To tell a story in the theater, an actor allows the audience to witness an event that does not take place. If successful, what the audience believes they have seen is not what actually happened. A well choreographed and executed punch compresses this central truth of all good acting into a well-defined action on stage.
A punch that is too much like reality injures an actor. A punch that is too little like reality elicits laughter at a critical dramatic moment. An audience in the theater desires to be fooled but refuses to be deceived.
The art of fight choreography lies in knowing the difference and finding the balance.

King Henry IV, Part 1 at Great River Shakespeare Festival

Romeo et Juliette
“[The] conception of the fight scene in act three was excitingly gritty,…” –Palm Beach Daily News
“…the knife fights carry an edge of genuine menace and violence.”
–South Florida Classical Review
“The fight scenes are “fantastic,” he [director Kevin Newbury] says, thanks to the work of fight choreographer Doug Scholz-Carlson…”
–Palm Beach Post
“The fatal Mercutio-Romeo-Tybalt fight was imaginatively choreographed by Doug Scholz-Carlson..” –Palm Beach Post
“There was plenty of busy action, particularly in the dance-like fight scene choreographed by Doug Scholz-Carlson…” –Palm Beach Arts Paper
Read more and see video of the fight
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