Have you ever been to a stage production where all of a sudden, the actors break out into a fight? With swords and limbs flying, it can ignite a thrill in the audience, concerned whether or not the next swing will make contact. Unlike real-life fighting, stage combat is a carefully choreographed blend of technique, illusion, and, most importantly, safety. For Mid-Pen's fall play, students have been mastering the intricacies of stage combat.

This year's fall play is "Marian, or the True Tale of Robin Hood" by Adam Szymkowicz, a comical new take on the classic tale of Robin Hood. “This is a heartfelt story about people finally finding the space to be who they want to be…and how important it is to have a community of people where you can just be you,” says Liz Woolford, Mid-Pen’s Theatre Director, whose choice in production was led by a student play selection committee. “There were a lot of students really interested in stage combat, and this was the show that had the most straightforward, swashbuckling, classic, stage combat.”

What goes into preparing for on-stage sword fights with student actors who have little to no experience? To start, Liz brought in award-winning director, filmmaker, actor, fight choreographer, and educator Joshua Waterstone to lead our students in multiple stage combat workshops. Joshua currently teaches with Foothill College Theatre Studies, Cal Shakes, and Berkeley Repertory School of Theatre. Joshua began working with our students earlier this semester, teaching them the art of stage combat.

Before any faux weaponry was introduced, students were first trained in spatial awareness, including their proximity to their sparring partner, the positioning of their feet, and the balance of their weight. These initial elements are the foundation of their eventual combat choreography, allowing for the safest and most effective routines. Beyond the stage, learning these skills helps students develop body awareness, coordination, and discipline—valuable abilities that can benefit them in various aspects of life, whether in physical activities, teamwork, or problem-solving.

Students then learned a number of parry positions, which are quite similar to those in ballet. Each position is associated with a number, and when these numbers are combined in a sequence, they form a sort of dance. When our students perform these carefully choreographed routines in just over a week, audience members may not even notice all the intricacies woven throughout.

Junior Baz D., who plays the character Little John in the upcoming performance, has enjoyed exploring stage combat. He said, "It's actually inspired me to go out and look into getting my stage combat licenses to do this on my own." Baz is interested in continuing his acting career after high school and sees the value in learning these skills for his future. He expressed that incorporating this training into the production "is a good, strong step forward for the Mid-Pen drama department."

Aside from fight choreography just simply being fun, it also builds trust and communication between the students. You have to believe that your stage partner has rehearsed enough to perform well and safely. Liz reflects on seeing her students take on this performance, saying, “They might not have started as friends, but by the end, after they've stabbed each other a million times, they will be friends.” 

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"Marian, or the True Tale of Robin Hood" is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.