Immortal Combat

CONSIDERING HOW RICHARD, Duke of Gloucester, slaughters his way to the throne of England, it's hardly surprising that the Shakespeare Theatre might need not one, but two fight choreographers for its production of Shakespeare's "Richard III."

For David Leong, fight choreographer, and Paul Dennhardt, assistant fight choreographer, the biggest challenge in staging the numerous acts of violence lies in the storytelling: "How do we advance and tell the story in a way that is consistent with the artistic integrity of the whole play?" Dennhardt said.

The result: Fight scenes that range from quick and dirty stabbings to the more artistic work of the play's finale, the Battle of Bosworth Field. More than 20 actors are used in the battle's 15 scenes, in which "there are more light and sound cues than any other scene in the play," Leong said.

To simulate the image of soldiers riding into battle, Leong and Dennhardt had 3-D horse heads carved into the soldiers' shields to create a "very stylized representation of this war," Leong said. With the lighting and the movement of two dozen soldiers carrying these shields, the actors themselves represent the horses.

For Richard's (Geraint Wyn Davies) look, the choreographers used the character's hunchback and twisted arm to drive his weaponry. "We actually let the actor tell us what his needs are," Leong said. "He has a mace in one hand so he could club and bludgeon people. He also has a steel gauntlet with a spike on his elbow."
According to Leong and Dennhardt, Wyn Davies was instrumental in conceptualizing Richard's fight scenes. "He's a really, really good fighter," Leong said. "He has body awareness and an ability to see what we're doing and help shape it."

Since Richard only bloodies his hands in the play's final act, it's a good thing Wyn Davies is fun to watch as he manipulates and inveigles his enemies. His asides to the audience and winking treachery add dark comedy to a somber play.

Most of the remainder of the rather large cast provides competent support and ability to convey shock and vengeance at Richard's eventual betrayal.

This post was written by Express contributor Erin Trompeter
Photo by Carol Rosegg