From Script to Stage: Fight Choreography

20848584996_4378699ee9_zA lot goes into the intense fighting in our production of Macbeth and it couldn’t be done without the expertise of Fight Director Geoffrey Kent, resident fight director for the Denver Center for the Performing Arts.

We are launching a brand-new video series From Script to Stage and to kick things off, we had a chance to sit down with Kent on what goes into creating fight choreography, the kind of swords that the actors use onstage, what patrons can expect to see and more. Check it out below!

The Shakespeare drama takes The Rep stage Sept. 11-27! Book your tickets to Macbeth by calling (501) 378-0405 or visiting

Wait Until Dark Wednesday: Fight Choreography Photos

10599443_10152293686761105_3499274649356528634_nThere is no denying that there are some physical scenes in our production of Wait Until Dark— from an innocent slap to pushing to full-on fighting. And to get the actors prepped for the physical nature of the historical production, they have left it in the hands of master instructor and fight choreographer D.C. Wright.

Throughout rehearsals, Wright, who has worked on Rep productions, such as The Compleat Wrks of Wllm Shkspr (Abridged), Treasure Island, Death of a Salesman, To Kill a Mockingbird, Henry V and more, runs through each physical scene in slow motion to ensure actors are safely acting out their scenes and also make sure it’s as realistic as possible.

Check out these photos (and video!) that we captured during a recent fight choreography rehearsal before the run of the show!

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Craig Maravich (Mike Talman) and Amy Hutchins (Susy) run through their physical scene

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Maravich and Hutchins

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Nate Washburn (Sam) and Hutchins act out their innocent slap scene

VIDEO: Husband-and-wife team Hutchins and Michael Stewart Allen’s (Roat) fight scene in rehearsals below:

Great seats are available for Wait Until Dark. Purchase yours online or by calling the Box Office at (501) 378-0405.


D.C. Wright (Fight Choreographer) is excited to be back at The Rep again, having previously directed the fights for The Compleat Wrks of Wllm Shkspr (Abridged), Treasure Island, Death of a Salesman, To Kill a Mockingbird, Henry V, Hamlet, both productions of Les Misérables, Moonlight and Magnolias, Of Mice and Men, and Romeo and Juliet. He has also directed fights for One Man, Two Guv’nors and Hamlet at Theatre Squared in Fayetteville; Romeo and Juliet, Winters Tale, Titus Andronicus, Taming of the Shrew, The Complete Works of William Shakespeare: Abridged, Macbeth, Twelfth Night and Henry VIII for the Illinois Shakespeare Festival; and the Off-Broadway production of The Blowin of Baile Gall. D.C. Wright has been teaching, performing and directing violence since 1994.  He is recognized as a Certified Teacher of Stage Combat by the Society of American Fight Directors and as a Master Instructor by Dueling Arts International. D.C. teaches Movement and Stage Combat at Western Illinois University.

Dance Fight: Battle Choreography in Arkansas Rep’s Henry V


Watch as Fight Director D.C. Wright explains how stage combat is planned and rehearsed for maximum impact with minimum injury. 



Stage combat is risky business. One wrong move, and serious injury could result. That’s why professional Fight Directors are in charge of staging fight scenes that are visually thrilling, while maintaining safety for all actors involved. The choreography is approached much like a dance sequence. Except in this case, the dancers are trying to kill each other.

Fight scenes are planned and then first rehearsed with wooden poles at half speed. Once the actors become trained in the sequences, they move up to using stage weapons. While not razor sharp, the swords, axes and spears you’ll see in the battle scenes at Henry V are replica weapons and could cause major injury if not handled properly. Cast members rehearse fight scenes before every performance to maintain form and precision.

Watch the dramatic battle of Agincourt live on stage. Advance Tickets to Henry V are on sale until Friday.