back, so it seemed like we were able to just knock down several scenes in one go. We were also able to get most of them up on their feet, and because of their brevity and straightforwardness we were able to play with the staging of the scenes without getting too far into the weeds.

A favorite of the group’s was Act Four, scene three, where Hamlet is flippantly defiant to his uncle. “That felt great! I love being cocky!” said the actor who played Hamlet. Another remarked, “Claudius is next. We all know worms eat dead bodies, and so you’re next.” The night’s selection ended with Hamlet’s encounter with Fortinbras—most of the ensemble had to remember who Fortinbras even was and how he related to the story. “Hamlet is so wishy-washy,” one woman said. “This guy Fortinbras is doing it right!”

We finished the night playing Hitchhiker, a historical favorite of the group. As always, it did not disappoint, and we were able to finish the evening with some much needed silliness. At least seventy five percent of the group participated in this improv game, and one hundred percent were laughing along with us. 

WEEK FIFTEEN
Written by Kyle Fisher-Grant

Tuesday / April 25 / 2023

We began the night with a request to play an improv game, which made for a nice change and a great way to start. The ensemble have not been too interested in the improv games so far this year, so they have tended to happen at the end of the evening with whatever time is left, if we play them at all!

Tonight, there was a specific request to play a game we played earlier in the season when we had a very light attendance night, so it wasn’t really clear who knew the game already. The game was Dr.-Know-It-All, the crux of which is that each member of a three-person team can only say one word at a time to give (sometimes nonsensical) answers to questions from the group. There were a lot of hiccups at first, but we muddled our way through the game and were all having a great time. We then tried the game in Spanish, as a few of our members only speak Spanish. It was a lot of fun trying to get everyone on the same page, and my face hurt from smiling by the end of the game.

After we finished the game we started reading Act Four, scene five. It’s a very consequential scene for a number of reasons, mainly because we learn that Ophelia, (Hamlet’s love interest), in the wake of her father’s death at the Hamlet’s hands, has gone mad. Unlike some of the madness earlier in the play, Ophelia is completely divorced from reality, and it is clear that she is past the point of return. 

The main focus of the conversation though was not on Ophelia’s insanity, but on Gertrude’s initial refusal to see Ophelia. We spent almost no time discussing why we thought Ophelia had gone insane, which typically is the main attraction of the scene, but on a few lines from Gertrude. “Gertrude is responsible for Polonius’ death because she asked him to spy, so she probably feels guilty,” said one member. Another said, “She has to feel some kind of responsibility for the things going on in the castle!” Still another said, “She thinks this is happening because of Ophelia,” on account of Ophelia’s participation in the previous spying, “No one wants to be responsible for anything that is happening. She’s heartless—only concerned with protecting Hamlet!” Another added “[All] the indirectness is responsible for all the bad things in the play.”

In the second half of the scene, Ophelia’s brother Laertes returns and wants revenge on the person who killed his father. This is the opposite of Hamlet’s response to King Hamlet’s murder, and the ensemble really enjoyed seeing a character who was ready to take action. One woman said, “[Laertes] is taking charge, and I can feel it! This is how I would feel about my dad. He’s all business. I can feel the anger.” Another member pointed out, “The irony is that Claudius is still controlling everything and staying on top.”

We were all pretty excited to get the scene up on its feet; the ensemble is starting to develop a bit more understanding of acting technique. The ideas of staying in character when you don’t have lines, of reacting and responding to what the other characters are saying, of committing to the character fully, all are slowly being developed. Until now, it has been more about just getting up on your feet and reading aloud, and that has been more than enough of a challenge for many ensemble members. It feels like we are transitioning to another phase, where we are “leveling up” as a group. One member really demonstrated this by playing Laertes and going down on her knees, really committing to the role. Then she backed off and made a joke. We talked about this afterwards, about how just as she was right at the edge, she immediately laid off the character. It was right at the end of the night, so the ensemble agreed that we would talk more about this on Friday, and that we’d continue to work towards a deeper connection to the text.

Friday

Tonight felt like a real breakthrough, in that we worked within a new structure, with a level of personal challenge from the ensemble as a whole to which only a few had really committed before. We decided to revisit Tuesday’s scene, which was the ideal for taking a deep dive. Each character has quite a bit to do, but there is not the extra layer of wordplay that occurs in so many other scenes. It’s easy to get in the weeds a bit with double meanings and philosophical musings, but in this scene each character’s objective is unique, dynamic, and their “want” is very high-stakes. There are also a lot of characters, so everyone in the ensemble was able to have a part in the scene.

We decided to work this like a rehearsal of sorts, where we set the stage ahead of time, and went beat to beat, stopping where we didn’t feel like the scene was working. Right away, our Ophelia had difficulties committing to the madness. We talked about different ways she could imagine it, and how there was a definite detachment from what the other characters are concerned with and thinking. She said, “I feel like I have the whole stage, and I don’t know what to do with it!” We also talked about how she started goofing around when she started feeling nervous, and that the nervous feeling comes from vulnerability, which is where the acting starts happening; that it is like a car that won’t start, and she is pulling the key right as the engine is about to turn over. She smiled really big and said she’s excited to give this a try. She also added that it was hard to do with a book in hand, and that she wants to work on it over the weekend for Tuesday night.

The group as a whole was engaged during this time, throwing out lots of supportive comments and snaps while we stumbled through the scene. Each character went through a similar treatment: we asked what they wanted, where they were going, and we would stop when the movement seemed off or the commitment seemed to wane. Our Laertes had to address the subtle movements and non-movements of her character. There was the immortal director’s note in every theatre in the last hundred years: “If you want to move, then move!” We talked about what that looks like, the way children do a dance when they need to use the bathroom: if you have to go then go! Don’t stay in one place and dance around the fact that your character wants to move, just do it and do it completely. 

It was a really fun night, and the whole ensemble was abuzz with excitement. One member said, “I’m super pumped. I don’t know how I’m supposed to go to bed now!”

WEEK SIXTEEN
Written by Kyle Fisher-Grant

Tuesday / May 2 / 2023

Some ensemble members are really starting to take ownership of some of the roles in the play. One woman feels a particular affinity for Laertes and reads for that role every chance she can get. She started the night by asking, “At the end of my scene, am I appalled by Ophelia?” We weren’t talking about that scene at that moment, she just brought it up, knowing we would know that she meant Laertes' big confrontational scene, and that she would be playing Laertes. 

We continued moving forward with the play. In the first part of Act Four, scene seven, King Claudius convinces (and, arguably, manipulates) Laertes into taking his revenge on Hamlet covertly, which requires complicated plans and lots of poison. There was a lot of discussion about how much, or to what degree, Laertes is actually being manipulated. “He was already to go. Laertes was ready to kill—he didn’t get manipulated,” said one woman. Another counted that it’s not that he’s being manipulated to take his revenge, but how he’s taking it. “Now he’s the poisoner” instead of doing it in the light of day, she said. 

A few weeks ago, one member pointed out that all the bad things in the play stem from indirectness, and now she pointed out that Laertes is moving from a direct to an indirect mindset in his approach to the task at hand. The first instinct in the group was to reproach Claudius for his manipulation, and there was some identification with being manipulated by “a Claudius” in their life. 

One ensemble member went in another direction: “I’ve been manipulative like that. Everything that came out of my mouth was a lie… I learned everything on the streets. You think you’re living up to some expectations, but you’re dying a little everyday.” And suddenly the group moved to a place where we were discussing our identification with Claudius, our identification with Hamlet, and what we imagined Hamlet’s identification with Claudius would be. There was a lot of good natured debate, in the middle of which one ensemble member said, “This is what I love about this group, we can all disagree!” There were lots of head nods and vocal agreements. She went on to say, “I don’t have to be a badass when someone scuffs my shoes. I can be normal. I can be me.” Another member said, “I only stayed for my girlfriend [who was in the group], but now it’s something I want to be involved with. I want to get involved with the theatre. It’s part of my parole plan. I’d have picked on you in high school, and now I’m one of you guys!”

Friday / May 5 / 2023

It's a real joy to work with a text so familiar to me with ensemble members who are reading it for the first time while in session. The twists and turns are felt in real-time, and it can be hard to remember that everyone is not familiar with Hamlet. In tonight's scene, (the second half of Act Four, scene seven) we discover that Ophelia, Hamlet’s love interest, has died by drowning. This is reported in great detail by Gertrude, and it was the ensemble’s general interpretation that Gertrude was a witness, but cared little for Ophelia and felt nothing about her death. “She just watched her go down,” said one person. “I felt she’s all monotone,” said another. One member countered, “We don’t know Gertrude saw this. How I hear this is more like someone recounted this to her, or maybe Gertrude saw it from far away and couldn’t get to her.” 

We talked more about the episode in the text, and it was pointed out that Gertrude never actually says that she cares nothing for Ophelia; furthermore, she never says anything about feeling loving towards her, either. So, textually speaking, one interpretation was as valid as the other, and we asked if the ensemble member playing Gertrude, (Another member of the ensemble who has something of a monopoly on a character) would try it again with the interpretation that she was heartbroken about Opehlia’s death. 

She read the passage with this different interpretation and earned loud applause from the ensemble. We talked about how we felt about it now, and even gained the slightest of concessions from our Gertrude that the reading was still textually adherent. We even managed to get a few more dissenters from the ensemble. “It changed my mind!” said one. “It was more sincere. She was broken down,” said another. We finished the discussion with the decision going to the actor playing the role. It’s exciting to see the ensemble beginning to think about how they would interpret a given character, and it’s a joy to see that kind of empowerment take hold.

Season Eleven: Weeks 9-11

WEEK NINE

Tuesday / March 21 / 2023
Written by Kyle Fisher-Grant

Tonight we started reading Act II, scene ii of Hamlet. It is a very long scene, and in a professional production’s rehearsal process it would be divided up into three or four smaller sections because of the text's density. So, needless to say, there was quite a bit to get through; some of Shakespeare’s most advanced and celebrated writing, so we quite deliberately took it slow as we made our way through the scene. 

The scene starts with the court discussing the love-tokens Ophelia has refused from Prince Hamlet. They are spoken about in detail, and criticized by Polonius, Ophelia’s father. Naturally, there was quite a bit of identification from the ensemble about the tragically hopeless love-tokens they gave and received when they were younger. In retrospect, they all seemed as misguided and cringe-worthy as Hamlet’s. Some of their stories were of mix tapes and playlists, keychains, antagonizing one’s childhood “love” interest, going bird hunting, and more. Everyone laughed and swapped stories about how embarrassed they were as young people trying to navigate their first “love”, contrasting it to Hamlet and Elizabethans customs.

As the scene progresses, Hamlet enters and starts to appear to be acting out of madness. The ensemble had a lot to say about the immortal Shakespearean debate as to whether Hamlet is acting crazy to throw everyone off his revenge plans, or whether he has actually gone insane. The ensemble's general consensus was that Hamlet is only pretending to be crazy to throw everyone off his scent. That being said, several ensemble members acknowledged that Hamlet must be in a tremendous amount of emotional pain, even if he is pretending to be mad. One member said, “Can you imagine that kind of weight? Knowing what you gotta do? It’s giving him bad dreams—he has to keep Ophelia away from him while he carries out his task.” Another said, “He has to kill. He can’t be with Ophelia because he doesn’t have choice, and so he doesn’t feel free.” She continued, “Everything is a shadow…He’s wondering if this is even real. To kill someone is a big deal, [and he doesn’t even know where to begin].” There was more conversation about the fact that Hamlet could not pursue love and revenge at the same time, and he was in a great deal of pain having to give up Ophelia, all while having to keep it a secret. Hamlet goes on to say that Denmark is a prison, and that he was in prison because in his mind, “There is nothing either good or bad, but thinking makes it so.” We discussed whether that is true, and whether Hamlet is right to call his world a prison. In response, an ensemble member said, “My body is here [in prison], but my mind is somewhere else—somewhere free.”

We ended the night with some games, and although they were quick, it was a great way to finish the evening.

Friday / March 24 / 2023
Written by Kyle Fisher-Grant

Tonight, we continued working through Act II, scene ii, which we were able to finish and get parts up on their feet. The second half of the scene is incredible as Shakespeare starts to break down the nature of reality, dreams, and the theatre. That being said, it’s largely symbolic and gets further away from any progression of the plot. It’s a tricky bit of text for those unfamiliar with Hamlet. There is a lot of discussion of characters in a play Hamlet has seen that the audience never does, and it was difficult figuring out with the ensemble who and what he’s talking about, only to follow up with “don’t feel like you have to remember all that!” Once we were through the thick of the scene, the point really began to become clear for many ensemble members.  At the very end of the scene is the second of Hamlet’s  great soliloquies. These are some of Shakespeare's most celebrated texts, in one of his most celebrated plays, so there is always a ramp-up in the ensemble's attention when we arrive at them. 

We spent all of Tuesday reading while seated, so there was a big push tonight to be active and up on our feet. With the first big soliloquy (“Oh, that this too, too sullied flesh…”) the ensemble had had a real breakthrough when each member performed with a partner, switching off verse lines. One member specifically asked to do that exercise again, so we broke off into pairs and small groups to work on part of the text from one of the soliloquies. Most groups worked on the final soliloquy (“Oh, what a rogue and peasant slave am I…”), but a few branched out to other parts of Act II, scene ii. After about 15 minutes, each group showed what they had been working on to the rest of the group. Like last time, it felt like we were catching magic in a bottle. Every single group performed, with several performing for the very first time. One member, who does not speak English, performed part of the soliloquy in her native language. It was a very vulnerable moment for her, and the group responded with resounding support. It was a really beautiful moment at the end of the night. You could feel the Shakespeare-fellowship being very deeply cultivated in our little group.

As the soliloquy was performed over and over again, a few in the group commented on how much clearer the text was when seeing it up on its feet. There were identifications that I don’t think would have been made otherwise. One member said, “It’s like [facing a family tragedy] and feeling helpless. All I have to say are words, and words don’t help. What do they even mean? I’m not telling them what I’ve told them a thousand times before. You gotta show what you mean, because words are meaningless.” In the scene, Hamlet labels himself a weakling because he knows what he needs to do and can’t do it. A few members likened it to some of the struggles they experienced before coming to prison, knowing they needed to stop but not quite being able to go through with it. It was a really powerful night, and there were so many moments when the group were able to make profound identifications with the text in a truly supportive environment. At the end of the night, I issued a challenge to work on something from Hamlet and bring it to the group on Tuesday. There were several promises to do so, and a lot of enthusiasm for next week.

WEEK TEN

Tuesday / March 28 / 2023
Written by Kyle Fisher-Grant

At the end of last week’s session, I issued a challenge to the ensemble: I believe I said, “I double-dog-dare you” to prepare something for the next session. The parameters could not have been looser: choose a monologue or dialogue, any character, any part in the play or any other play, and bring it in to show the ensemble. I thought maybe three or four members would do it—but we had eight performers! It was wonderful to see the ensemble jump head first into this challenge so completely. They brought pieces from various parts of the play, and a good range of characters were represented as well: a couple of Hamlets, a Claudius, a Gertrude, an Ophelia, and a Ghost. Truth be told, I’m not sure everyone was planning on performing what they had worked on over the weekend. As we worked our way around the circle and more and more ensemble members said, “I’ll go next.” The willingness to perform became contagious, and the night seemed to pick up momentum. It was fantastic!

We didn’t finish the performances until almost 7:30, almost an hour after we started. We started reading from Hamlet, and started Act III, scene i. This is a VERY famous scene, which contains the “To be or not to be…” speech: perhaps one of the most well-known pieces of text in all of English literature. We really took our time with it and made sure we understood each line of verse, and there were many identifications with their lives, and with their experience of incarceration. 

We continued on in the scene, in which Hamlet cruelly scorns his love interest and arguably ends their relationship. It is, like so many parts in Hamlet, a complicated scene that scholars have debated for years, and our ensemble was no different in their abundance of theories and interpretations. “‘Get thee to a nunnery’ is about ‘get out of the picture and be safe.’ He’s trying to save her,” said one member. Another said, “He’s pushing her away—he can’t let his feelings get in the way…Now is not the time to let his love-feelings out.” Some thought that Hamlet thinks Ophelia is just a pawn and is really talking to Polonius and Claudius. Some said he was showing tough love to get her out of the picture, some thought that he felt betrayed and was scorning her, and some thought he can’t pursue love and revenge at the same time. The discussion brought us right to the last minute of the evening, and we finished the night eager to pick up the conversation on Friday. The ensemble did make sure to “triple-dog-dare” me to perform something on Friday night, a challenge which I gladly accepted.

Friday / March 31 / 2023
Written by Kyle Fisher-Grant

As soon as we got into the room, the ensemble asked me if I had worked on a monologue. I said that I had, but it is a monologue from a little later in the play. After check-in and bringing down the ring, I launched right into a performance of it. Everyone was very supportive, and it was really nice to hear them coming together to be so encouraging. 

We launched into the working on Act III, scene i on its feet. We read right up to the end of the session on Tuesday, so we didn’t get to act out the scene. The ensemble talked about how much easier it is to perform in front of each other, even feeling comfortable working through material they hadn’t practiced or even read before. One member, who has been too nervous to perform before now, completed an entire scene on her feet tonight. The ensemble cheered her on and gave her lots of support all the way through and after. We continued on and worked Act III, scene i, “freeze” style, meaning the ensemble could say “freeze” and take over one of the characters they wanted to try. 

We had to end the night early, but we’ll be back in action next week!

WEEK ELEVEN

Tuesday / April  4 / 2023
Written by Kyle Fisher-Grant

After check-in, we got right to work reading Act III, scene ii. This is a very long scene, and it is a mystery that Shakespeare did not split it up into smaller scenes. There was no way to finish it all in one night, but we sat down, dug in and started reading. Hamlet is arguably at his most unhinged, so this text can be quite challenging for those unfamiliar with Shakespeare. Shakespeare is sometimes difficult to understand when all the characters are making sense, but when you have a character acting out of his mind and responding in a way that isn’t intuitive, it can pose even more questions. This is a scene in which the characters watch a play, and that also can be confusing. Once over that hill, though, the ensemble had some good ideas on how we could stage this part of the play.

There were some really wonderful identifications with Hamlet’s craziness before the play-within-the-play. One member said, “He’s anxious right before the play. He’s about to find out if it’s fake or the real deal. …He’s going crazy because he’s about to find out if he is going to kill someone. Reality is not what he wants, so he’s all ‘delay delay delay!’” Nearly everyone shared a story about trying desperately to delay the onset of the reality of a situation. Some referenced their lives in general, some referenced the time that led to incarceration, some about leaving prison and being nervous to be on the outside again. Most members had something to add, and by the end of the conversation, Hamlet’s craziness seemed a lot more normal.

Friday / April  7 / 2023
Written by Kyle Fisher-Grant

Tonight we had another round of performances, which is always a real joy to see. The ensemble is really getting the hang of the process, including that they have the ability to work on whatever they want to bring to the group. It was a great clarification that the “double-dog-dare” from a few weeks ago is an ongoing challenge that can be taken on at any time. And so we spent the first part of the evening checking out what the ensemble has been working on, and giving snaps and support to those up on their feet.

We started on Act III, scene iii, which albeit less famous than “To be or not to be…”, is still up there in the canon as some of Shakespeare’s best stuff. It’s a densely layered scene in which Claudius attempts to pray and finds he cannot actually pray until he repents, and he cannot repent until he gives up the throne—which he will not do. He is followed closely by Hamlet, who is about to take his revenge but decides not to take the king's life while he is praying, lest he go to heaven. Hamlet wants a darker outcome and decides that he will take revenge when Claudius has more dirt on his soul. The great irony here is that Hamlet is unaware that Claudius cannot repent, and, thus, the cycle of procrastination and inaction continues. There was a lot to talk about, and lots of identification to go around. Most of the conversation centered around whether Claudius felt any guilt, and what justice could look like if the characters could make different choices. There was a lot of identification with Claudius, in that he feels like he knows what he needs to do but can’t quite give it all up. 

One woman said, “You can be honest and repent, but the hard part is to admit to yourself that you’re that kind of person…What does that say about myself? He probably doesn’t want to confront himself.”  Another responded, “In order to heal, you have to confront what you’ve done wrong. You gotta accept that in yourself. You gotta forgive yourself.” Another member said, “You gotta take action steps!” Yet another said, “He’s like, ‘Can I be forgiven and keep the crown? Can I keep this shit, have my cake and eat it too?’” “I like the part about the angels, I can relate to that!” another woman said, meaning there would need to be an intervention that allowed him to pray in order for him to do it.

We moved on to Hamlet’s soliloquy, and what a change had come over him. Suddenly, it was not enough for Hamlet to seek revenge. Now, he wanted Claudius to suffer and go to hell, which made for a dramatic change in his outlook and objective for the play. I felt certain that his monologue would spark the same kind of response that Claudius’ had, but the conversation kept finding its way back to Claudius’ prayer, or non-prayer, depending on your interpretation. We got the scene up on its feet and even introduced some staging for the ensemble members to make it read a bit more clearly. “I imagine Hamlet creeping in while Claudius is praying!” said one member, and we thought of ways for Hamlet to do so. We finished the scene, and the group was VERY eager to know what Hamlet was going to say to his mother Gertrude, so we dove into the beginning of that scene, knowing full well we’d have to read the bulk of it next Tuesday.