Today’s date: Tuesday June 30, 2026
Show title: Antony & Cleopatra
Director: Mili Koncelik
Staff crew: Analise Toone, Topher Zane (RDAs), Julia Hill, John Spellman (interns)
What we did
9-12: We continued blocking starting at the end of 2.7, where we left off yesterday. We then moved to 3.2 and 3.4. Campers were very excited to finally block a balcony scene (3.5 with Enobarbus and Eros). The two campers who had the first balcony scene made choices that, despite not being in the Playhouse today, made it easier to visualize for those watching. After an initial run of 3.5, Mili worked with those campers in 3.6 and talked through line deliveries and what the context of the scene is for certain characters (like Caesar). Mili would stop at certain spots to either give blocking notes, tell campers to slow down with line deliveries (or give context for the line), or give clarification for how certain words are to be pronounced. She then called for those in 3.7 and started by giving the order for entering at the top of the scene and then blocking notes for certain lines and what lines can be delivered straight to another character during the scene. To gain more understanding and give context, she asked certain people what their characters are saying. After a ten minute break, we began 3.8 and 3.9. Mili explained the blocking for the scene, which will be on the balcony. For 3.10, Mili gave blocking for the involved characters and gave context for the scene. As 3.10 includes a sea fight sequence that is only heard by the audience, campers were assigned certain adlib/warcrys to say in that moment. Mili also rehearsed marching formations with each group on both sides (Candius w/his land army on one and Taurus, Caesar’s lieutenant, on the other). After running the full 3.10 (marching and fight sequence included), Mili and the camper playing Antony began working on his small monologues in the beginning of 3.11 and talking through it with the camper so it makes sense to him. The campers playing Cleopatra, Charmian, and Eros were then called in to work on and block the dialogue for the rest of 3.11. Mili worked with the campers playing Antony and Cleopatra to establish the intimacy moments between the two to be as comfortable and familiar as possible. Before running the full scene, Mili blocked the rest of 3.11 with the other involved campers. After a five, we jumped right into 3.12 – establishing blocking, formations, cue lines. After doing an initial run of the scene, we went back to certain sections of lines for certain characters to explain and give clarity to what the line means (especially if it’s a longer sentence – Ambassador, 3.12). For the last half of rehearsal, Topher (one of the RDAs) led a character work activity in order to help campers stay in character/better embody their character. He first had them pair up, assign who is partner A and B between them, then both walked around the space, with B mirroring A then discussed what they saw – and then they switched with A now observing B, one stopped and watched the other and then discussed what they saw. Campers then circled up with everyone else and shared what they learned. They then shared why they thought it was important to do an activity like this: it’s important to take the things that are apart of how you walk and put that together with how the character walks.
2-5: At the top of our second rehearsal, campers received a cast list and doubling chart stapled inside the front of their scripts to remind them when they are on stage. We then began a run from 1.1 through 3.9, before circling up for notes. Mili began the notes session by asking what the campers learned from the run (not rushing, looking forward to not holding the scripts so the blocking comes back easier, etc.). She also urged the importance of projection (especially when in Deming Black Box, which has fans to cool it down and not be so muggy) in order to be heard over the fans and so audience members all the way in the back of the Playhouse (and in all other parts) can hear everything clearly. After finishing notes for 1.1 to 3.9, we took a break before starting at 3.13. While Mili worked through blocking with campers playing Cleopatra, Enobarbus, Charmian, Iras, Ambassador and Antony, others ran lines or observed the work being done. Mili and Topher worked with the campers playing Thidias and the character dragging him offstage to make sure everything was clear. We then ran that full sequence (from “Tis your noblest course..” 3.13). We blocked 4.1 (with Caesar and Maecenas on the balcony) before ending for the day.
Quick and Quotable
- From the play: “I must not think there are evils enough to darken all his goodness.” (Lepidus, 1.4)
- From the director: “Fail gloriously. You’re going to do great.” Mili
- From the cast: “That was on my bingo card….I didn’t make a bingo card.” (Zephyr)
Production Insights
Rehearsal days can be and are often very long and tiring. However, when an actor finishes a day that was very productive despite being long, it can be so rewarding. I feel like I learn the most during the long days when everyone, cast and crew, are in the same boat – crafting the show and creating moments. Whenever I’ve done a production, those first rehearsal days and tech week days are often the longest but are also the times you learn yourself as the character, that really make the show the product audiences will eventually see.