Today’s date: Monday July 6, 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 blocked the last half of 5.2 from yesterday. More props were pulled and brought to the main stage (stools, swords, tray and basket with cups and jewels, etc.). Mili then ran through tops and tails (beginning and end) of 2.5 and 3.3 with the involved campers. During that time, we cofirmed who the curtain pagers will be (for 2.5 and 3.3). We solidified entrances and exits (and on which side they would happen) or if they are through the discovery (middle through curtains). For 5.2, we determined who will be taking Cleopatra’s throne off at the end. Also in 5.2, we did a mini fight call for 5.2 and the moment when Cleopatra beats up the messenger (wearing knee pads for protection) for giving her bad news regarding Octavia. The campers performed that moment many times at different levels (10%, 20%, etc.) for the correct effect and to have little to no anticipation from the camper playing the messenger about the slap right before it happens. No anticipation so the reaction can be on the intended beat. We then did the actions following the slap (the stomach punch) and making sure the two campers hold eye contact through the entire confrontation. Jumping to 3.3, Mili gave blocking and physicality for the messenger’s re-entry into the scene. Those who worked with Analise a few days ago on devising moments for 4.3 showed said moments to Mili and began working parts of those moments into the changing of the guard scene happening in 4.3. We then ran 4.1 to 4.3 with entrances and exits for those in 4.3 and on the last lines of 4.1 (the conversation between Caesar and Maecenas on the balcony). Afterwards, the ASC Technical Director Conrad taught and showed campers how to use the trap door. Those who will be opening it (Charmian and Iras) and those closing it (Diomedes and someone else). We then worked on pulling Antony out safely using rope being near his lower back and his hands tightly gripping the rope, with Charmian and Iras on either side pulling him out. Topher demonstrated it first so campers could see first before running it a few times for safety reasons. For 4.3, the campers who were with Analise broke into their three groups to show their devised moments/tableaustries. We also ran and worked Antony getting into the trap and pulling him out. Those not involved in these things ran lines, or sat in the audience and observed.
2-5: Campers had music rehearsal with Scarlet (show song – Still Into You, Hailey Williams) for an hour at the beginning of our afternoon block. Those campers playing instruments (violin, piano, etc.) brought it with them from campus, or used the ASC piano. We then blocked the “scene transition” from show song into 1.1. The entrances and exits for those not onstage during the beginning of 1.1 (except Philo, Demetrius, A&C, others) were established. We practiced the top of the last chorus, with only Scarlet singing and the campers practicing on which “into you” they leave on to have the stage left and right door closed on the right timing for the first line of the show. Afterwards, those involved in any scene with stage combat went downstairs with Topher for fight time. Each pair worked individually with Topher to work through their fight sequence and moves. The rest stayed upstairs with Mili and worked on sound effects for certain parts of the play using rain sticks, drums, etc. We then regrouped upstairs to block 4.14, starting with Antony’s and Eros’ deaths, and then the rest of the scene. We established who would be dragging or helping Eros and Antony off. We then ran tops and tails for 4.14. For the last hour of rehearsal, we went through assigning costumes (actor names, character(s) name, picture of costume(s)).
7-9pm: We finished getting costumes for campers then did a full run (sound effects and all, without costumes).
Quick and Quotable
- From the play: “The star is fallen” Second Guard, of Antony 4.14
- From the director: “We’re not disney-kneeing to get down.”
- From the cast: “You look like a starfish, Mili.” Laura; “In eighth grade, they used to call me Shakira because they don’t lie.” Kaleb
Production Insights
Long rehearsal days when all aspects of a performance slowly come together are often the most exciting, as you get to see the final picture come into focus. That is one of my favorite times of the process because it dawns on you how beautiful it will look with everything – dialogue, acting, instruments, sound effects – in the intended order. While Antony and Cleopatra is such a beast of a production, I am so proud of these kids for taking on the challenge and the dedication they’ve shown during this time.
