David Blixt is the co-fight choreographer of the Writers Theatre production of Gracie Gardner’s Athena, directed by Jessica Fisch and featuring two stand-out performances by Aja Singletary (right) and Mary Tilden (left). David discusses the things that make this production unique in his experience; the importance of being a storyteller; the language of the body; the value of creating theater as an ensemble; how distance equals danger; why the actors had to actually hit each other; and how stage violence is always a story of desire and denial. (Length 16:24)
The “grand old man of the theatre” energy of the late Christopher Plummer lives on in our production of Completely Hollywood (abridged), through our old friend, actor and Broadway fight director Thomas Schall (left), who, in this special bonus podcast episode, remembers the extra-close encounter he had with the legendary actor while appearing in the ill-fated (is there any other kind?) 1988 production of William Shakespeare’s Scottish Play. Featuring: rehearsals with Mr. Plummer’s golden retriever; a revolving door of actors, directors, and designers; bon mots from Lady M herself, Glenda Jackson; old-school grandness; immense charm; some unfortunate emergency dentistry; and how the story has both grown in theatrical legend, and — until now — mercifully been forgotten. (Length 16:51)
Missing summer blockbusters and live outdoor Shakespeare performances? Her Majesty’s Will by novelist (and actor and fight choreographer) David Blixt is your perfect substitute! It’s a fun and thrilling adventure about the young pre-genius Will Shakespeare who becomes entangled in a deadly and hilarious misadventure when he accidentally uncovers an attempt to murder Queen Elizabeth herself. David talks about his process and inspirations; how he’s attracted to gaps and Hope & Crosby shenanigans; some deceptive cover art; the difficulty of writing a funny novel when the world is in such an unfunny place; how it all comes from research; how he finesses the facts for fictional purposes; and how truth really is sometimes stranger than fiction. (Length 20:17)
Michael Morrow stars in the Lifeline Theatre production of Middle Passage, Charles Johnson’s National Book Award-winning novel (“a novel in the tradition of Billy Budd and Moby-Dick,” according to the New York Times Book Review) adapted by Ilesa Duncan and David Barr III (and directed by Duncan). Michael discusses how he came to be cast in this epic production, and how he’s journeyed from the DePaul University BFA program to Cincinnati Shakespeare Company, Michigan Shakespeare Festival, and beyond; how he learned to buckle swashes and paint pictures with words; what it means to Choose; the miracle of a deus ex Quackenbush; shout-outs to David Blixt and the late PJ Paparelli; and the incredibly important power of telling stories for those who can’t. (Length 20:08) (Pictured: Michael Morrow and Patrick Blashill in the Lifeline Theatre production of Middle Passage, adapted by Ilesa Duncan and David Barr III from the novel by Charles Johnson. Directed by Ilesa Duncan. Photo by Suzanne Plunkett.)
Friend of the podcast Tom Schall talks about how he’s become Broadway’s Fight Guy (or, truthfully, one of them), the go-to person to design fight choreography and tell a story using actors’ physical language. Featuring how to develop and agree on physical vocabulary; how work leads to work; switching between the past and present tense; nuts and bolts; torn rotator cuffs; working with directors; a great description of working at the Folger Theatre; tales of working on Hamlet with Oscar Isaac and Keegan-Michael Key; and the joys and dangers of teaching James Bond and Martin Luther King, Jr. how to fight. (Length 20:17) Photograph of David Oyelowo as Othello and Daniel Craig as Iago by Charlie Gray for Vanity Fair.