Our shift to be less reliant on audience participation informed the last month of our rehearsal period, which we jokingly called “performance bootcamp”, where we shifted our focus toward performing more expressively and confidently, and put more effort into rehearsing rather than generating more material. We created choreography inspired by The Butterfly Who Flew Into the Rave Fringe show, mapped out each section with precision, rehearsed our Azrael “origy dance” for a day to get even more comfortable improvising with eachother, developed catwalk characters that folded spectacle into social commentary, did a burlesque workshop hosted by Morgan, and cultivated a stronger presence through our new inner personas. By improving the clarity and energy of our performance, we gave audiences more to watch, and participation became more compelling precisely because it was not demanded. This period also altered how we related to one another. In this bootcamp era, we also became more attentive to each other through group warm-ups, shared improvisation, and repetition. By having more structure and a tighter schedule, we were more attuned to each other as we could better trust the container of the collective. Audience members remarked on the trust and connection they perceived between us in the final show, and several were surprised that we had only been working together for a few months. What they were witnessing was not only a performed intimacy but also a genuine bond that had developed through tighter rehearsal and more time to understand each other and the piece.