She Kills Monsters: Stage Combat Do’s and Dont’s

Make it Sparkle Video with Mike Catron
Stage Combat Choreographer

7:08 (runtime)

Director’s Notes

Stage Combat Choreographer Mike Catron advises modifying stage directions to suit your space and performers' abilities, avoiding complicated maneuvers that could look bad or be dangerous if done wrong.

• He suggests using authentic weapons such as steel swords to enhance the audience experience and authenticity, despite these requiring careful handling and shorter fight sequences.

• Mike stresses on the significance of practicing extensively to ensure safety while creating impressive effects, such as sparking blades.

• He points out the importance of communication, reminding directors to encourage performers to report any injuries immediately.

• Mike highlights the creative freedom in choreographing stage combat, allowing for a mix of different weapons and styles, to maintain the audience’s interest and investment in the show.

• Lastly, he emphasizes the importance of finding a trustworthy choreographer who prioritizes safety training and proper handling of weapons. He encourages not to settle for the first person you find and change if necessary.

About Mike Catron

“I am a High School English Teacher and Assistant Theatre Director.

I am also a certified Taekwondo Instructor, holding a 6th degree black belt in the Universal Taekwondo Association and American Grandmasters Association.

I teach Taekwondo, practical self-defense, and work as a stage combat choreographer.

I have taught martial arts for over 25 years, have been a high school teacher and combat choreographer for over 10 years. I started my own stage combat service: Three Esses Combat Choreography, in 2018.

As I English teacher, I teach primarily Creative Writing and AP English. My background in Literary Analysis, Creative Writing, Theatre, and Combat provides me with a useful synthesis of perspectives that inform my stage work. 

In addition to custom choreography, I teach stage combat workshops with a variety of objectives: teaching pairs or small groups ‘set’ fight choreography they can incorporate into multiple performances, work-shopping combat techniques and characterization and helping students develop open scenes incorporating simulated violence, and working with directors on the rudiments of stage violence.

Beyond these professional interests, I enjoy travel, cuisine, cycling, and anything related to Rhetorical, Literary, Cultural, and Film analysis and criticism.”