Two days later, the ensemble reached another major milestone: stepping into the proscenium for the first time this season. That shift—from sitting in the circle to standing on the stage—is always a thrilling one. It signals that the work is transforming from exploration to performance.

The evening began lightheartedly, with jokes and laughter. When the audition packets were handed out, someone quipped, “We don’t consider this to be a gift!” and the room erupted. After a brief conversation about the coming weeks—practicing audition pieces, exploring roles, and building confidence—the ensemble moved eagerly into the performance space.

The first scene opened with two participants playing Luciana and Antipholus, running their lines twice and finding more confidence each time. Another group followed with a fast-paced exchange between Dromio and the Courtesan, and soon the stage was alive with motion and laughter. When one actor froze mid-scene, a voice from the house called out, “Move around! Stop standing in one spot!”—drawing good-natured cheers and helping everyone loosen up.

Throughout the evening, performers experimented with rhythm, projection, and physicality. One ensemble member presented the Duke’s monologue, standing tall at the podium while peers offered encouraging notes—“slow down,” “take a breath,” “stand proud.” Another scene drew big laughs when an actor was told to “seduce the audience,” and a friend in the seats pretended to swoon, clapping and laughing along.

There wasn’t much discussion that night because no one wanted to stop performing. One scene after another flowed naturally; people were volunteering before the previous one had even ended. It was clear that the ensemble had leveled up. The nervous excitement of stepping onto the stage for the first time mixed with the joy of seeing each other shine.

As October closed, the Comedy of Errors ensemble stood quite literally on its feet—ready for auditions, brimming with courage, and united in their shared leap forward.