Even the most devoted fans may fail to notice the fine detail going into the armed conflict taking place on stage during the upcoming season of the San Francisco Opera.
San Francisco Opera Fight Director, Dave Maier.
Published: September, 2016
Even the most devoted fans may fail to notice the fine detail going into the armed conflict taking place on stage during the upcoming season of the San Francisco Opera. That fact speaks volumes about talented SFO Fight Director, Dave Meier, who prefers to remain in the shadows of these performances.
Maier made his company debut choreographing the fight scenes for The Tales of Hoffmann in 2013; he also appeared as a swordsman in the 2010 production of Cyrano de Bergerac. Maier has directed for American Conservatory Theater, Berkeley Repertory Theater, San Jose Repertory, Aurora Theatre, Marin Theatre Company and Magic Theatre, among others. In this exclusive interview with Bay Crossings, he shares a few observations and insights.
Dave Maier: Firstly, my job is to work with artists to safely and convincingly create the illusion of violence. Our task is to tell the story that the opera requires. Our work is influenced by the director’s vision and the skills, strengths and limitations of the performers. Whether it is comedic, tragic, period sword play or contemporary domestic violence, it is all story telling.
Bay Crossings: You are working on fight scenes for Andrea Chénier and Dream of the Red Chamber at present, and will also work on Aida later in October. Can you describe the unique challenges each production presents?
DM: Every production has unique challenges. Andrea Chenier is a remount of a previous production. It has a brief sword fight that is pivotal to the storyline. Rather then create an original fight I have been asked to recreate the previous fight with new artists as swordsmen. It is saber verses court sword, and these weapons require very different fighting styles. The saber is a hacking weapon, requiring broad cutting strokes, while the court sword is all about point work and finesse. Fortunately, one of the singers has prior sword experience and is very comfortable fighting. The other has less experience and it is my job to help him get as comfortable as possible in the brief rehearsal time we have.
Dream of the Red Chamber is a world premiere, so everything is original. These productions are usually more fun and rewarding for me, as I get to build something from scratch. A challenge of this particular production is the staging of a large group scene which contains violence. Simply coordinating the quantity of people on stage has been a challenge. I am tasked with helping to ensure the safety of all the artists (principals, chorus, dancers and supers), while keeping the story as clear as possible.
BC: We admired your work on Carmen last summer. Can you tell us how you were able to create such tension in those fight scenes?
DM: The tension comes from the artists rehearsing the violent movements and being so familiar with them that they can really commit to the acting. Also, it is in the music. Everything we do is influenced by the musical score. When you are working with artists of this caliber, they bring their skill, training and talent to creating the moments of tension and violence. Both Carmen casts where incredible.
BC: What are your greatest concerns when coaching players through a fight? Any specific dangers or threats?
DM: My primary concern is safety, and making sure that the artists are performing within the parameters of their skill level and comfort level. There are always varying degrees of physicality and intensity that we can bring to a fight. Sometimes we simplify the choreography to ensure safety. Every fight has the potential for danger. I think the biggest threat is not being aware of an artist’s limitations or a problem with a costume or prop. If I know about a problem, I can work with others to solve it. It’s the problems that we are not aware of that are the biggest concern.
BC: Finally, which opera stars have shown the greatest talent for staged combat? Are they always the best athletes?
DM: The artists that have prior stage combat training are the most fun to work with simply because we have more options and I don’t have to spend the precious rehearsal time teaching them to fight. We can spend our time creating the most interesting fight possible.
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