Stage Combat Tips for West Side Story
Make it Sparkle Video with Mike Catron
Theatre Teacher and Stage Combat Choreographer
3:45 (runtime)
Director’s Notes
In this insightful video, stage combat choreographer Mike Catron delves into the complexities of executing realistic and safe knife fights in performances of "West Side Story." Mike emphasizes the role of tension, the intricacies of knife handling, and the need for realism in stage combat.
Mike discusses the challenges of staging knife fights in "West Side Story," stating that knives are difficult to work with due to their small size and the risk involved.
He suggests that the tension leading up to the fights is just as important as the combat itself. He encourages showing characters doing "cool knife tricks" to build up this tension.
Mike emphasizes that actual moments of combat should be brief. One tip he offers is to get ahold of the attacking arm with your free hand during a knife fight.
Mike advises against making stage combat appear overly choreographed or "cute." Instead, he argues for brutal, realistic engagements, especially when weapons are involved.
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.”