The evening began with preparations for props and art supplies as the ensemble continued building the visual world of The Comedy of Errors. Santillan and I worked on gathering materials while the ensemble checked in and prepared for another rehearsal focused on transitions, movement, and pacing.

As the group worked through scene changes, members collaborated on entrances, exits, and backstage responsibilities. Conversations drifted between props, paper mâché techniques, and life beyond the rehearsal room. One participant reflected, “Sometimes I’m like… I can’t believe I’m in prison, only up from here. This is as low as I want to go.” Another participant shared that she is becoming certified as a recovery coach and hopes to teach recovery work in the future, highlighting the ways growth and transformation continue alongside the artistic process.

The rehearsal centered heavily on transitions and staging logistics. The ensemble assigned movements for scene changes and carefully worked through where chairs, benches, podiums, and other pieces would move throughout the show. In the back of the room, ensemble members and facilitators continued building and organizing props while the rest of the cast refined Act 5, Scene 1.

Fisher-Grant and I worked closely with performers on using the audience more intentionally within the space. During one monologue coaching moment, a participant asked, “So move around?” Fisher-Grant responded, “No, just use the space to make your point!” It became one of many reminders that the ensemble is continuing to deepen not only the technical side of the production, but also the clarity and confidence behind every performance choice.

The night closed with the counting game, the ring, and another step forward toward opening performances.