Fight choreography isn't just about skill or finesse, or speed and execution. Onstage, fights exist to help tell the story, and every moment counts. When a character draws their blade--or puts up their dukes--who makes the first move, the point of contact, and the end of the fight are all critical moments in story-telling. A fight arises in a story as a moment a character can no longer use their words to express their feelings. Whether those feelings be anger, frustration, or derision, we are moved to violence only when it is our last resort.
In our choreography, from the Addams Family the Musical tango to any kind of Peter Pan to Romeo & Juliet, we consider that specific iteration of the story being told. Including both directorial vision and the actor's ability and concept of character, we aim to make all fights match the vision of that show with attention to every detail of the circumstances of the violence.
We have specific experience working stage combat choreography and workshops with young kids and teens safely. In addition to ten years of experience and interning at both Santa Cruz Shakespeare and Oregon Shakespeare Festival, Josephine is certified in rapier & dagger, unarmed, and single sword through the British Association of Dramatic Combat, and broadsword through the British Academy of Stage and Screen Combat, and attends Historical European Martial Arts (HEMA) classes for rapier in her spare time. Darwin is certified via Dueling Arts international for hand-to-hand and broadsword combat, and has continued as an teaching assistant for Southern Oregon University's combat course.