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.