Today’s Date: Friday June 26, 2026
Show Title: The Tragedy Of Antony and Cleopatra
Director: Mili Koncelik
Staff Crew: Analise Toone, Topher Zane (RDAs), Julia Hill, John Spellman (interns)
What we did
Text work (1.1-3.10)
We began with a rather brief game of East Enders before circling up for text work for 1.1 to 3.10. Mili explained certain parts of the punctuation and text (changes, how campers should not stop until the end of the text clause – meaning saying the whole thing together). She also said how a copy of Arden Shakespeare (high scholarly source of the play) will live in basecamp for anyone who wants to learn more, or work more on text or wording outside of rehearsal. Then we began text work (talking through what words mean in the context of the scene or line, what a character is saying in modern language, etc.). In between reading the scene, Mili gave necessary context and background so the actors could really be in the world of the characters as real people. We then broke into smaller groups to do text work on individual scenes so actors could understand character situations, what they are saying, etc. One group stayed in the room with Mili and worked through different scenes; while the other group went with the other RDA (and dramaturg production intern) to work through other scenes with Antony, Cleopatra and others (these included 1.3, 1.5, 2.5, 3.3).
Quick and Quotable
- From the play: N/A
- From the director: N/A
- From the cast: N/A
Production Insights
Being prepared and knowing your lines is obviously super important in theatre, but I’m learning that it’s especially important in Shakespeare as it is almost like a different language of its own. However, by being an intern at a Shakespeare theatre camp like ASCTC, I’ve learned that a different process is required and I’ve enjoyed watching it. As a theatre person who has done very few full Shakespeare productions, I am quickly learning that Shakespeare actors have to fully understand the text to know what they’re saying while grasping what their characters go through throughout the play. In order to be a better theatre maker, I am so grateful to be in the room to see this process in action, especially with young people in these iconic roles, like Caesar, Antony, and Cleopatra. By being in the room with these young people working through this text, I’m learning how when you dedicate yourself to understanding a play, especially one done by Shakespeare, and you do it with others who care just as much about doing a good job, the reward is nothing but satisfying and that is why theatre is so fun. To me, I grow toward who I want to be as an actor when working with others in the rehearsal room, because through watching, listening, and discussing the text with fellow actors and director is how the production grows but also how actors grow. The type of actor I want to be is one who learns from her fellow actors or how to be better in a space that challenges me. That is something I have learned from watching these actors so far in rehearsal – and it’s only the second day of actual rehearsal!