We started the session by clearing the room and setting up all of the set pieces and props for the show. Before long, the room shifted fully into performance mode as the ensemble gathered, checked in, and raised the ring together.

Tonight marked the first of our three official dress rehearsals for The Comedy of Errors. With props in place and the full environment beginning to come together, the show suddenly felt very real. Fisher-Grant stepped in as the Duke while I filled in as the Courtesan so we could keep the run moving smoothly.

The energy throughout the rehearsal was high from the very beginning. After a more difficult run earlier in the week, the ensemble came in focused and prepared. The addition of set pieces and props elevated the storytelling immediately. Several ensemble members brought strong projection and commitment to their scenes, while others found new confidence in comedic moments that landed especially well with the group. Dromio (E)’s “quoth” section had everyone laughing, and the chain scene crackled with energy and momentum.

One of the most exciting shifts of the night was the atmosphere backstage. As soon as the rehearsal officially began, the ensemble settled into show mode. Scripts were open, notes were being reviewed, and everyone seemed deeply aware that performances are quickly approaching. Fisher-Grant joked about how unusual it was to see such little goofing around backstage. The ensemble was ready to work.

Throughout the run, we focused on refining pacing, tightening transitions, and improving cue pickups. We talked about how scenes should overlap and move immediately into the next moment to keep the energy alive. The chase sequence around the audience still needs to become faster and cleaner, but the overall timing of the show improved significantly. By the end of the rehearsal, we completed the run in 92 minutes, a major milestone for the production.

We also spent time discussing how to navigate mistakes during performance. The ensemble reflected on questions like what happens when someone misses a line, enters late, or forgets a prop. Rather than approaching those moments with fear, the conversation centered on trust, adaptability, and continuing the story together no matter what happens.

There was also space for honest conversation throughout the evening. One participant reflected on the emotional weight of the world and the challenge of holding hope alongside hardship. Another ensemble member spoke about fairness, consistency, and the importance of creating stable expectations for the group moving forward. These conversations reminded me that the work happening in the room is always larger than rehearsal alone.

We ended the night by raising the ring together, closing out our first dress rehearsal with focus, laughter, and a growing sense that the ensemble is ready for performance.